[{"data":1,"prerenderedAt":5316},["ShallowReactive",2],{"collection-song-hua-jing-xuan":3},{"collection":4,"artworks":502},{"slug":5,"name":6,"title":7,"description":8,"coverUrl":9,"artworkCount":10,"artworkIds":11},"song-hua-jing-xuan","宋画精选","宋画精选｜中国传统宋画赏析","精选历代宋画作品，欣赏中国画中的笔墨、构图与传统审美。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg",490,[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,43,44,45,46,47,48,49,50,51,52,53,54,55,56,57,58,59,60,61,62,63,64,65,66,67,68,69,70,71,72,73,74,75,76,77,78,79,80,81,82,83,84,85,86,87,88,89,90,91,92,93,94,95,96,97,98,99,100,101,102,103,104,105,106,107,108,109,110,111,112,113,114,115,116,117,118,119,120,121,122,123,124,125,126,127,128,129,130,131,132,133,134,135,136,137,138,139,140,141,142,143,144,145,146,147,148,149,150,151,152,153,154,155,156,157,158,159,160,161,162,163,164,165,166,167,168,169,170,171,172,173,174,175,176,177,178,179,180,181,182,183,184,185,186,187,188,189,190,191,192,193,194,195,196,197,198,199,200,201,202,203,204,205,206,207,208,209,210,211,212,213,214,215,216,217,218,219,220,221,222,223,224,225,226,227,228,229,230,231,232,233,234,235,236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391,392,393,394,395,396,397,398,399,400,401,402,403,404,405,406,407,408,409,410,411,412,413,414,415,416,417,418,419,420,421,422,423,424,425,426,427,428,429,430,431,432,433,434,435,436,437,438,439,440,441,442,443,444,445,446,447,448,449,450,451,452,453,454,455,456,457,458,459,460,461,462,463,464,465,466,467,468,469,470,471,472,473,474,475,476,477,478,479,480,481,482,483,484,485,486,487,488,489,490,491,492,493,494,495,496,497,498,499,500,501],221381,221320,221330,219009,221389,218834,221288,221371,221235,221509,220341,216083,221457,221429,218573,214253,221339,221559,216772,218607,218786,221538,221574,218544,218717,221324,221182,221557,221299,221382,218560,221395,221412,221430,221435,221329,216777,221468,221594,218608,219699,214884,221294,221671,218605,214257,221665,219194,218635,219426,221293,218620,221490,218567,221345,214887,220354,221183,221541,221336,218630,218077,221289,219198,221458,219195,221443,221536,214846,220073,221184,220213,221383,220194,218908,221708,221341,218931,221513,220260,221394,221335,218922,221415,221189,220176,220326,219216,221297,221186,221355,220387,218658,221577,219276,219214,218785,218132,221300,218615,221504,221523,221180,221445,218087,220420,221521,221586,218864,221618,221334,220394,220227,220440,221558,223549,219112,221534,221511,221576,216755,219430,221338,219191,219008,218917,221596,221295,219203,221605,221319,218967,218832,220237,218868,221409,221331,223519,218943,221337,220204,221328,221496,221460,221380,221573,220448,221464,218747,219144,218670,220359,218926,221404,219928,221658,221244,219648,221303,218728,220253,221466,221414,221365,221291,221440,221373,221709,221619,221420,219858,221529,218583,221292,220247,219737,219861,219278,221554,221188,219942,221520,221670,218801,218600,221555,221391,219887,221544,218800,218629,221572,221413,220144,220071,220356,219228,221525,220353,203436,221522,221456,218401,218950,218811,221507,221227,218797,221528,221298,220122,221349,218814,221678,288542,219243,218643,221441,221343,221285,223667,223647,221667,221533,221500,219006,221344,221518,221353,221516,221393,220121,218788,218561,218883,218641,218506,221659,221537,221240,219202,218974,218946,226547,215141,221254,221442,219105,218618,221578,221333,221301,221431,221397,221579,221514,218533,221459,221455,220312,221664,221545,221398,221485,219789,218896,221527,221439,220337,288266,223660,221505,220218,223565,221602,221592,221591,218582,221668,221597,218971,221580,218981,221249,219965,287652,221612,221372,220363,232619,231052,221488,220234,220217,219300,219083,221623,221418,219200,221617,220191,218095,221680,221238,219885,218809,223563,221515,218838,221465,221224,221549,221302,221257,221599,221539,220074,218839,218537,223548,218746,221426,219951,231056,221669,221621,221540,220361,220255,220236,221378,221437,221316,221286,219011,223520,219954,218855,218558,221251,220842,220240,223566,221677,221628,221449,221406,221354,218968,221589,289867,221666,221512,219168,218562,223354,221585,221451,221436,221424,219205,219049,223603,221421,221419,218933,218837,221503,221501,221392,221322,220148,219730,218866,218836,218619,202978,221321,221296,220386,218936,216911,221262,219014,219013,218850,231057,221494,221489,290994,223561,221470,221469,221408,220443,218663,202162,221486,221417,220333,218935,221360,221423,220095,219697,218852,221560,221287,220235,219151,218948,218692,221438,223418,221613,219693,219233,218951,218858,221317,221593,221450,221259,220231,218844,201746,289351,221428,221236,221290,221237,220385,220089,219731,290337,223604,223532,221446,287640,218888,218853,218842,221661,221258,219603,201548,223503,221583,221467,221366,218860,289326,221356,288288,223534,221694,221453,221284,223666,289747,221660,221584,289117,223639,221627,290759,290760,221425,223605,220388,223470,290373,231054,218848,287646,290686,290332,287559,290295,290773,290766,231083,290986,223606,201626,290714,223453,287644,227570,201261,[503,537,568,586,606,634,647,665,677,699,714,728,743,759,774,788,804,814,828,840,855,865,879,890,904,918,933,944,954,966,973,985,998,1010,1019,1030,1043,1054,1067,1078,1089,1104,1118,1128,1138,1148,1157,1172,1181,1192,1211,1222,1232,1244,1254,1264,1274,1284,1293,1302,1311,1322,1331,1341,1353,1362,1373,1386,1397,1405,1416,1426,1434,1443,1454,1462,1484,1494,1507,1517,1528,1537,1548,1556,1567,1577,1588,1598,1609,1620,1628,1639,1648,1658,1670,1682,1693,1700,1709,1717,1725,1736,1755,1764,1773,1780,1797,1807,1816,1824,1838,1850,1862,1871,1880,1891,1901,1908,1918,1926,1936,1944,1954,1963,1971,1979,1987,1996,2005,2015,2026,2036,2045,2054,2063,2071,2081,2089,2098,2108,2118,2129,2139,2148,2160,2172,2182,2191,2201,2208,2217,2226,2237,2245,2254,2262,2271,2280,2288,2298,2310,2320,2331,2342,2350,2357,2368,2376,2385,2394,2404,2412,2422,2430,2438,2445,2453,2465,2474,2485,2494,2501,2514,2523,2532,2541,2554,2562,2571,2580,2590,2599,2612,2622,2633,2641,2651,2663,2672,2680,2691,2703,2714,2722,2732,2740,2749,2758,2766,2775,2785,2795,2805,2812,2825,2833,2842,2850,2856,2864,2873,2882,2891,2900,2907,2924,2932,2943,2958,2967,2975,2986,2996,3005,3015,3024,3033,3046,3055,3062,3074,3089,3098,3107,3116,3124,3134,3143,3153,3161,3170,3181,3190,3198,3206,3215,3223,3232,3242,3251,3260,3269,3279,3287,3298,3305,3313,3322,3330,3338,3348,3358,3366,3375,3384,3392,3401,3411,3418,3427,3434,3442,3451,3461,3473,3481,3494,3506,3517,3526,3537,3548,3556,3565,3574,3584,3592,3603,3614,3624,3634,3645,3654,3664,3673,3682,3690,3699,3707,3716,3723,3733,3746,3753,3762,3773,3782,3793,3801,3805,3812,3820,3829,3836,3846,3857,3866,3875,3885,3893,3901,3910,3920,3929,3938,3945,3954,3962,3971,3980,3990,3999,4008,4019,4027,4035,4046,4055,4063,4071,4081,4093,4103,4111,4120,4128,4140,4148,4156,4165,4173,4181,4189,4201,4207,4218,4226,4234,4242,4252,4258,4267,4277,4285,4293,4301,4310,4319,4327,4334,4344,4352,4359,4370,4384,4392,4400,4409,4418,4427,4436,4445,4454,4462,4471,4480,4486,4496,4505,4513,4521,4529,4541,4549,4558,4567,4575,4584,4592,4598,4606,4615,4623,4632,4642,4650,4659,4668,4676,4684,4694,4703,4711,4722,4735,4743,4751,4760,4768,4777,4784,4792,4801,4807,4817,4825,4832,4841,4850,4861,4871,4880,4889,4903,4912,4922,4930,4939,4948,4956,4965,4974,4984,4993,5002,5010,5019,5027,5036,5045,5055,5065,5072,5080,5087,5095,5106,5115,5124,5133,5140,5148,5161,5170,5178,5188,5196,5205,5213,5222,5231,5239,5248,5258,5266,5274,5284,5292,5301,5308],{"id":12,"slug":504,"title":505,"dynasty":506,"author":507,"museum":508,"description":509,"tags":510,"thumbUrl":9,"material":528,"size":529,"collection":6,"collections":530,"showCount":533,"zanCount":534,"manualWeight":535,"mainColor":536},"qian-li-jiang-shan-tu-juan-wang-xi-meng-221381","千里江山图卷","宋","王希孟","北京故宫博物院","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，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。",[511,512,513,514,515,516,517,518,519,520,521,522,523,524,525,526,527],"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",[6,531,532],"人物画精选","设色画精选",22979,181,0,"795548",{"id":13,"slug":538,"title":539,"dynasty":506,"author":540,"museum":508,"description":541,"tags":542,"thumbUrl":561,"material":562,"size":563,"collection":6,"collections":564,"showCount":566,"zanCount":567,"manualWeight":535,"mainColor":536},"qing-ming-shang-he-tu-zhang-ze-duan-221320","清明上河图","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。",[511,512,513,514,543,517,516,544,545,546,547,548,549,550,523,551,552,525,553,554,520,555,556,557,558,524,559,560],"界画","人物","楼阁","小桥","流水","船","马","牛","街市","店铺","城墙","车","码头","货船","行人","商贩","道路","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[6,565],"水墨画精选",8462,106,{"id":14,"slug":569,"title":570,"dynasty":506,"author":571,"museum":572,"description":573,"tags":574,"thumbUrl":580,"material":581,"size":582,"collection":6,"collections":583,"showCount":584,"zanCount":585,"manualWeight":535,"mainColor":536},"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。",[511,512,513,514,517,516,544,575,576,577,578,579],"美人","临摹","布料","衣帽","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ccfee95d303f5ca82b607f6c92ef6.jpg","扇面画","纵：37厘米，横：145.3厘米",[6,531,532],2907,23,{"id":15,"slug":587,"title":588,"dynasty":506,"author":589,"museum":590,"description":591,"tags":592,"thumbUrl":599,"material":600,"size":601,"collection":602,"collections":603,"showCount":604,"zanCount":605,"manualWeight":535,"mainColor":536},"bai-he-tu-er-mi-fei-219009","白鹤图(二)","米芾","大英博物馆","白鹤振翅翩跹，白羽细笔晕染，层叠如霰，纹理分明若鳞；墨羽劲挺若锋，浓淡相间见层次。丹顶一点艳绝，长颈曲转，喙微垂，神态悠然。墨线勾勒的长腿矫健，爪尖似扣虚空，似将踏水而落。左下角虬枝盘曲，苔痕隐现，淡墨涟漪轻漾，衬得鹤影清逸。绢本底色古雅，笔墨细腻处藏灵动，简淡间蕴生机，动静相济，尽显禽鸟之姿与自然清趣。",[511,512,513,593,594,517,516,595,596,597,598],"名画","立轴","白鹤","飞鸟","枯木","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85286d792591c1fa8b6e849da1c7fd76.jpg","绢本,设色","132.5x61.5cm","花鸟画精选",[602,6,532],2668,25,{"id":16,"slug":607,"title":608,"dynasty":506,"author":609,"museum":610,"description":611,"tags":612,"thumbUrl":627,"material":628,"size":629,"collection":6,"collections":630,"showCount":632,"zanCount":633,"manualWeight":535,"mainColor":536},"xi-shan-xing-lv-tu-fan-kuan-221389","溪山行旅图","范宽","台北故宫博物院","该画作描绘的是典型的北国景色，树叶间有“范宽”二字题款。图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。山阴道中，从右至左行来一队旅客，四头骡马载着货物正艰难地跋涉着。",[511,512,613,594,614,615,518,616,617,523,618,619,546,526,620,621,622,623,624,625,626],"水墨画","皴法","雨点皴","山石","瀑布","行旅","溪流","山路","驮队","雾气","巨峰","丛林","涧水","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7fc9271bce677ed74b29dfb9421e4d.jpg","绢本","纵206.3厘米，横103.3厘米",[6,631,565],"山水画精选",2630,15,{"id":17,"slug":635,"title":636,"dynasty":506,"author":637,"museum":610,"description":638,"tags":639,"thumbUrl":643,"material":600,"size":644,"collection":6,"collections":645,"showCount":646,"zanCount":633,"manualWeight":535,"mainColor":536},"cha-hua-tu-yi-ming-218834","茶花图","佚名","一枝开着灿烂花朵的白色山茶花，用厚厚的粉末涂抹，使其更加精致。这片叶子色彩斑斓，脉络清晰，只有大师才能做出这样的作品。",[511,512,593,517,516,640,641,642],"花鸟","茶花","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc625951d87f1d891f7dbc2fa5b931890.jpg","26.3x26.2",[6,602],2560,{"id":18,"slug":648,"title":649,"dynasty":506,"author":650,"museum":610,"description":651,"tags":652,"thumbUrl":659,"material":660,"size":661,"collection":6,"collections":662,"showCount":663,"zanCount":664,"manualWeight":535,"mainColor":536},"zao-chun-tu-guo-xi-221288","早春图","郭熙","《早春图》采全景式构图，上下留有天地，远、中、近景则巧妙地布置于“十字形”架构内。\n主山画于中轴上方，山石先以圆笔勾勒轮廓，中锋、侧锋并用，再于阴暗面以湿笔皴擦，层层淡墨反复地渲染，强化量体感，这种技法俗称“云头皴”、“卷云皴”、“乱云皴”或“鬼面皴”，能真实反映沉积岩地貌，也可使画面产生如云雾般变幻的效果，很适合描写初春乍暖还寒，淡冶如笑的山野景象。山腰部分则隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[511,512,513,653,614,654,518,616,523,547,617,526,655,656,657,619,658],"水墨","三远法","山峦","岩石","苔点","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","绢","纵158.3公分，横108.1公分",[6,631,565],2376,17,{"id":19,"slug":666,"title":667,"dynasty":506,"author":571,"museum":668,"description":669,"tags":670,"thumbUrl":671,"material":672,"size":673,"collection":6,"collections":674,"showCount":675,"zanCount":676,"manualWeight":535,"mainColor":536},"mo-zhang-xuan-guo-guo-fu-ren-you-chun-tu-juan-zhao-ji-221371","摹张萱虢国夫人游春图卷","辽宁省博物馆","赵佶摹张萱《虢国夫人游春图》，中国北宋徽宗赵佶摹唐代仕女画画家张萱《虢国夫人游春图》。《虢国夫人游春图》是唐代中期仕女画的代表作品。此卷前隔水有金章宗(完颜璟)瘦金书“天水摹张萱虢国夫人游春图”题签。天水为赵姓的郡望，此处系指赵佶。卷后有明末清初书画家王铎题跋。此卷曾入金内府，“明昌”诸印玺俱全，又有宋时的官、私印记“台州市房务抵当库记”、“绍勋”及“封”字印等，还有明末王长垣、清初梁清标鉴藏印。",[511,593,512,513,514,576,516,517,544,549,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a50b9e37f23291bf8e102561059d66.jpg","绢本设色","纵51.8、横148厘米",[6,531,532],2369,28,{"id":20,"slug":678,"title":679,"dynasty":506,"author":637,"museum":610,"description":680,"tags":681,"thumbUrl":693,"material":694,"size":695,"collection":6,"collections":696,"showCount":697,"zanCount":676,"manualWeight":535,"mainColor":698},"hua-niao-chang-juan-yi-ming-221235","花鸟长卷","此作用笔精细柔婉，设色妍丽清润，将四季佳卉次第铺展：艳红牵牛绰约生姿，白牡丹雍容皎洁，紫藤垂缨如云似瀑，兰草疏朗清逸。草虫蛱蝶穿插其间，振翅的蝶、栖于花枝的蚱蜢，皆栩栩如生，满卷灵动生机。\n诗画合璧，题咏与花木相映成趣，尽显雅致意趣，细腻勾勒出草木的娇柔、虫羽的轻薄，藏着对天地生机的入微体察，尽显精工雅致的院体花鸟意韵，是隽永动人的佳作。",[511,593,512,513,514,516,517,640,682,683,684,685,686,687,688,689,690,691,692,642],"紫藤","牡丹","月季","菊花","兰花","牵牛花","玉兰花","芙蓉","蝴蝶","蜻蜓","虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b146e686f41f360c24bf527a36e3be4.jpg","纸本","26x163",[6,602,532],1899,"FF9800",{"id":21,"slug":700,"title":701,"dynasty":506,"author":702,"museum":610,"description":703,"tags":704,"thumbUrl":707,"material":708,"size":709,"collection":6,"collections":710,"showCount":711,"zanCount":712,"manualWeight":535,"mainColor":713},"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[511,593,512,513,514,653,614,518,616,523,546,547,705,596,706,526,619,656],"孤舟","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[6,631,565],1772,19,"BDBDBD",{"id":22,"slug":715,"title":716,"dynasty":506,"author":717,"museum":718,"description":719,"tags":720,"thumbUrl":723,"material":694,"size":724,"collection":6,"collections":725,"showCount":726,"zanCount":727,"manualWeight":535,"mainColor":536},"mo-zhu-tu-su-shi-220341","墨竹图","苏轼","美国大都会艺术博物馆","自苏轼而至元四家，墨竹之风大兴，竹常被文人高士用以表现清高拔俗的情趣，有正直的气节、虚心的品质和纯洁的思想感情，因此墨竹成了书、画、道的综合体，成了人格、人品的写照，寓意兴寄愈益丰厚。此作笔法谨严有致，具潇洒神态。",[511,512,653,721,722,642],"竹","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c9dbb225579521686a0829aa7646b7.jpg","54.3x33厘米",[6],1694,16,{"id":23,"slug":729,"title":730,"dynasty":506,"author":731,"museum":610,"description":732,"tags":733,"thumbUrl":738,"material":600,"size":739,"collection":6,"collections":740,"showCount":741,"zanCount":742,"manualWeight":535,"mainColor":713},"qiu-kui-tu-li-shi-zhong-216083","秋葵图","李士忠","写秋葵一枝，工笔勾勒填彩，花瓣用粉细勾，叶用重绿，姿韵生动，重彩渲染，布局严谨。两朵开着的花与疏疏的叶子，充分表现出秋葵的神态，是南宋写生佳作。",[511,593,512,513,517,516,640,734,735,736,737],"秋葵","花","叶","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e4f46a0ef378e801baa321bbe7168c.jpg","25x28cm",[6,602],1541,10,{"id":24,"slug":744,"title":745,"dynasty":506,"author":746,"museum":747,"description":748,"tags":749,"thumbUrl":754,"material":694,"size":755,"collection":6,"collections":756,"showCount":757,"zanCount":758,"manualWeight":535,"mainColor":536},"jiu-long-tu-juan-quan-juan-chen-rong-221457","九龙图卷全卷","陈容","波士顿美术馆","这样一个伴随着中国国运兴衰的图腾，艺术家们自然不会错过，从商周青铜器上的龙纹，到马王堆汉墓帛画，龙的形象始终跟随着中国历史的发展，而未有太大变化。画龙本身也成为了一个著名的典故既是“画龙点睛”。根据唐朝张彦远《历代名画记 张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[511,593,512,513,514,653,722,642,750,751,752,526,753],"写意","渲染","龙","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米",[6,602,565],1532,20,{"id":25,"slug":760,"title":761,"dynasty":762,"author":763,"museum":764,"description":765,"tags":766,"thumbUrl":769,"material":770,"size":771,"collection":6,"collections":772,"showCount":757,"zanCount":773,"manualWeight":535,"mainColor":536},"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","五代十国","徐熙","藏地不详","圖繪梅花翠鳥，滿樹梅花開放，粉色的茶花間插其中，鳥兒立於枝頭嬉戲，原來冬天可以這麼美！徐熙，五代南唐畫家，金陵（今南京）人，一說鍾陵（今江西進賢）人。出身於「江南名族」。生於唐僖宗光啓年間，後在開寶末年（公元975）隨李後主歸宋，不久病故。一生未官，郭若虛稱他爲「江南處士」。沈括說他是「江南布衣」。其性情豪爽曠達，志節高邁，善畫花竹林木，蟬蝶草蟲，其妙與自然無異。後人將其與後蜀黃筌並稱爲「黃徐」，有「黃家富貴，徐熙野逸」之評，爲五代、宋初花鳥畫的兩大流派之代表。」\n宋代沈括形容徐熙畫「以墨筆爲之，殊草草，略施丹粉而已，神氣迥出，別有生動之意」(《夢溪筆談》)。宋代《德隅齋畫品》中著錄徐熙《鶴竹圖》，謂其畫竹「根幹節葉皆用濃墨粗筆，其間櫛比，略以青綠點拂，而其梢蕭然有拂雲之氣」。米芾又謂他畫花果有時用澄心堂紙，用絹則「其紋稍粗如布」。這種題材和畫法都表現他作爲江南處士的情懷和審美趣味，與妙在賦彩、細筆輕色的「黃家富貴」不同，﹝指黃筌與黃居寀父子﹞而形成另一種獨特風格，被宋人稱爲「徐熙野逸」。然而《圖畫見聞志》中記徐熙爲南唐宮廷所繪的「鋪殿花」、「裝堂花」，於「雙縑幅素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙」，「意在位置端莊，駢羅整肅，多不存生意自然之態」。這種富有裝飾性的繪畫，也構成了徐熙繪畫的另一風貌。",[511,593,512,513,514,517,516,640,767,596,768,735],"梅","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm",[6,602,532],29,{"id":26,"slug":775,"title":776,"dynasty":506,"author":777,"museum":778,"description":779,"tags":780,"thumbUrl":784,"material":600,"size":785,"collection":6,"collections":786,"showCount":787,"zanCount":585,"manualWeight":535,"mainColor":536},"lu-chi-zhuo-su-tu-wu-bing-218573","渌池擢素图","吴炳","私人收藏","吴炳，生卒年不详，南宋画家。毗陵武阳（今江苏常州）人。工画花鸟，写生折枝，妙夺造化，彩绘精致富丽。绍熙初（公元1131-1162年），宋光宗赵悼皇后李氏，赏识其画，授画院待诏，赐金带。。画风谨守院体，作品较多。画迹有《春池睡鸭》、《山茶鹁鸽》、《鸳鸯瑞莲》、《宝珠玉蝶》、《折枝绛桃》等二十六件，著录于《绘事备考》。传世作品有《出水芙蓉图》、《竹雀图》、《嘉禾草虫图》、《枇杷绣羽图》等。",[593,512,513,517,516,640,781,782,783],"荷花","荷叶","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6610c8fae2457627a5a08640bf940f45.jpg","25.4×26cm",[6,602],1495,{"id":27,"slug":789,"title":790,"dynasty":506,"author":791,"museum":792,"description":793,"tags":794,"thumbUrl":799,"material":600,"size":800,"collection":6,"collections":801,"showCount":802,"zanCount":803,"manualWeight":535,"mainColor":713},"mu-niu-tu-li-chun-214253","牧牛图","李椿","美国克利夫兰艺术博物馆","牧牛图是宋代画家李椿的一幅代表作。这幅画作描绘了牧牛的生活场景。\n\n在这幅画作中，李椿巧妙地捕捉了牧牛的生活状态。他用浓墨重彩的画法，勾勒出了牧牛的身形。他还用细腻的线条勾勒出了牧牛的面容，让人感受到了牧牛的温顺和和蔼。\n\n此外，李椿在这幅画作中还描绘了牧牛周围的景色。他用色彩丰富的画法，描绘了牧牛周围的山川和河流。这些景色与牧牛的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，牧牛图是一幅精美的画作，描绘了牧牛的生活场景。它让我们感受到了宋代画家李椿对动物的喜爱之情，也让我们感受到了宋代文化的魅力。",[511,512,516,517,550,795,544,796,797,798],"树","草地","石头","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95035fbb75855fef24415203e134b8ac.jpg","24.8x25.7",[6],1394,5,{"id":28,"slug":805,"title":806,"dynasty":506,"author":571,"museum":668,"description":807,"tags":808,"thumbUrl":810,"material":672,"size":811,"collection":6,"collections":812,"showCount":813,"zanCount":585,"manualWeight":535,"mainColor":536},"rui-he-tu-zhao-ji-221339","瑞鹤图","《瑞鹤图》描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。\n《瑞鹤图》，其不仅具神性的光辉与君主的华贵，也有仙音袅袅、高雅灵动之感。一方面，皇宫殿宇端端正正置于画面下方，均衡对称，留出三分之二湛蓝天空，正大光远，大气天成，颇具皇家风范。围绕殿宇的祥云打破屋宇水平线，稳重端庄的画面于是气韵流转，一派天趣。另一方面，仙鹤有表明志向高洁、品德高尚之意。停留在屋顶上的两只仙鹤，袅袅婷婷，以静寓动，与空中缭绕的鹤群相呼应，款款生姿。整个画面又多了一分高洁隽雅、飘逸灵秀之气。",[511,512,513,514,516,543,517,809,596,545],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef20e4191bb4faf39fae804720c95f29.jpg","纵51厘米，横138.2厘米",[6,602],1376,{"id":29,"slug":815,"title":816,"dynasty":506,"author":817,"museum":508,"description":818,"tags":819,"thumbUrl":822,"material":823,"size":824,"collection":6,"collections":825,"showCount":826,"zanCount":827,"manualWeight":535,"mainColor":536},"pi-pa-shan-niao-tu-lin-chun-221559","枇杷山鸟图","林椿","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。\n《石渠宝笈三编》著录。",[511,593,512,513,517,516,820,640,821,596,642],"册","枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195499e5cd6dd07045004c96458c8a96.jpg","绢本 ，设色","纵26.9cm，横27.2cm",[6,602,532],1282,18,{"id":30,"slug":829,"title":830,"dynasty":506,"author":637,"museum":508,"description":831,"tags":832,"thumbUrl":836,"material":600,"size":837,"collection":6,"collections":838,"showCount":839,"zanCount":742,"manualWeight":535,"mainColor":713},"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[511,512,513,514,576,833,516,517,722,834,835,642,544,575,518,705,545,547,523],"白描","行书","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[6],1270,{"id":31,"slug":841,"title":842,"dynasty":506,"author":746,"museum":764,"description":843,"tags":844,"thumbUrl":848,"material":849,"size":850,"collection":6,"collections":851,"showCount":852,"zanCount":853,"manualWeight":535,"mainColor":854},"long-tu-chen-rong-218607","龙图","画面中龙的身形矫健盘绕，怒目圆睁，龙须飞扬，利爪遒劲，似欲破壁而出。水墨晕染间，云雾翻腾如墨浪奔涌，海浪卷动若白练横江，虚实相生中尽显龙的雄奇与威严。陈容以豪放笔法勾勒龙身鳞片，兼用泼墨与细描，浓淡干湿变化丰富，将龙的灵动与力量凝于绢素。整幅画作气韵生动，既存宋画的精工，又具文人画的写意豪情，把龙的神髓刻画得入木三分，为后世画龙范式立下标杆，尽显南宋绘画的艺术张力。",[512,593,513,594,653,614,752,845,846,847,753],"兽","云","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9c956b8342baede8049fcb2307ef8f.jpg","绢本,水墨","103x64",[6],1255,7,"37474F",{"id":32,"slug":856,"title":857,"dynasty":506,"author":717,"museum":610,"description":858,"tags":859,"thumbUrl":860,"material":628,"size":861,"collection":6,"collections":862,"showCount":863,"zanCount":864,"manualWeight":535,"mainColor":536},"yu-zhu-tu-su-shi-218786","雨竹图","展卷即见墨竹数竿，竹叶层叠如聚雨，浓淡相宜间，笔意随兴流转。竹枝以中锋行笔，挺而不僵，叶尖带露似垂非坠，尽得雨中之姿。墨色干湿互见，枯笔处显苍劲，湿笔处含润泽，如书家走笔般一气呵成。旁有题跋，字迹与竹枝笔意相通，墨痕交融，印鉴朱红点缀，更添古雅。整幅画无布景却意境丰满，竹之清劲与文人风骨相融，观之如闻雨声淅沥，见竹影婆娑，尽显文人画“以形写神”之妙，是笔墨与心性共生的典范，藏着宋元文人对自然与自我的深情观照。",[511,512,513,653,721,722,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33b2f2b006aa2ac63f2963676954dbf.jpg","",[6],1106,12,{"id":33,"slug":866,"title":867,"dynasty":506,"author":868,"museum":508,"description":869,"tags":870,"thumbUrl":874,"material":528,"size":875,"collection":6,"collections":876,"showCount":877,"zanCount":878,"manualWeight":535,"mainColor":536},"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[511,512,594,653,516,614,518,544,545,616,871,706,619,872,873,523],"古道","枯藤","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","纵192.5厘米，横111厘米",[6,631,565],995,8,{"id":34,"slug":880,"title":881,"dynasty":506,"author":882,"museum":610,"description":883,"tags":884,"thumbUrl":886,"material":628,"size":887,"collection":6,"collections":888,"showCount":889,"zanCount":742,"manualWeight":535,"mainColor":536},"wan-he-song-feng-tu-li-tang-221574","万壑松风图","李唐","这幅画采取近观的“高远”表现法。近景为苍松石岸；中景为岗峦郁盘，穿插流泉悬瀑；远景的主峰突兀高耸，峰顶丛树密集，这三段景沿着画面的中轴线，由下往上堆栈，形成“高远”。画家藉由扩大前景，使画中的景物逼近观者，再将远景的主峰满塞画面，如一堵巨大的屏障，形成封闭的空间，让观者面对深幽的山谷，如临真景。",[593,512,513,594,614,653,516,518,885,616,617,523,656,619],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048d34f5c9c56804fbd20be818ef50e4.jpg","188.7×139.8公分",[6,631,565],912,{"id":35,"slug":891,"title":892,"dynasty":506,"author":589,"museum":764,"description":893,"tags":894,"thumbUrl":900,"material":653,"size":901,"collection":631,"collections":902,"showCount":903,"zanCount":878,"manualWeight":535,"mainColor":536},"yu-qi-nong-yan-tu-mi-fei-218544","雨气浓烟图","烟雨濛濛，墨色轻染山峦，云雾似纱般缠绕峰峦，远近层次在虚实间晕开。近处林木苍劲，几椽茅舍隐于树影，水面上一叶扁舟悠然，似载着湿意的风。米氏笔法写意传神，将雨气的氤氲、烟岚的缥缈凝于尺幅，于淡墨间见悠远之境，仿佛能嗅到湿润的草木气息，听山间细雨沙沙，心境也随之沉静旷达。",[512,514,653,614,518,895,896,526,520,897,898,899,655,523,546,722,642],"远山","近树","小舟","亭台","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ca15d5c9196dbbf7ceb73083e5d937.jpg","40x438",[631,6],865,{"id":36,"slug":905,"title":906,"dynasty":506,"author":637,"museum":610,"description":907,"tags":908,"thumbUrl":913,"material":600,"size":914,"collection":6,"collections":915,"showCount":916,"zanCount":917,"manualWeight":535,"mainColor":536},"xin-shao-hua-niao-tu-yi-ming-218717","新韶花鸟图","画中山茶花、梅花、菊花和水仙花围绕着海石盛开，各种植物和叶子交相辉映，一对麻雀在一旁观望，画面十分丰富。除了画底没有鸟之外，这幅作品的构图和表达方式与宋代李迪的《花鸟图》和南唐徐熙的《玉堂富贵图》相似。宋代郭若虚的《图说》中提到，南唐时有一种用于悬挂在宫殿中的 亭花，这可能是后来明代的仿制品。",[511,593,512,513,594,517,516,640,909,910,616,911,912,768],"花卉","禽鸟","植物","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9",[6],864,21,{"id":37,"slug":919,"title":539,"dynasty":506,"author":540,"museum":508,"description":541,"tags":920,"thumbUrl":928,"material":672,"size":929,"collection":6,"collections":930,"showCount":931,"zanCount":932,"manualWeight":535,"mainColor":536},"qing-ming-shang-he-tu-zhang-ze-duan-221324",[511,512,514,543,516,921,517,544,545,546,547,922,551,923,523,924,550,549,925,926,559,927,558,557],"风俗画","船只","商铺","车马","建筑","市井","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","宽24.8厘米、长528.7厘米",[6,531,532],858,6,{"id":38,"slug":934,"title":935,"dynasty":506,"author":936,"museum":764,"description":937,"tags":938,"thumbUrl":939,"material":628,"size":940,"collection":6,"collections":941,"showCount":942,"zanCount":943,"manualWeight":535,"mainColor":536},"mei-zhu-tu-ye-ma-lin-221182","梅竹图页","马麟","绿竹丛中逶迤伸出白梅两枝，清丽冷艳",[511,593,512,513,820,517,516,640,767,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d26a148f7c6e0c7598c67b7543456d8.jpg","纵26厘米，横26.5厘米",[6,602,532],851,9,{"id":39,"slug":945,"title":946,"dynasty":506,"author":947,"museum":508,"description":948,"tags":949,"thumbUrl":950,"material":672,"size":951,"collection":6,"collections":952,"showCount":953,"zanCount":864,"manualWeight":535,"mainColor":536},"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 山水画风格继承董源、巨然， 在技法上刘松年变李唐的“斧劈皴”为小笔触的“刮铁皴”，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[511,512,514,515,516,517,614,518,546,547,706,523,655,524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cd819a0038f8aa8374cedcb53dd386.jpg","24cmx254cm",[6,631,532],840,{"id":40,"slug":955,"title":956,"dynasty":506,"author":957,"museum":610,"description":958,"tags":959,"thumbUrl":961,"material":660,"size":962,"collection":6,"collections":963,"showCount":964,"zanCount":965,"manualWeight":535,"mainColor":536},"sui-chao-tu-zhao-chang-221299","岁朝图","赵昌","与过年有关的节令画在古代多称之为“岁朝图”，大致兴起于宋代，徽宗时期宫廷绘画艺术得到了空前的发展。《岁朝图》的本质就是高级年画。所谓“岁朝”是一年之初的文艺叫法。历来的文人皇帝很喜欢用这样的画往来友人赏赐臣下，恭贺新禧。",[511,593,512,513,594,516,517,640,909,960,956],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda10c5d8b72f237927104c275194e0a4.jpg","103.8×51.2cm",[6,602,532],830,13,{"id":41,"slug":967,"title":968,"dynasty":506,"author":507,"museum":508,"description":509,"tags":969,"thumbUrl":9,"material":528,"size":529,"collection":6,"collections":971,"showCount":972,"zanCount":742,"manualWeight":535,"mainColor":536},"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图",[511,512,593,513,514,515,516,517,614,518,655,520,546,523,898,970,526,527],"舟船",[6,531,532],809,{"id":42,"slug":974,"title":975,"dynasty":506,"author":637,"museum":976,"description":977,"tags":978,"thumbUrl":981,"material":600,"size":982,"collection":6,"collections":983,"showCount":984,"zanCount":878,"manualWeight":535,"mainColor":536},"ye-he-hua-tu-yi-ming-218560","夜合花图","上海博物馆","画的是一枝两朵夜来香花，右枝花含苞待放，左枝花半开半合，洁白如玉，气质高雅。花朵被轻轻地勾勒和上色，用白色粉末点缀花蕊，用少量浅色墨水给拖曳的花朵上色。绿叶前后间隔，白花绿叶，色彩淡雅，让人赏心悦目。",[593,512,513,979,516,517,640,735,980,642],"扇面","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6405700bb70527a1c1a9640d967df709.jpg","23.9x25.4",[6,602],804,{"id":43,"slug":986,"title":987,"dynasty":506,"author":609,"museum":988,"description":989,"tags":990,"thumbUrl":993,"material":994,"size":995,"collection":6,"collections":996,"showCount":997,"zanCount":853,"manualWeight":535,"mainColor":536},"xue-jing-han-lin-tu-fan-kuan-221395","雪景寒林图","天津博物馆","《雪景寒林图》描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[511,512,513,518,614,653,594,991,992,616,523,753,706],"雪","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc63124132a59c2b69ad427d2058e8b.jpg","绢本 设色","纵193.5厘米 横160.3厘米",[6,631,565],800,{"id":44,"slug":999,"title":1000,"dynasty":506,"author":1001,"museum":1002,"description":1003,"tags":1004,"thumbUrl":1006,"material":628,"size":1007,"collection":6,"collections":1008,"showCount":1009,"zanCount":943,"manualWeight":535,"mainColor":536},"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","美国纳尔逊阿特金斯艺术博物馆","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。\n画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[511,512,593,518,653,614,594,545,546,547,617,1005,616],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[6,631,565],792,{"id":45,"slug":1011,"title":1012,"dynasty":762,"author":763,"museum":610,"description":1013,"tags":1014,"thumbUrl":1015,"material":628,"size":1016,"collection":6,"collections":1017,"showCount":1018,"zanCount":803,"manualWeight":535,"mainColor":536},"mu-dan-hua-hui-tu-ye-xu-xi-221430","牡丹花卉图页","五代當時名家輩出：花鳥畫之黃筌、徐熙，前後輝映，造就了五代. 的光芒。，他想買下，無奈錢不夠，因此而與丈夫趙明誠雙雙",[511,593,512,513,820,516,640,683,909],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4545b75f5270a81a2bbe98ab5c0643.jpg","41×33",[6,602,532],683,{"id":46,"slug":1020,"title":1021,"dynasty":506,"author":1022,"museum":764,"description":1023,"tags":1024,"thumbUrl":1025,"material":628,"size":1026,"collection":6,"collections":1027,"showCount":1028,"zanCount":1029,"manualWeight":535,"mainColor":536},"qing-lv-shan-shui-ye-jing-hao-221435","青绿山水页","荆浩","荊浩（約850-911年），字浩然，號洪穀子，河內沁水(一説河南濟源人 ，一説山西沁水縣人， ）唐末五代時期著名畫家，北方山水畫派之祖。\n博通經史，博雅好古。乾符元年（874）前後，得到宰相裴休的關照，擔任小官。大中十年（856），罷官回鄉。躲避戰亂，常年隱居太行山 。善於山水畫，師從於張璪，吸取北方山水雄峻氣格，作畫“有筆有墨，水暈墨章”，勾皴之筆堅凝挺峭，表現出一種高深迴環、大山堂堂的氣勢，為北方山水畫派之祖 。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[511,593,512,513,820,515,516,614,518,546,523,616,547,925,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","45x30厘米",[6,631,532],664,3,{"id":47,"slug":1031,"title":1032,"dynasty":506,"author":571,"museum":508,"description":1033,"tags":1034,"thumbUrl":1037,"material":528,"size":1038,"collection":6,"collections":1039,"showCount":1040,"zanCount":1041,"manualWeight":535,"mainColor":1042},"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[511,512,593,513,594,517,516,544,1035,721,1036,722,642],"松","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","纵147.2 厘米，横51.3 厘米",[6,602,532],656,2,"F48FB1",{"id":48,"slug":1044,"title":1045,"dynasty":506,"author":1046,"museum":610,"description":1047,"tags":1048,"thumbUrl":1050,"material":600,"size":1051,"collection":602,"collections":1052,"showCount":1053,"zanCount":932,"manualWeight":535,"mainColor":536},"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[511,593,512,513,517,653,516,721,910,797,1005,991,1049,737],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","26.3 x 45.7厘米",[602,6],641,{"id":49,"slug":1055,"title":1056,"dynasty":506,"author":1057,"museum":747,"description":1058,"tags":1059,"thumbUrl":1063,"material":516,"size":1064,"collection":6,"collections":1065,"showCount":1066,"zanCount":943,"manualWeight":535,"mainColor":536},"ji-xiang-duo-zi-tu-lu-zong-gui-221468","吉祥多子图","鲁宗贵","画面的确描绘了三种水果，彼此簇拥在一起，粗看起来有些凌乱，但仔细分辨后会发现画家布置得井井有条。\n按照前、中、后的顺序，斜向纵深排列开。前排是两只石榴，一只全部展现出来，并且成熟得果皮迸裂，露出饱满鲜红的石榴子，另一只隐藏在后面，露出尖尖的蒂。画面的后排也是一个圆球形的果实，这是橘。在石榴与橘中间，夹着一串颗粒饱满的水果。这是葡萄吗？画中的这串果实，大小虽然与葡萄类似，但颜色为棕黄色，表面有些粗糙。从形状上来看，大部分果实和葡萄一样是圆球形，但还有一些未完全成熟而泛出青色的果实，有尖尖的头。更为有代表性的是叶子。这串水果乃是从枝上新鲜折下，长条形的叶子连在枝上。这绝不是有裂片、像一个宽大鹅掌的葡萄叶。那么这究竟是串什么水果？答案是龙眼。龙眼，我们更习惯的名字是桂圆，在古代是珍稀水果，在现代也价格不菲。\n中国人对它并不陌生，但在欧美国家吃得却很少。可以想见，当初为这幅画确定英文名的人对龙眼十分陌生，所以才会将画中这串圆圆的果实误认作葡萄了。",[511,512,593,513,517,516,640,1060,1061,1062,980,642],"石榴","荔枝","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c09eceb96eb51faf45b369858023ed.jpg","高24厘米，宽25.8厘米",[6,602,532],615,{"id":50,"slug":1068,"title":1069,"dynasty":506,"author":1070,"museum":1071,"description":1072,"tags":1073,"thumbUrl":1074,"material":672,"size":1075,"collection":6,"collections":1076,"showCount":1077,"zanCount":853,"manualWeight":535,"mainColor":536},"hong-bai-fu-rong-tu-li-di-221594","红白芙蓉图","李迪","日本京都国立博物馆","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。\n《红白芙蓉图》是双幅画，描写红白芙蓉盛开的景色。红、白芙蓉各两朵，都画盛开时的花瓣，红色娇艳鲜嫩，白色粉白如玉，花叶为深绿色。",[511,512,513,640,517,516,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a01f8634d699b1442498a83bf153de.jpg","纵25.2×横26.cm×2",[6,532,602],609,{"id":51,"slug":1079,"title":1080,"dynasty":506,"author":637,"museum":764,"description":1081,"tags":1082,"thumbUrl":1085,"material":600,"size":861,"collection":6,"collections":1086,"showCount":1087,"zanCount":1088,"manualWeight":535,"mainColor":536},"xian-tao-tu-yi-ming-218608","仙桃图","绢本之上，三枚仙桃饱满圆润，似凝脂般温润的底色晕开淡粉霞彩，如晨露轻染的娇羞。枝干以苍劲线条勾勒，转折间藏着自然生机，叶片墨色层次分明，脉络清晰如触手可及。背景素净无华，更衬出果实的鲜嫩与枝干的挺括。整幅画取境简约却意韵悠长，写实技法中透着宋人对自然的细腻观察与雅致情怀。每一处晕染、每一笔线条，都藏着古画独有的温润静美，仿佛能让观者在静谧里嗅到果实的清甜，沉浸于宋代花鸟画的空灵之境，感受那份跨越千年的自然诗意与艺术匠心。",[512,513,640,517,516,1083,1084],"桃","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de9cd90dd79570e54237657db38ac34.jpg",[6],588,4,{"id":52,"slug":1090,"title":1091,"dynasty":506,"author":947,"museum":610,"description":1092,"tags":1093,"thumbUrl":1100,"material":600,"size":1101,"collection":6,"collections":1102,"showCount":1103,"zanCount":932,"manualWeight":535,"mainColor":536},"nian-cha-tu-liu-song-nian-219699","撵茶图","《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。",[512,593,513,517,516,833,544,1094,1095,1096,1097,1098,1099],"茶具","桌案","棕榈","文人","生活场景","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e804e0a8eabdd2d17d440cc528efba.jpg","纵44.2厘米，横66.9厘米",[6,531],574,{"id":53,"slug":1105,"title":1106,"dynasty":506,"author":1107,"museum":1108,"description":1109,"tags":1110,"thumbUrl":1112,"material":1113,"size":1114,"collection":6,"collections":1115,"showCount":1116,"zanCount":1117,"manualWeight":535,"mainColor":713},"lian-she-tu-li-gong-lin-214884","莲社图","李公麟","美国弗利尔美术馆","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[511,593,512,513,514,833,516,1111,544,518,523,706,1049,722,835,834,642],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","纸本,水墨","30.1x595.8",[6],566,1,{"id":54,"slug":1119,"title":1120,"dynasty":506,"author":650,"museum":508,"description":1121,"tags":1122,"thumbUrl":1123,"material":1124,"size":1125,"collection":6,"collections":1126,"showCount":1127,"zanCount":803,"manualWeight":535,"mainColor":536},"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[511,512,593,513,514,653,614,518,1049,1005,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[6,631,565],555,{"id":55,"slug":1129,"title":1130,"dynasty":506,"author":1131,"museum":508,"description":1132,"tags":1133,"thumbUrl":1134,"material":672,"size":1135,"collection":6,"collections":1136,"showCount":1137,"zanCount":943,"manualWeight":535,"mainColor":536},"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[511,512,513,514,515,516,518,616,523,520,545,898,517,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[6,602,532],551,{"id":56,"slug":1139,"title":1140,"dynasty":506,"author":1141,"museum":747,"description":1142,"tags":1143,"thumbUrl":1144,"material":600,"size":1145,"collection":6,"collections":1146,"showCount":1147,"zanCount":878,"manualWeight":535,"mainColor":854},"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。",[511,593,512,513,594,1111,517,516,544,616,523,526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[6,531],530,{"id":57,"slug":1149,"title":1150,"dynasty":506,"author":637,"museum":764,"description":1151,"tags":1152,"thumbUrl":1153,"material":600,"size":1154,"collection":6,"collections":1155,"showCount":1156,"zanCount":1117,"manualWeight":535,"mainColor":536},"yu-yuan-shi-chao-tu-yi-ming-214257","御苑市朝图","御苑市朝图是一幅作者不详的宋代画作。这幅画作描绘了宋朝的市场生活。\n\n在这幅画作中，画家巧妙地捕捉了宋朝的市场生活的繁华景象。他用浓墨重彩的画法，勾勒出了市场的熙熙攘攘的场面。他还用细腻的线条勾勒出了市场中出售各种商品的商贩，让人感受到了宋朝市场的繁荣景象。\n\n此外，画家在这幅画作中还描绘了市场周围的景色。他用色彩丰富的画法，描绘了市场周围的山川和河流。这些景色与市场的繁华场面形成了鲜明的对比，让人感受到了自然与人类活动的和谐\n共存。\n\n总之，御苑市朝图是一幅精美的画作，描绘了宋朝的市场生活。它让我们感受到了宋朝市场的繁荣景象，也让我们感受到了宋朝文化的魅力。",[511,593,512,513,594,543,516,518,545,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672f72d901c08686f814955355d9dcad.jpg","107x52",[6],518,{"id":58,"slug":1158,"title":1159,"dynasty":506,"author":868,"museum":1071,"description":1160,"tags":1161,"thumbUrl":1167,"material":1168,"size":1169,"collection":6,"collections":1170,"showCount":1171,"zanCount":932,"manualWeight":535,"mainColor":536},"han-jiang-du-diao-tu-ma-yuan-221665","寒江独钓图","此画是宋代马远创作的一幅山水画。这幅画作者以严谨的铁线描，画一叶扁舟，上有一位老翁俯身垂钓，船旁以淡墨寥寥数笔勾出水纹，四周都是空白。画家画得很少，但画面并不空。反而令人觉得江水浩渺，寒气逼人。而且还觉得空白之处有一种语言难以表述的意趣，是空疏寂静，还是萧条淡泊，真令人思之不尽。这种诗—般耐人寻味的境界，是画家的心灵与自然结合的产物，在艺术上则是利用虚实结合而产生的结果。",[511,593,512,653,1162,1163,544,705,1164,1165,1166],"留白","一角构图","蓑笠","寒江","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4397a99a1aaf5d5a5c49c8a75c016bec.jpg","绢本，水墨淡彩","纵26.7厘米，横50.6厘米",[6,631,532],495,{"id":59,"slug":1173,"title":1174,"dynasty":506,"author":571,"museum":610,"description":1175,"tags":1176,"thumbUrl":1178,"material":600,"size":1179,"collection":6,"collections":1180,"showCount":1171,"zanCount":853,"manualWeight":535,"mainColor":536},"ci-xiong-bai-ji-tu-zhao-ji-219194","雌雄白鸡图","红冠如焰，燃亮白羽霜华。雄鸡昂首振翅，尾羽若流云舒展；雌鸡依偎身侧，软羽轻覆，尽显亲昵。枝叶舒展间，墨色淡染，衬得禽鸟生动如活。笔锋细腻处，羽丝根根分明，冠色层层晕染，既见写实功力，更含脉脉温情。素朴背景中，生灵之趣与雅致之美交融，似闻晨啼轻响，恍见晨光微熹，尽显对生命意趣的细腻捕捉与诗意表达。",[511,593,512,513,594,517,516,640,1177,911],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d30065e7ab2d7ef0ea568cb41dfe6c1.jpg","纵152横37.4cm",[6,602,532],{"id":60,"slug":1182,"title":1183,"dynasty":506,"author":777,"museum":1184,"description":1185,"tags":1186,"thumbUrl":1188,"material":600,"size":1189,"collection":6,"collections":1190,"showCount":1191,"zanCount":853,"manualWeight":535,"mainColor":536},"shan-cha-tu-wu-bing-218635","山茶图","费城艺术博物馆","画面上画的是一枝山茶花，狭长的枝条上的叶子是深绿色的，边缘是黄色的，枝条上火红的花瓣，淡黄色的花药，伪装的色彩很鲜艳，很自然。",[512,513,593,640,517,516,1187,737,980,722,642],"山茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef7aab5fc08907b55afa575d2a696c4a.jpg","25.7x25.7",[6,602],487,{"id":61,"slug":1193,"title":1194,"dynasty":506,"author":650,"museum":610,"description":1195,"tags":1196,"thumbUrl":1206,"material":1207,"size":1208,"collection":6,"collections":1209,"showCount":1210,"zanCount":1041,"manualWeight":535,"mainColor":536},"xue-jing-tu-guo-xi-219426","雪景图","画中主景偏右半边，雪锋层叠，陡壑悬瀑，作高远景致，其间布列茅舍、溪桥、楼阁、瀑泉、林木等。左半边则绘溪涧蜿蜒，沙渚渔舟，遥山旷渺，作平远景色。本幅无作者款印，旧以画中状似卷云皴蟹爪枝法而传为郭熙所作",[512,1197,1198,1199,1200,545,1201,1202,1203,1204,895,1205,614],"山水画","雪景","茅舍","溪桥","瀑泉","林木","溪涧","渔舟","沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64544cce922b7a6232231fd541b948a5.jpg","设色,绢本","194.3x111.1",[6],484,{"id":62,"slug":1212,"title":1213,"dynasty":506,"author":650,"museum":610,"description":1214,"tags":1215,"thumbUrl":1218,"material":660,"size":1219,"collection":6,"collections":1220,"showCount":1221,"zanCount":1029,"manualWeight":535,"mainColor":536},"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[511,593,512,513,594,653,518,545,546,1216,618,1217,642,576,614],"村居","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","纵141.6厘米，横97厘米",[6,631,565],472,{"id":63,"slug":1223,"title":1224,"dynasty":506,"author":637,"museum":590,"description":1225,"tags":1226,"thumbUrl":1228,"material":600,"size":1229,"collection":631,"collections":1230,"showCount":1231,"zanCount":803,"manualWeight":535,"mainColor":536},"luo-shen-fu-tu-yi-ming-218620","洛神赋图","这幅卷轴是暗示顾恺之时代的众多卷轴之一，其中两幅在北京紫禁城和辽宁省博物馆。然而，大英博物馆有一幅与北京紫禁城流传下来的南宋亲笔画类似的画卷，这两幅画都是重新创作的版本，人物和风景之间的关系更加协调。故宫博物院研究员于辉认为，这卷书是抄自紫禁城内的南宋卷，可追溯到明朝初期。如果对两卷进行仔细比较，本卷明显优于南宋宫廷卷，应抄袭本卷，本卷应在南宋初年完成。不幸的是，这卷书损坏太严重，很少能买到。这个博物馆恰好有两卷高分辨率的图像，有识之士可以查看其装饰性，或者说剩下的字是不是假的。",[511,514,517,516,544,518,752,1227,846,523,616,898],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daa44aeeabdd0261586d0876b40f8f4.jpg","53.7x832.8",[631,6],458,{"id":64,"slug":1233,"title":1234,"dynasty":506,"author":1235,"museum":610,"description":1236,"tags":1237,"thumbUrl":1240,"material":628,"size":1241,"collection":6,"collections":1242,"showCount":1243,"zanCount":878,"manualWeight":535,"mainColor":536},"hua-lan-tu-li-song-221490","花篮图","李嵩","图绘藤编花篮一只，竹篮编织精巧别致，里面盛满了各色鲜艳欲滴的花朵，白的、红的、粉的、淡黄的，有蜀葵、栀子、百合、广玉兰、石榴等，布置得错落有致，画家笔下一个小小的花篮，折射出的是繁花似锦的大自然，美丽而富有朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注由此跃然于绢上。",[511,593,512,513,820,517,516,640,579,1238,683,1239,909,980],"花篮","百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8587f02c9ca8d9b82abaf7122913f6ac.jpg","26.1 x 26.3公分",[6,602,532],454,{"id":65,"slug":1245,"title":1246,"dynasty":506,"author":868,"museum":976,"description":1247,"tags":1248,"thumbUrl":1251,"material":600,"size":861,"collection":6,"collections":1252,"showCount":1253,"zanCount":1088,"manualWeight":535,"mainColor":536},"song-xia-xian-yin-tu-ma-yuan-218567","松下闲吟图","老松盘枝如铁铸，松针以浓墨攒簇，垂藤轻曳间，苍劲里藏着几分柔韵。松下石畔，素衣人斜倚，似在沉吟——案上无纸笔，却有松风满袖为侣。右侧疏林瘦石，一抹飞影掠过天际，是归鸟还是流云？留白处，天地俱寂。线条简劲见筋骨，墨色浓淡相衬，将文人的清寂与旷达，凝入这方圆幅。不必喧嚣，不必繁复，只这松、这人、这飞影，便足以让时光放缓，与山水对吟。",[593,512,979,653,544,1035,1049,596,706,1249,1250],"清寂","旷达","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d58c27d08d4106d2ba29dc444462bf0.jpg",[6],449,{"id":66,"slug":1255,"title":1256,"dynasty":506,"author":571,"museum":508,"description":1257,"tags":1258,"thumbUrl":1260,"material":628,"size":1261,"collection":6,"collections":1262,"showCount":1263,"zanCount":932,"manualWeight":535,"mainColor":536},"fu-rong-jin-ji-tu-zhao-ji-221345","芙蓉锦鸡图","作为独立的画科，宋代的花鸟画无论在绘制技巧还是表现形式方面都已经达到高度的艺术水准，《芙蓉锦鸡图》便是其中的一幅精品。此图是描绘金秋景色的花鸟画作。图中芙蓉盛开，随风轻轻颤动，蝴蝶翩跹，相互追逐嬉戏，引得落在枝上的锦鸡回首凝视，目不转睛。本幅右上宋徽宗赵佶以瘦金体题“秋劲拒霜盛，峨冠锦羽鸡。已知全五德，安逸胜凫鹥”，右下书款“宣和殿御制并书”，草押书“天下一人”。鸡在中国向有“德禽”之称，《韩诗外传》载：“鸡有五德：头戴冠者，文也；足搏距者，武也；敌在前，敢斗者，勇也；见食相呼者，仁也；守夜不失者，信也”，可见其文武兼备、仁勇俱存、信守专一的性格为世人所激赏，难怪才艺绝代的一代帝王也会留下“已知全五德，安逸胜凫鹥”的诗句，流露出对安逸高贵之品格的赞许，由此体现了中国花鸟画的人文寓意。\n目前流传于世题为赵佶的作品中，艺术风格呈现出工致细丽与简朴生拙两种迥然有别的面目，工致细丽者如《芙蓉锦鸡图》、《腊梅山禽图》（台北故宫博物院藏）等，简朴生拙者如《柳鸦图》（上海博物馆藏）、《枇杷山鸟图》等。通过笔墨风格的比较分析，徐邦达先生指出前者不是赵佶所作，而是画院画家的作品，后者则为他的亲笔画迹，这一观点为多数艺术史研究者所认同。此外，现存记载南宋宫廷藏画的《南宋馆阁续录》卷三将此画列入与“御画”并列的“御题画”一类，表明《芙蓉锦鸡图》仅仅是由赵佶亲笔题诗的一幅花鸟画，并非其本人绘制。所以说，尽管图上有赵佶的题字，但此图作者却是一位没有留下姓名的画院高手。\n作为中国历史上最为关注艺事、醉心书画的帝王，宋徽宗赵佶在位期间广收名画巨迹，编纂皇家绘画收藏的书画著录——《宣和书谱》与《宣和画谱》，建立翰林图画院并完善其制度，还依据自己的审美观念亲自指导画院画家的学习与创作。关于绘画创作，赵佶在注重对被描绘对象细致入微的再现的同时，还要求画面蕴含诗歌的意境，令人观之有回味无穷的艺术体验，《芙蓉锦鸡图》无疑完美地体现出这位极具艺术修养的皇帝的美学思想。全图所用双钩法线条细劲，不仅花卉枝叶和锦鸡造型准确，芙蓉为锦鸡所压的低垂摇曳之态也能如实体现，加之色彩晕染得层次清晰，浓淡相宜，富丽堂皇中蕴涵端庄典雅的气质，堪称“形神兼备，曲尽其妙”。就构图而言，画幅左侧集中着芙蓉、锦鸡，与右上轻盈飞舞的蝴蝶遥相呼应，使得错综的布局显得密中见疏，揖让有度。以清瘦劲健的笔体写就的诗文和精致艳丽的图画更是互为辉映，相得益彰。",[511,512,593,513,517,516,640,689,1259,690,642],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05bfe5492760fd3a258b75e61f1a62fd.jpg","纵81.5厘米，横53.6厘米",[6,602,532],442,{"id":67,"slug":1265,"title":1266,"dynasty":506,"author":1267,"museum":508,"description":1268,"tags":1269,"thumbUrl":1270,"material":600,"size":1271,"collection":6,"collections":1272,"showCount":1273,"zanCount":1088,"manualWeight":535,"mainColor":536},"zhao-ling-liu-jun-tu-zhao-lin-214887","昭陵六骏图","赵霖","这幅画以唐太宗昭陵的六匹骏马为蓝本，分为六个部分，每个部分都有一匹马，并在侧面写有铭文。马匹的形状忠实于原作，但也注意到了画作的优势，通过有力的笔触和微妙的色彩，使马匹的皮毛更加逼真自然，战马驰骋疆场的雄姿也被生动地描绘出来。无论他们是奔跑、跳跃、行进还是站立，他们都被充分展现出来。",[511,512,513,514,517,516,576,549,845,544,722,834,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d6aa1f7279d174f484a829d34cfa3.jpg","27.4x444.2",[6],441,{"id":68,"slug":1275,"title":716,"dynasty":506,"author":1276,"museum":610,"description":1277,"tags":1278,"thumbUrl":1280,"material":628,"size":1281,"collection":6,"collections":1282,"showCount":1283,"zanCount":1041,"manualWeight":535,"mainColor":536},"mo-zhu-tu-wen-tong-220354","文同","此图以倒垂竹枝为主体，竹叶和竹枝从左上方垂下，出枝微曲取横空之势，着叶不多，但疏密有致，其茎多新枝，竿、节、枝、叶均以水墨单色一笔画出，生趣蓬勃。在宋代文人眼中，竹可以言志，更可以寄情，由此可见文同创作这幅画的目的是宣泄情感和抒发胸怀。",[511,512,653,721,640,1279,750],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff20000777b3dddfef00a4dd1a06f37.jpg","纵131.6厘米，横105.4厘米",[6,602],430,{"id":69,"slug":1285,"title":1286,"dynasty":506,"author":936,"museum":764,"description":1287,"tags":1288,"thumbUrl":1289,"material":672,"size":1290,"collection":6,"collections":1291,"showCount":1292,"zanCount":1117,"manualWeight":535,"mainColor":536},"mei-zhu-tu-ye-2-ma-lin-221183","梅竹图页2","画幅构图空灵简逸，笔墨勾勒韵染逼真，敷彩凸凹清丽雅洁。深绿沉厚的双钩竹叶润染，更凸显出雪白洁净的梅花。寒梅数枝，绿竹穿行，劲挺横斜，偃仰扶疏，笔墨虚实，极具工致灵动之妙。",[511,593,512,513,820,517,516,640,767,721,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f445c4f5d50251bdb395a7dcb9cb889.jpg","26.5×26厘米",[6,602,532],421,{"id":70,"slug":1294,"title":1295,"dynasty":506,"author":947,"museum":508,"description":1296,"tags":1297,"thumbUrl":1298,"material":528,"size":1299,"collection":6,"collections":1300,"showCount":1301,"zanCount":878,"manualWeight":535,"mainColor":536},"si-jing-shan-shui-tu-quan-juan-liu-song-nian-221541","四景山水图全卷","此卷图画分为四段，分别绘春、夏、秋、冬四时景象。\n第一幅，踏青，春花烂漫，杨柳葱翠；\n第二幅，纳凉，夏木浓荫，碧荷点点；\n第三幅，观山，秋高气爽，霜叶尽染；\n第四幅，赏雪，山裹银装，万籁俱寂。\n画面以人物活动为中心，结合界画技法，精心构建庭院台榭等建筑，工整精巧，或富丽，或古朴。山石以小斧劈皴法出之，苍逸劲健，行笔设色严谨而注重法度，画中人物虽小而形神完备。整幅作品面貌古朴，笔法精严，极富南宋画院作品的特色。临安（今浙江杭州）作为南宋都城所在，高官显贵们的庭园别墅建造甚多，刘松年身为画院画家，长年生活其间，描绘起来自然得心应手。此图立意于表现士绅官僚优裕闲适的生活，画家的注意力从山川自然的野韵转移到人工营造修饰的景物，这种题材风格的转变，从侧面反映出南宋时期，一大批无心复国的官僚们，专注于享乐的生活态度。正如诗云：“暖风薰得游人醉，只把杭州作汴州”。",[511,512,514,517,516,518,706,545,546,547,544,616,523,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa115d24c28f3208afa166893f49c7a.jpg","纵40厘米，横69厘米",[6,631,565],409,{"id":71,"slug":1303,"title":1304,"dynasty":506,"author":571,"museum":508,"description":1305,"tags":1306,"thumbUrl":1307,"material":528,"size":1308,"collection":6,"collections":1309,"showCount":1310,"zanCount":1117,"manualWeight":535,"mainColor":536},"mei-hua-xiu-yan-tu-ye-zhao-ji-221336","梅花绣眼图页","本幅款识：“御笔”、“天下一人”。钤“御书”朱文葫芦形印一方。鉴藏印钤“阿蒙秘笈”。\n图中梅枝瘦劲，枝上疏花秀蕊，一只绣眼俏立枝头，鸣叫顾盼，与清丽的梅花相映成趣。此图虽然景物不多，却颇为优美动人。所绘梅花为宫梅，经过不断剪枝，人工修饰痕迹较重。此种梅的画法精细纤巧，敷色厚重，自有一种富贵气息，这样的风格趣味为宫廷所好尚，显然代表了皇家的审美意味。",[511,593,512,513,820,517,516,640,767,768,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3454d67dcf054bf343b75f96d35a1c22.jpg","纵24.5厘米，横24.8厘米",[6,602,532],408,{"id":72,"slug":1312,"title":1313,"dynasty":506,"author":868,"museum":1314,"description":1315,"tags":1316,"thumbUrl":1318,"material":600,"size":1319,"collection":6,"collections":1320,"showCount":1321,"zanCount":1029,"manualWeight":535,"mainColor":536},"song-yan-guan-pu-tu-ma-yuan-218630","松岩观瀑图","上海龙美术馆","一个高士酒后半躺在一棵松树下，山上的树干虬结，树枝斜向伸展，长长的、稀疏的树叶自由伸展，在用大笔画渲染的树木和岩石之间，充满了生命力。",[511,593,512,513,518,653,516,544,1035,1317,617,547,1049,795],"岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a25dcebcb10f5241aac60004e04959.jpg","26.3x24.6",[6],407,{"id":73,"slug":1323,"title":1324,"dynasty":506,"author":868,"museum":778,"description":1325,"tags":1326,"thumbUrl":1327,"material":600,"size":1328,"collection":6,"collections":1329,"showCount":1330,"zanCount":1041,"manualWeight":535,"mainColor":713},"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[511,593,512,513,820,543,516,614,518,545,885,895,616,523,526,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[6,631],397,{"id":74,"slug":1332,"title":1333,"dynasty":506,"author":650,"museum":718,"description":1334,"tags":1335,"thumbUrl":1336,"material":1337,"size":1338,"collection":6,"collections":1339,"showCount":1340,"zanCount":932,"manualWeight":535,"mainColor":536},"shu-se-ping-yuan-tu-guo-xi-221289","树色平远图","此画描绘了河流两岸树色平远的景色。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。 画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。",[511,512,653,514,518,706,1005,1049,705,544,642,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[6,631,565],387,{"id":75,"slug":1342,"title":1343,"dynasty":506,"author":1344,"museum":610,"description":1345,"tags":1346,"thumbUrl":1349,"material":600,"size":1350,"collection":6,"collections":1351,"showCount":1352,"zanCount":803,"manualWeight":535,"mainColor":713},"ying-tao-huang-que-tu-ma-shi-chang-219198","樱桃黄雀图","马世昌","画中樱桃正熟，禽鸟顾盼，一派初夏光景。",[511,593,512,513,820,517,516,640,1347,1348,596,1084],"樱桃","黄雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce24ced8f0f9757eb0cf1f98628ecd12.jpg","27x25.3cm",[6,602],375,{"id":76,"slug":1354,"title":1355,"dynasty":506,"author":746,"museum":1071,"description":1356,"tags":1357,"thumbUrl":1358,"material":694,"size":1359,"collection":6,"collections":1360,"showCount":1361,"zanCount":1117,"manualWeight":535,"mainColor":536},"wu-long-tu-juan-chen-rong-221458","五龙图卷","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[511,593,512,513,514,653,614,752,616,617,526,753],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9fcadd53a3ef596d12b6f0dd8824f3.jpg","45.2×299.5",[6,631,565],374,{"id":77,"slug":1363,"title":1364,"dynasty":506,"author":1365,"museum":1366,"description":1367,"tags":1368,"thumbUrl":1369,"material":1370,"size":861,"collection":631,"collections":1371,"showCount":1372,"zanCount":1029,"manualWeight":535,"mainColor":713},"xiao-xiang-ba-jing-yuan-pu-gui-fan-mu-xi-219195","潇湘八景-远浦归帆","牧溪","京都国立博物馆","淡墨晕染的烟水间，远岫如黛隐现于薄雾，帆影点点似随波轻漾，渐融于空濛天色。近岸老树虬枝舒展，苍劲中藏着几分悠然，与远处归帆遥遥相对。画面以极简之笔勾勒辽阔潇湘，虚实相生间，尽现“远浦归帆”的恬淡意境——归船缓缓，烟水茫茫，仿佛能闻风过水面的轻响，望旅人归心的悠然。禅意浸润在每一处留白里，让观者心随帆影，沉入这静谧辽远的天地间，恍若置身潇湘烟水，忘却尘嚣。",[511,798,512,593,514,653,518,705,873,596,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188a3955e9fa72b921b2f108a9fd5c88.jpg","水墨,纸本",[631,6],359,{"id":78,"slug":1374,"title":1375,"dynasty":506,"author":1376,"museum":610,"description":1377,"tags":1378,"thumbUrl":1382,"material":660,"size":1383,"collection":6,"collections":1384,"showCount":1385,"zanCount":803,"manualWeight":535,"mainColor":536},"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[511,512,593,513,594,517,516,640,845,1379,596,1005,1380,1381],"兔","草","土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","纵193.7厘米、横103.4厘米",[6,602,532],358,{"id":79,"slug":1387,"title":1388,"dynasty":506,"author":868,"museum":1002,"description":1389,"tags":1390,"thumbUrl":1393,"material":694,"size":1394,"collection":6,"collections":1395,"showCount":1396,"zanCount":1029,"manualWeight":535,"mainColor":536},"xi-yuan-ya-ji-tu-ma-yuan-221536","西园雅集图","宋代有很多绘画世家，其中最为出名的恐怕要属山西的马家。自北宋后期的马贲开始，马家先后有五代人在皇家画院供职。马氏家族形成了一个庞大的画室或作坊，在这个作坊内雇佣了助手、管理者或代理人，或许还有绘画材料的生产者及裱画匠。1086年（元佑元年），苏轼兄弟、黄庭坚、李公麟、米芾、蔡肇等十六位名士，于驸马王诜宅邸西园集会。马远据此所绘，长卷共分四段。此为其中一段，写米芾挥毫作书，诸文友或立或坐，凝神围观",[511,512,513,653,516,514,614,518,544,705,721,549,547,1391,656,523,1392],"河岸","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","29.5×302.3厘米",[6,631,532],334,{"id":80,"slug":1398,"title":1399,"dynasty":506,"author":637,"museum":508,"description":1400,"tags":1401,"thumbUrl":1402,"material":653,"size":861,"collection":6,"collections":1403,"showCount":1404,"zanCount":1117,"manualWeight":535,"mainColor":1042},"lu-tong-peng-cha-tu-yi-ming-214846","卢仝烹茶图","卢仝烹茶图是一幅宋代的佚名画家的作品。它是一幅木板设色的水墨画，画面上描绘了卢仝品茶的场景。卢仝是一位著名的宋代文学家，也是一位品茶爱好者。在这幅画中，他正在品茶时，周围的人们也都在品茶。这幅画展现了宋代品茶文化的精髓，充满了浓浓的文化气息。\n\n卢仝烹茶图是一幅很有名的宋代水墨画，因为它出色地展现了宋代品茶文化的精髓。品茶是中国古代的一种传统文化，它的历史可以追溯到公元前三世纪。品茶不仅是一种消遣，更是一种品味生活的方式。它融合了中国传统的艺术、文化、哲学和美学思想，对中国的文化形成了深远的影响。\n\n在这幅画中，卢仝坐在一张桌子前，手持茶杯，正在品茶。周围的人们也都在品茶，气氛非常融洽。画面中还有许多细节，如茶壶、茶杯、茶几等，都反映了宋代品茶文化的特点。\n\n这幅画的画风精细，线条流畅，色彩鲜艳。它体现了宋代画家的高超技巧和精湛的艺术修养。这幅画不仅是一件艺术品，也是中国传统文化的瑰宝。",[511,512,513,653,516,517,833,614,722,642,544,524,523,616,1094,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[6],322,{"id":81,"slug":1406,"title":1407,"dynasty":506,"author":609,"museum":590,"description":1408,"tags":1409,"thumbUrl":1412,"material":600,"size":1413,"collection":6,"collections":1414,"showCount":1415,"zanCount":1117,"manualWeight":535,"mainColor":536},"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[511,593,512,513,514,518,1198,614,653,516,1410,1411,795,1005,885,991,655],"山","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[6,631],315,{"id":82,"slug":1417,"title":1418,"dynasty":506,"author":936,"museum":1071,"description":1419,"tags":1420,"thumbUrl":1422,"material":672,"size":1423,"collection":6,"collections":1424,"showCount":1425,"zanCount":1029,"manualWeight":535,"mainColor":536},"mei-hua-shuang-que-tu-ma-lin-221184","梅花双雀图","《中国历代精品梅兰竹菊(卷一):梅卷》介绍了梅花具有顶风凌雪、先春而发的高尚品格，颇可象征刚正忠贞、横而不流的人格，因此也就自然成为文人骚客反复咏叹的对象。\n在中国文学史上，对梅花的咏赞往往都寓托了作者深远的精神内涵，如陈同甫之诗云“疏枝横玉瘦，小萼点珠光”，是赞美梅花的清贵高古；陆放翁云“当年走马锦城西，曾为梅花醉似泥”，表达出对梅的喜爱之情已臻如痴如醉之境；谢枋得在抗元失败后，隐居武夷，作诗称“几生修得到梅花”，更是以梅花坚贞的品格自期。\n同样，在中国画创作中，梅也是一个重要的题材，它与兰、竹、菊合称为“四君子”。\n并逐渐成为中国花鸟画基本功训练的重要内容，尤其是在意笔花鸟画兴起之后，但凡有成就者，几乎没有不擅长梅、兰、竹、菊的。",[511,512,513,593,820,517,516,640,767,1421],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49bdbf46314f2ed5ab10d9d675a4e7b.jpg","纵28厘米，横29厘米",[6,602,532],311,{"id":83,"slug":1427,"title":1428,"dynasty":506,"author":637,"museum":610,"description":1429,"tags":1430,"thumbUrl":1431,"material":600,"size":861,"collection":6,"collections":1432,"showCount":1433,"zanCount":1088,"manualWeight":535,"mainColor":536},"mei-hua-shan-cha-tu-yi-ming-220213","梅花山茶图","此幅绘腊梅，山茶，麻雀。设色雅丽，笔墨造型古拙，唯用笔布置更接近陈洪绶、王武画格，故宋画气息不足。",[511,512,513,517,516,640,767,1187,768],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1719fc6f38b792b19b924b5c41056d6.jpg",[6,602],307,{"id":84,"slug":1435,"title":1436,"dynasty":506,"author":609,"museum":610,"description":1437,"tags":1438,"thumbUrl":1439,"material":694,"size":1440,"collection":6,"collections":1441,"showCount":1442,"zanCount":1117,"manualWeight":535,"mainColor":536},"lin-liu-du-zuo-tu-zhou-fan-kuan-221383","临流独坐图轴","这幅画沿袭北宋雄伟山水的传统：主山位在画幅的中央上端，两侧罗列次要的山峰，以溪谷、河流、桥梁、云烟显示深而远的空间。临流独坐岸边的士人，点出画的主题，与巨大的山石相比，人物如此渺小而且不明显，表现了北宋传统的自然观。\n在范宽的《溪山行旅图》和郭熙的《早春图》中，看到的点景人物，都是市井小民，在写“真山水”的观念下，北宋山水画家很自然的将观察到的寻常百姓的生活描写入画。十一世纪后期，士大夫与文人成为政府与社会的中坚，领导文学艺术的发展，文人或隐士的理想开始在诗歌、书法与绘画中反映出来，陶渊明《归去来辞》的名句：“登东皋以舒啸，临清流而赋诗，聊乘化以归尽，乐夫天命复奚疑。”曾经是十一世纪末北宋画家喜爱的题材，或者也是这幅画的灵感来源。所以岸边简陋的茅草屋和水榭是这位归隐士人的居所，陪伴他的是深林巨嶂，孤舟木桥，一个远离尘嚣的自然世界。画幅上端十则明人的题诗，就是围绕着这个主题，描写这幅画带给他们的感受。",[511,512,513,593,594,518,547,544,523,656,614,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ed1c3e18f130c28f61bb202a5396d3.jpg","156.1x106.3cm",[6,565],303,{"id":85,"slug":1444,"title":1445,"dynasty":506,"author":868,"museum":610,"description":1446,"tags":1447,"thumbUrl":1451,"material":1113,"size":861,"collection":6,"collections":1452,"showCount":1453,"zanCount":1041,"manualWeight":535,"mainColor":536},"song-xi-qing-tiao-tu-ma-yuan-220194","松溪清眺图","马远，祖籍河中（今山西永济），“靖康之变”北宋灭亡后，马远的祖父马兴祖随着宋高宗赵构南渡，因此马远是在南宋的都城临安（今浙江杭州）出生长大的。他的生卒和详细经历，很难查考。曾为南宋光宗、宁宗两朝（约1190年－1224年）的画院待诏。",[511,593,512,513,653,1197,614,1448,1035,1449,1410,706,1450,753,1411,523,619,656],"边角构图","溪","远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf758ab459e20e424815729b0992857f.jpg",[6,631],302,{"id":86,"slug":1455,"title":1456,"dynasty":506,"author":1001,"museum":610,"description":1457,"tags":1458,"thumbUrl":1459,"material":600,"size":1460,"collection":6,"collections":1461,"showCount":1453,"zanCount":1041,"manualWeight":535,"mainColor":536},"han-lin-tu-li-cheng-218908","寒林图","老树虬枝如铁，皴裂躯干似承霜雪低语。蟹爪般枝桠向上伸展，墨色浓淡晕染清寂寒意。溪流蜿蜒穿林，坡石错落间远近层次渐铺，平远之境顿生。淡墨皴擦见长，清润雅致中透着荒寒之气，尽显北方山水萧索静谧。林间风声与水流轻响似可听闻，引人入幽深之境，于简淡笔墨里藏着无尽悠远意韵，仿佛能触到寒林深处的清冷与安宁。",[511,512,653,614,594,518,872,873,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00763436e1ca42c45455bf4e9f3abae8.jpg","146.8x75.2",[6,631],{"id":87,"slug":1463,"title":1464,"dynasty":1465,"author":1466,"museum":610,"description":1467,"tags":1468,"thumbUrl":1480,"material":628,"size":1481,"collection":6,"collections":1482,"showCount":1483,"zanCount":803,"manualWeight":535,"mainColor":713},"hua-cao-mi-feng-qian-xuan-221708","花草蜜蜂","元","钱选","早晨披衣晨起，气温已升高，只有些微凉意。春天所剩只有两日，人生恨不得能大醉千百场。芳草随着渐行渐远的旅人连绵到天涯，柳丝百丈，也比不得旅人的愁闷那么长。花花朵朵已经没有了，但还有几分春色被蜜蜂藏起了蜂蜜里。\n烂醉恨无千百场：苏轼有词：百年里，浑教是醉，三万六千场。\n这首诗作于嘉泰元年（1201），作者时在山阴。",[511,512,593,516,517,1469,1470,797,640,513,1471,1472,1473,909,1474,616,1475,1476,1477,1478,1479],"花草","蜜蜂","设色花鸟","工笔花鸟","元代绘画","昆虫","传统绘画","工笔设色","花鸟题材","草木","蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd7df0fb4cdfe9a940d95305f727f55.jpg","26.6x23cm",[6,602,532],301,{"id":88,"slug":1485,"title":1486,"dynasty":506,"author":571,"museum":508,"description":1487,"tags":1488,"thumbUrl":1489,"material":628,"size":1490,"collection":6,"collections":1491,"showCount":1493,"zanCount":1029,"manualWeight":535,"mainColor":536},"xiang-long-shi-tu-juan-zhao-ji-221341","祥龙石图卷","卷首画有一块立状太湖石，石顶端生有异草几株。太湖石宛如一条上下翻滚的蛟龙，其形貌占据了奇石必备的五个审美条件：瘦、漏、皱、透、丑。细看石上，有楷书“祥龙”二字。宋徽宗将此类奇石异草的出现，视为大宋国运之祥兆，赞之“挺然为瑞”，竭尽全力绘之。图左有宋徽宗为祥龙石而作的瘦金体题诗：“祥龙石者，立于环碧池之南，芳洲桥之西，相对则胜瀛也。其势胜湧，若虬龙出为瑞应之状，奇容巧态，莫能具绝妙而言之也。廼亲绘缣素，聊以四韵纪之。彼美蜿蜒势若龙，挺然为瑞独称雄。云凝好色来相借，水润清辉更不同。常带瞑烟疑振鬣，每乘宵雨恐凌空。故凭彩笔亲模写，融结功深未易穷。”署款“御制御画并书”，押署“天下一人”，钤朱文印“御书”、“宣和殿宝”，徐邦达先生认为此印“不佳，真伪待考”（徐邦达《古书画伪讹考辨》），但《祥龙石图》卷被公认为是宋徽宗的真迹。鉴定徽宗真迹的标尺除了瘦金体“御制御画并书”、“天下一人”画押及朱印“御书”和双龙御玺外，书画风格也是一项重要依据，即结合赵宋家族的书画历史特别是徽宗本人的美学思想及北宋绘画的历史发展状况，寻找其中存在的风格上的逻辑关系，再结合当时及晚一辈名人的题识，综合多种因素来判断。\n当时的徽宗特别迷恋太湖石，为了加大采运力度，特设苏杭应奉局专门在太湖周围开挖湖石。石工们因长期泡在水里挖石，导致肢体皮肤溃烂。运送巨石时，甚至不惜拆桥过船，靡费国资不计其数。徽宗根据一些湖石的形状封其为“盘固侯”、“蹲螭坐狮”、“金鳌玉龟”等吉祥名号，画中的“祥龙石”可能就是其中的一块。宋徽宗处心积虑地寻找花石纲和各种祥瑞之物，欲借此稳定朝廷、安抚民心，同时也为他提供了艺术创作的素材。在充满了道教神仙思想的宋徽宗看来，描绘祥瑞之物的绘画活动不仅仅是单纯的艺术创作，而且也是祈祷国家和民族福祉的独特形式和粉饰太平的最好的政治工具，《祥龙石图》卷正是这种思想的反映。\n有史以来，宋徽宗第一个在艺术创作上实现了诗书画印的完整统一。在《祥龙石图》卷中，徽宗的题画诗不在卷尾，而是作为画面构成的一个部分，这必定是作者将构思和构图同时经营的结果，这在中国绘画史上有着划时代的重要意义。该卷构图极简，用色颇精，格调雅致，具有典型的北宋院体绘画的艺术风格。画家以墨笔层层渲染出太湖石的坑眼，结构分明，笔墨细腻入微，极其工整精雅，极可能是写生之作。该卷钤有元内府“天历之宝”等印玺，拖尾有清代陈仁涛、吴荣光的题跋，《辛丑消夏记》著录。",[511,512,513,514,517,653,1049,721,642,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d21118b231b6391de049a9701658812.jpg","纵53.8厘米，横127.5厘米",[6,565,1492],"竹石精选",283,{"id":89,"slug":1495,"title":1496,"dynasty":506,"author":1497,"museum":610,"description":1498,"tags":1499,"thumbUrl":1503,"material":600,"size":1504,"collection":6,"collections":1505,"showCount":1506,"zanCount":535,"manualWeight":535,"mainColor":713},"shan-ju-tu-yan-su-218931","山居图","燕肃","画中有一条小溪，周围是平坦的河岸，沿岸种植着松树、竹子、桃树和李子，竹林深处有三间矮小的房子，有两个人相对而坐的宣。房子左边的石墙从山的左边升起，在小路的尽头有几条远处的树。灌木丛和墨水给人一种平静和放松的感觉，让人欲罢不能。其笔触与李唐有些相似",[511,512,513,516,614,518,1500,616,523,547,1501,656,1502,527],"山居","小径","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8067a53ba755fa9d9ae85c24902de6ec.jpg","23.9x25.3",[6,631],282,{"id":90,"slug":1508,"title":1509,"dynasty":506,"author":868,"museum":610,"description":1510,"tags":1511,"thumbUrl":1513,"material":672,"size":1514,"collection":6,"collections":1515,"showCount":1516,"zanCount":1029,"manualWeight":535,"mainColor":536},"yi-yun-xian-xing-tu-ye-ma-yuan-221513","倚云仙杏图页","此图绘一枝杏花轻灵润秀、堆粉砌霜之姿。用笔精细工整，设色淡雅，气韵生动。",[511,512,513,820,516,517,640,1512,642],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691f620dcbbcac861019cd1c8d7a54bc.jpg","25.8X27.3",[6,602,532],280,{"id":91,"slug":1518,"title":1519,"dynasty":506,"author":1520,"museum":508,"description":1521,"tags":1522,"thumbUrl":1524,"material":1207,"size":1525,"collection":6,"collections":1526,"showCount":1527,"zanCount":1088,"manualWeight":535,"mainColor":536},"song-xia-ting-qin-tu-zhao-meng-fu-220260","松下听琴图","赵孟頫","此作用青绿晕染铺展山水，层叠远山淡逸朦胧，坡岸苔点疏密错落，漾出幽寂林下氛围。几株古松虬曲苍劲，鳞皴老干垂挂松萝如翠帘轻垂，框出一方雅集天地。\n\n松下四人围坐，抚琴者垂目拨弦，听者或支颐凝思，或侧耳静聆，侍童恭立一旁，尽显文人雅聚的闲淡意趣。衣袂线条清隽简雅，暗合魏晋林下风流。题画诗与山水人物相映，笔墨间浸透知音相逢、寄怀林泉的雅兴，将丝竹之韵融在松风山色里，淡远悠长的文人情思溢满卷间。",[511,593,512,513,594,516,517,1035,544,518,1523,797,523,1036],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3759b8e137635ec8416cf0cc39860ba.jpg","纵123.6厘米、横60.4厘米",[6],265,{"id":92,"slug":1529,"title":1530,"dynasty":506,"author":609,"museum":610,"description":1531,"tags":1532,"thumbUrl":1533,"material":628,"size":1534,"collection":6,"collections":1535,"showCount":1536,"zanCount":535,"manualWeight":535,"mainColor":536},"xue-shan-xiao-si-tu-zhou-fan-kuan-221394","雪山萧寺图轴","画中描绘的是北方山岳雪景。山形陡峭，折落有势，峰峦岭岫一片银白。画中集中笔意书写了“萧寺”形象。山中一片苍茫荒凉之气，山下水路相伴，似与古寺相通，有游人、旅人、商者荷担瑟瑟而行。动静比照，静中见动，寂中显闹。 该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[511,593,512,513,594,614,653,518,1410,991,1005,545,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[6,631,565],259,{"id":93,"slug":1538,"title":1539,"dynasty":506,"author":571,"museum":1540,"description":1541,"tags":1542,"thumbUrl":1544,"material":672,"size":1545,"collection":6,"collections":1546,"showCount":1547,"zanCount":1041,"manualWeight":535,"mainColor":536},"tao-jiu-tu-zhao-ji-221335","桃鸠图","日本民间","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。\n此图桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。流传日本已久，长期以来被作为徽宗的真迹，受到良好的保护，现在是日本的国宝级文物。\n本图有“大观丁亥御笔天”的题记，丁亥年是1107年，这一年徽宗26岁，是画家早期的作品。\n从这幅画来看，描法纤细，傅染鲜润，与徐熙（五代）的水墨画要素和徐崇嗣的色彩为中心的没骨法花鸟比较接近。总的看来，色彩的表现给人以强烈的视觉感受，但仔细观察就会发现细部的轮廓线仍然非常明确。\n此册页在传为宋徽宗的作品中比较特别。桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽。传其为画家二十六岁时的作品。\n赵佶观察事物细致入微，这幅《桃鸠图》，画中的桃花与枝叶勾勒精工，栖息在树上的鸠鸟动态自然而生动，用生漆点睛，富有神采，整体色彩华丽，洋溢着悠扬的神韵，此画被誉为折枝花鸟画的典型。",[511,512,513,640,517,516,1543,596,642],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19169b4c41d86b4cbbb34e3bf4af4222.jpg","28.5X27厘米",[6,602,532],257,{"id":94,"slug":1549,"title":1159,"dynasty":506,"author":609,"museum":610,"description":1550,"tags":1551,"thumbUrl":1553,"material":628,"size":861,"collection":6,"collections":1554,"showCount":1555,"zanCount":1117,"manualWeight":535,"mainColor":536},"han-jiang-du-diao-tu-fan-kuan-218922","枯树虬枝如铁，在寒风中伸展筋骨，枝桠间似凝着霜雪的清冷。江面浩渺无垠，水波敛去喧嚣，只留一片沉静褐调，将天地空旷铺展到极致。孤舟一叶，钓者独倚，身影与舟楫融入江天，仿佛与自然达成无声默契。笔触简练却含深意，线条勾勒景物骨韵，色调晕染冬日萧寒。没有繁复铺陈，仅以极简元素，便营造出“天地一孤舟”的寂寥与超脱——那是文人心中对宁静的向往，是喧嚣外的片刻澄明，千年后仍能让观者触摸到穿透时光的静谧安然。",[511,512,653,979,518,705,1164,873,614,1552],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ef92a86d76f6756a5cc670fe8e2a88.jpg",[6],256,{"id":95,"slug":1557,"title":1558,"dynasty":506,"author":609,"museum":1559,"description":1408,"tags":1560,"thumbUrl":1562,"material":1563,"size":1564,"collection":6,"collections":1565,"showCount":1566,"zanCount":1117,"manualWeight":535,"mainColor":536},"song-he-yan-nian-tu-zhou-fan-kuan-221415","松鹤延年图轴","苏州博物馆",[511,512,513,594,516,614,518,1035,1561,616,523],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0d8728a8941335a80cd12781a857b.jpg","纸本设色","193.1x74.4 厘米",[6,631,532],255,{"id":96,"slug":1568,"title":1569,"dynasty":506,"author":936,"museum":718,"description":1570,"tags":1571,"thumbUrl":1573,"material":672,"size":1574,"collection":6,"collections":1575,"showCount":1576,"zanCount":535,"manualWeight":535,"mainColor":536},"zhang-song-shan-shui-tu-ma-lin-221189","长松山水图","《长松山水图》是马麟传世作品中的经典之作，也是南宋院体山水画的代表作之一。\n由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[512,593,513,1572,516,614,518,885,873,706,642],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d7532cb2d0174426dfa5dc1b1abb0a.jpg","25.1×26cm",[6,631,565],252,{"id":97,"slug":1578,"title":1579,"dynasty":506,"author":957,"museum":610,"description":1580,"tags":1581,"thumbUrl":1584,"material":600,"size":1585,"collection":6,"collections":1586,"showCount":1587,"zanCount":1029,"manualWeight":535,"mainColor":713},"xing-hua-tu-zhao-chang-220176","杏花图","这是一幅单枝杏花的画作，盛开的杏花，显得春意盎然。笔触精致优雅，花瓣主要用白粉上色，只有花蕾用胭脂上色，给人一种半透明的感觉；花头用胭脂涂抹，颜色丰富，给人一种女性的感觉。",[511,593,512,513,1582,516,517,640,1583,737,642],"团扇","杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa90c7d76318230f696dd0a532f0faf.jpg","纵25.2厘米，横27.3厘米",[6,602],250,{"id":98,"slug":1589,"title":1590,"dynasty":506,"author":650,"museum":976,"description":1591,"tags":1592,"thumbUrl":1594,"material":849,"size":1595,"collection":631,"collections":1596,"showCount":1597,"zanCount":1041,"manualWeight":535,"mainColor":536},"you-gu-tu-guo-xi-220326","幽谷图","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[511,593,512,513,594,653,614,518,656,523,895,1593],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","纵167.7cm， 横53.6cm",[631,6],243,{"id":99,"slug":1599,"title":1600,"dynasty":506,"author":1376,"museum":610,"description":1601,"tags":1602,"thumbUrl":1605,"material":600,"size":1606,"collection":6,"collections":1607,"showCount":1608,"zanCount":1041,"manualWeight":535,"mainColor":536},"zhu-ou-tu-cui-bai-219216","竹鸥图","本幅画翠竹、芦草随风摇曳，水波也起伏荡漾，白鹭一只立于水中，则是放低了姿势，采逆向迎风、涉水而行的姿态，动静之间，形成均衡画幅的力量。幅上虽有崔白二字款，若和院藏崔白的「双喜图」相比较，在刻划花鸟的情态、掌握自然环境中一刹那生动的情景，两者的风味相类；但在用笔方面，崔白的笔墨线条，无论粗细柔劲、浓淡干湿、起伏顿挫，都为表现物象的质感、动态，随物变化。而在「竹鸥图」中，画白鸥的线条细挺，画竹子、芦草和坡石则是时有断续、富有弹性的线条，与院藏宋人「翠竹翎毛」中那种起伏变化明显，偏向于南宋风格的线条较为接近，因此本幅虽非崔白所作，但属宋代受崔白影响的作品之一。崔白（活动于11世纪后半），字子西，濠梁（今安徽凤阳）人。宋仁宗时（1022-1062）画院学艺。举凡道释、人物、禽兽、花卉无不精绝，尤擅长于花竹、山兔、枯荷、水凫、野雁之类。",[511,512,640,516,517,721,1603,656,1604],"白鹭","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de49481fe805ec1b96d44ffd87decef.jpg","101.3x49.9cm",[6,602,532],242,{"id":100,"slug":1610,"title":1611,"dynasty":506,"author":957,"museum":508,"description":1612,"tags":1613,"thumbUrl":1615,"material":1616,"size":1617,"collection":6,"collections":1618,"showCount":1619,"zanCount":1041,"manualWeight":535,"mainColor":713},"xie-sheng-jia-die-tu-juan-zhao-chang-221297","写生蛱蝶图卷","该画作描绘了群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。笔法上，蝶、蚱以工笔细描，花草则以双勾填色法。设色清淡、浓艳各得其所，彩不压墨。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。",[511,512,513,514,517,516,1614,1469,911,690,909,722,642],"蛱蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b406765c81dbad32d814e51b46fac.jpg","纸本设色画","纵27.7厘米，横91厘米",[6,602,532],238,{"id":101,"slug":1621,"title":1622,"dynasty":506,"author":936,"museum":610,"description":1623,"tags":1624,"thumbUrl":1626,"material":861,"size":861,"collection":6,"collections":1627,"showCount":1619,"zanCount":1117,"manualWeight":535,"mainColor":536},"shi-liu-wen-niao-ma-lin-221186","石榴文鸟","马麟马世荣之孙，马远之子，马远是宋光宗、宋宁宗两朝画院待诏，马麟画承家学， 用笔圆劲，轩昂洒落，画风秀润处过于乃父。 ​",[511,512,513,517,516,640,1060,596,1625],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e0f84a2d62c330aaeff7eb6de993c8.jpg",[6,602,532],{"id":102,"slug":1629,"title":1630,"dynasty":506,"author":1631,"museum":610,"description":1632,"tags":1633,"thumbUrl":1635,"material":628,"size":1636,"collection":6,"collections":1637,"showCount":1638,"zanCount":1029,"manualWeight":535,"mainColor":536},"qiu-ting-xi-ying-tu-su-han-chen-221355","秋庭戏婴图","苏汉臣","该画作描绘了在秋天的一富家庭院里，姐弟俩正围着螺钿漆墩玩着自制的小玩具的情景。急躁的小弟弟全神贯注，衣领滑下了肩，显示出他顽皮、好动的外向性格；细心的姐姐耐心地照看着小弟弟，她性情沉静温和。两个孩子玩得着了迷，似乎忘记了刚才发生的一切。在他们身后的另一张螺钿漆墩上，杂乱地摆放着其他玩具，可能刚才他们曾在花丛边追打嬉闹过。 [2]\n该画作左上角有清高宗乾隆所题绝句：庭院秋声落枣红，拾来旋转戏儿童。丹青讵止传神诩，寓意原存相让风。",[511,512,593,513,594,517,516,544,1634,1049,689,579],"孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[6,602,531,532],237,{"id":103,"slug":1640,"title":1641,"dynasty":506,"author":882,"museum":610,"description":1642,"tags":1643,"thumbUrl":1645,"material":849,"size":1646,"collection":6,"collections":1647,"showCount":1638,"zanCount":1088,"manualWeight":535,"mainColor":536},"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[511,512,593,514,653,614,722,642,518,546,547,705,1164,873,1392,1644,616,619],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米",[6],{"id":104,"slug":1649,"title":1650,"dynasty":506,"author":868,"museum":1651,"description":1652,"tags":1653,"thumbUrl":1654,"material":600,"size":1655,"collection":6,"collections":1656,"showCount":1657,"zanCount":535,"manualWeight":535,"mainColor":536},"shan-shui-tu-ma-yuan-218658","山水图","维多利亚和阿尔伯特博物馆","虬枝如屈铁，斜出嶙峋崖壁，枯枝疏朗间透着苍劲风骨，垂悬的藤蔓似牵一缕寒烟。山石以斧劈皴斫出棱角分明，刚硬笔触衬得崖岸陡峭。远景以淡墨晕染，山峦隐现于虚渺雾霭，近景石畔或有幽人凭栏，小景点染更显天地空阔。边角构图不逐满幅，留白处藏尽清寂萧瑟，恰是宋人山水的空灵之境。笔底丘壑虽只一角，却以简驭繁、以小见大，藏无尽江山意趣，尽显马远山水的独特韵味——于有限画面中，铺展无限悠远的诗意与哲思，让人于尺幅间窥见宋人的山水情怀与审美境界。",[512,979,653,614,518,873,616,547,705,1164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82362b63dc9e0b444518f5ec9c4176a.jpg","25.5x25.7",[6],234,{"id":105,"slug":1659,"title":1660,"dynasty":506,"author":882,"museum":610,"description":1661,"tags":1662,"thumbUrl":1666,"material":628,"size":1667,"collection":6,"collections":1668,"showCount":1669,"zanCount":1041,"manualWeight":535,"mainColor":536},"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","此图描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[511,512,593,514,518,614,516,616,523,1663,547,617,1664,895,1665,527],"渔船","舟楫","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[6,631,565],232,{"id":106,"slug":1671,"title":1672,"dynasty":506,"author":936,"museum":1673,"description":1674,"tags":1675,"thumbUrl":1678,"material":600,"size":1679,"collection":602,"collections":1680,"showCount":1681,"zanCount":1117,"manualWeight":535,"mainColor":536},"xue-an-yuan-yang-tu-ma-lin-219276","雪岸鸳鸯图","耶鲁大学艺术博物馆","枯木虬枝横斜，皴擦间藏着岁月的肌理，寒梅疏花点点，似是雪夜里悄然绽放的星子。滩头双鸳相偎，绒羽层叠如软云，翅尖墨色晕染，静卧间漫出暖融的依偎。枝上雀鸟敛翅，瞳仁如豆，似在聆听风过梅梢的轻响。雪岸清寂，却因这几处生灵的动静相映，添了几分温润的生气。淡赭铺就的寒汀，与浓墨点染的枝干相衬，工致笔触里藏着写意的疏朗，宋人的雅致与对生命的细腻观照，尽在这方寸画卷里流转，每一处留白都似凝着冬日的清寒，却又裹着一丝不易察觉的暖。",[511,512,593,517,516,640,1676,767,795,768,991,1677,597,596],"鸳鸯","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a755de7d0ae42e6354319de9befc494.jpg","188.5cmx99.8cm",[602,532,6],226,{"id":107,"slug":1683,"title":1684,"dynasty":506,"author":1685,"museum":610,"description":1686,"tags":1687,"thumbUrl":1690,"material":600,"size":1691,"collection":6,"collections":1692,"showCount":1681,"zanCount":803,"manualWeight":535,"mainColor":713},"xue-jing-han-qin-tu-wang-ding-guo-219214","雪景寒禽图","王定国","王定国，（公元12世纪）〔南宋〕汴（今河南开封）人，生卒年不详。建炎元年（1127）随吴郡王渡江，居临安(今浙江杭州)。工花鸟，师李安忠，亦学崔白兄弟笔法，傅色轻淡，清雅不凡，人所不及。后吴郡王奏荐入仕，赐金紫。",[511,512,513,979,516,517,640,1198,1688,1084,1689],"寒禽","浆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf83af5f258b7e3cf2ddcfd3f3c7dabe.jpg","纵24.3厘米，横26厘米",[6,602],{"id":108,"slug":1694,"title":716,"dynasty":506,"author":717,"museum":610,"description":1695,"tags":1696,"thumbUrl":1697,"material":1113,"size":1698,"collection":6,"collections":1699,"showCount":1681,"zanCount":1117,"manualWeight":535,"mainColor":713},"mo-zhu-tu-su-shi-218785","画面以竹枝为墨，笔法浑厚，墨分五色；苏轼自称向文同学习画竹，而此图没有宋代的墨竹气息，想必是后期的成名之作。",[511,512,513,653,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f9b6809e9c8b462cdfb261eee443c8.jpg","31.5x27",[6],{"id":109,"slug":1701,"title":1702,"dynasty":506,"author":1001,"museum":610,"description":1703,"tags":1704,"thumbUrl":1705,"material":600,"size":1706,"collection":6,"collections":1707,"showCount":1708,"zanCount":1029,"manualWeight":535,"mainColor":536},"han-jiang-diao-ting-tu-li-cheng-218132","寒江钓艇图","李成（西元九一六—九六七年），唐朝皇室后裔，五代山东人。五代北宋初为水墨山水画成熟时期，李成的松石平远，富呎尺千里气象。与北方荆浩、关同、范宽，南方董源、巨然发展成两大山水画系。\n画中高山飞瀑，岩上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云状，受北宋郭熙山水画皴法影响。然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，应可接受为元人李郭画风作品。",[511,512,513,518,614,653,705,547,616,523,1164,1392,872,873,1165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ae768df4f3ab356a244f10d07cd042.jpg","170x101.9cm",[6,631],225,{"id":110,"slug":1710,"title":1234,"dynasty":506,"author":957,"museum":1071,"description":1711,"tags":1712,"thumbUrl":1713,"material":672,"size":1714,"collection":6,"collections":1715,"showCount":1716,"zanCount":1117,"manualWeight":535,"mainColor":536},"hua-lan-tu-zhao-chang-221300","趙昌，生於970-1040年，字昌之，北宋畫家，廣漢劍南（今四川劍閣之南）人。工書法、繪畫，擅畫花果，多作折枝花，兼工草蟲。初師滕昌祐，後來發展出自身畫風，沒骨花鳥自成一派，有徐熙、黃荃遺風。在北宋時期與宋徽宗趙佶齊名，是宋代花鳥畫壇的傑出畫家。",[511,593,512,513,820,517,516,640,683,579,909],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e439bec3f68d4048c7a22672432565.jpg","22.7×22.4",[6,602,532],222,{"id":111,"slug":1718,"title":1719,"dynasty":506,"author":637,"museum":764,"description":1720,"tags":1721,"thumbUrl":1722,"material":600,"size":1723,"collection":6,"collections":1724,"showCount":1716,"zanCount":1041,"manualWeight":535,"mainColor":536},"ming-huang-xing-shu-tu-yi-ming-218615","明皇幸蜀图","层峦叠嶂间，松枝虬劲，草木葱茏。人马穿行于山道，或扬鞭疾驰，或缓辔徐行，或俯身为马整鞍，神态各异，细节毕现。山石以劲挺线条勾勒，皴染结合，质感厚重；林木疏密有致，生机盎然。整幅画将旅途的奔波与蜀地山水的雄奇融为一体，既有宋代山水画的精工细致，又蕴含着历史事件的沉郁感。于方寸纨扇间，展现出宏大叙事与悠远意境，笔墨古朴，意韵绵长，尽显古典绘画的精妙与深厚底蕴。",[511,512,593,513,516,614,518,544,549,795,616,642,517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ac70443078c834c82bd324884285ea.jpg","30.5x30.5",[6],{"id":112,"slug":1726,"title":1727,"dynasty":506,"author":1728,"museum":764,"description":1729,"tags":1730,"thumbUrl":1731,"material":1732,"size":1733,"collection":6,"collections":1734,"showCount":1735,"zanCount":1029,"manualWeight":535,"mainColor":536},"he-cao-chong-tu-wu-bing-jia-221504","禾草虫图","吴炳嘉","宋代花鸟在中国花鸟绘画史中达到了一个高峰，院体花鸟画下了很多传世精品，还有大量的典藏记载。其中，花鸟小品占据了主要地位，花鸟画以小品形式迅速发展，成为美术史上的一个代表艺术之一。宋人小品花鸟画形制多为圆中见方的尺牍小幅，以内敛的结构和开合呼应的构图方式，描绘特定的场境和瞬间情态，于状物精微的同时力求构思新奇，营造格调优雅而隽永的意境，表现出独特的趣味。",[511,593,512,513,516,517,640,1380,692,690,691,1470,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6d56f3d921df6f611ba36478d1d50.jpg","绢本；设色","纵：49cm，横：30cm",[6,602,532],221,{"id":113,"slug":1737,"title":1738,"dynasty":506,"author":868,"museum":610,"description":1739,"tags":1740,"thumbUrl":1751,"material":672,"size":1752,"collection":6,"collections":1753,"showCount":1754,"zanCount":535,"manualWeight":535,"mainColor":536},"yue-xia-ba-bei-tu-ma-yuan-221523","月下把杯图","月下把杯图》是一幅构图别致意境幽远的小品山水画佳作。作为纨扇扇面，其圆形构图对创作是一种限制。此画之妙在于，画家把重点描绘的山石、树木等景物安排在约占小半个画面的斜右下部，以浓墨钩勒树木、翠竹、篱笆、山石等，而与占大半个画面的远山、天空形成浓与淡、实与虚的对比，这即使圆形构图中的景物显得平稳安定，又富于变化。马远画山水以少见多，以偏概全，正是他艺术手法高明独到之处。图中山石画法用大斧劈皴，状其石质，画树“瘦硬如屈铁”，多折枝。远山则低，用淡墨勾染。苍茫外，露出月亮，表达作者当时思念之情。",[511,512,513,517,653,1741,1448,834,642,1742,1743,1744,616,544,1745,1746,895,1747,1748,1749,1750],"浅设色","册页","明月","竹子","酒具","桌子","月夜","饮酒场景","文人聚会场景","宋代绘画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e50aabe7cee1ca5997ec7a693d08c1d.jpg","纵25.5厘米，横25.7厘米",[6,631,565],220,{"id":114,"slug":1756,"title":1757,"dynasty":506,"author":936,"museum":508,"description":1758,"tags":1759,"thumbUrl":1760,"material":628,"size":1761,"collection":6,"collections":1762,"showCount":1763,"zanCount":1029,"manualWeight":535,"mainColor":713},"ceng-die-bing-xiao-tu-zhou-ma-lin-221180","层叠冰绡图轴","图中所画两枝梅花据称为绿萼梅，是梅花中的名贵品种。枝干细秀劲挺，花朵繁密俏媚，皆以双勾填色法绘之。画法精细，层次鲜明，枝干的转折，花朵的向背，处理得面面俱到。\n在绢素上画疏枝绿萼白梅两枝，枝瘦花繁，一枝高昂扬起，伸至画面右中部，枝疏花密，花朵绽开；一枝低垂叶艳，由画幅右侧横出，伸展画幅中部与另一挺拔高枝相呼应。两枝枝干清瘦如铁。\n本幅款识：“臣马麟。”另有宋宁宗皇后杨氏题“层叠冰绡”，并题诗：“浑如冷蝶宿花房。拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。赐王提举：”钤“杨蛙之章”、“丙子刊宁翰墨”朱文。\n鉴藏印有：“项元汴印”朱文、“墨林山人”白文、“项氏子京”白文、“楠李项氏之家宝玩”朱文、“项墨林鉴赏章”白文、“项子京家珍藏”朱文、“墨林秘玩”朱文、“商丘宋荦审定真迹“朱文、“汝修”白文、”顾氏口阁珍藏”朱文、“典礼纪察司印”朱文半印，另一方印文不辨。\n地轴裱有题记：“嘉靖丙寅秋，用四十五金得于妻弟陆氏，共二幅，共直百金。顾从德记”“宋马麟《层叠冰绡图》。明项元汴清秘。用前价得藏于天籁阁”。钤“墨林山人”白文、“子京父印”朱文。裱边钤“教育部点验之章”朱文。",[511,512,513,594,517,516,767,722,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0b5f8ab1f8c9f8f0a1fb245c1b08d17.jpg","纵101.7cm，横49.6cm",[6,602,532],219,{"id":115,"slug":1765,"title":1766,"dynasty":506,"author":1376,"museum":508,"description":1767,"tags":1768,"thumbUrl":1769,"material":528,"size":1770,"collection":6,"collections":1771,"showCount":1772,"zanCount":803,"manualWeight":535,"mainColor":536},"han-que-tu-juan-cui-bai-221445","寒雀图卷","本幅署款“崔白”二字，有清高宗弘历题诗一首。卷后明文彭题跋。\n图绘枯木及9只麻雀飞动或栖止其间的情景。9只小雀依飞鸣动静之态散落树间，自然形成三组。构图巧妙，布局得当，在动与静之间既有分割又有联系。\n作者以干湿兼用的墨色、松动灵活的笔法绘麻雀及树干。麻雀用笔干细，敷色清淡。树木枝干多用干墨皴擦晕染而成，无刻划痕迹，明显区别于黄筌画派花鸟画的创作技法。尽管此图在形势、风格上还较为工致优雅，但在北宋花鸟画中占主导地位的平和、富丽的特色，在崔白的作品中已不见，反映了北宋宫廷花鸟画在审美感受上进入了新的阶段。崔白新创的花鸟画改变了流传百年的黄筌画派的一统格局，推动了宋代花鸟画的发展。",[511,593,512,513,514,640,517,596,1005,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c651618a9378a8dc159bf2a2ceb5781.jpg","纵25.5厘米，横101.4厘米",[6,602,532],217,{"id":116,"slug":1774,"title":1775,"dynasty":506,"author":1107,"museum":778,"description":1776,"tags":1777,"thumbUrl":1778,"material":849,"size":861,"collection":6,"collections":1779,"showCount":1772,"zanCount":1117,"manualWeight":535,"mainColor":536},"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。",[511,512,513,820,833,653,1111,544,1049,872,873,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996a50a41201f534c8eeb5c5cf014b71.jpg",[6,531],{"id":117,"slug":1781,"title":1782,"dynasty":506,"author":702,"museum":718,"description":1783,"tags":1784,"thumbUrl":1793,"material":849,"size":1794,"collection":6,"collections":1795,"showCount":1796,"zanCount":1117,"manualWeight":535,"mainColor":536},"shan-shi-qing-lan-tu-xia-gui-220420","山市晴岚图","昭山，位于湘潭，长沙交界处，离城20公里，突兀挺立在湘江东岸，是湘潭市的北大门。每逢雨后新晴，或是旭日破晓，万丈霞光撒在山间，雨气氤氲，色彩缤纷，美而壮观。北宋大书画家米芾将这一景观绘成《山市晴岚图》，列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[512,513,653,518,594,614,655,523,622,616,1785,1786,526,1787,1788,1789,1790,1791,1792],"小筑","峭壁","晴岚","杂树","坡岸","村舍","水墨渲染","南宋山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36e5dcf9afd9b288e69532ac5390b9f.jpg","24.8×21.3cm",[6,565],212,{"id":118,"slug":1798,"title":1650,"dynasty":506,"author":868,"museum":1071,"description":1799,"tags":1800,"thumbUrl":1802,"material":1803,"size":1804,"collection":6,"collections":1805,"showCount":1806,"zanCount":535,"manualWeight":535,"mainColor":536},"shan-shui-tu-ma-yuan-221521","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”。",[511,512,513,653,516,614,518,1410,753,873,706,1801],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4962268301cf0bc93362fcc04d9949.jpg","绢本墨画淡彩","28.2×38.3cm",[6,631,565],208,{"id":119,"slug":1808,"title":1809,"dynasty":506,"author":1235,"museum":764,"description":1810,"tags":1811,"thumbUrl":1813,"material":528,"size":824,"collection":6,"collections":1814,"showCount":1815,"zanCount":1029,"manualWeight":535,"mainColor":536},"guo-qin-tu-ye-li-song-221586","果禽图页","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[511,512,513,517,516,640,1812,1084],"桃子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d0bec16d60826eb99359fe54491c93.jpg",[6,602,532],207,{"id":120,"slug":1817,"title":1818,"dynasty":506,"author":702,"museum":610,"description":1819,"tags":1820,"thumbUrl":1821,"material":849,"size":1822,"collection":6,"collections":1823,"showCount":1815,"zanCount":1117,"manualWeight":535,"mainColor":536},"xi-shan-gao-yi-tu-xia-gui-218864","溪山高逸图","山石以劲挺斧劈皴勾勒，棱角如剑刃划破烟岚，却含苍润之气。树木疏朗，枝干屈铁盘结，墨色浓淡相济，叶簇攒云般摇曳，似在风中低语清寂。构图于层峦间藏空灵：远山隐黛，近树扶疏，溪涧凉意从林木间隙渗出，未绘却已感知。\n\n整幅画以极简笔墨写尽“高逸”：无喧嚣，唯山风穿林轻响；无俗事，唯隐者静观天地。树后茅舍隐约，似有高士凭窗，将尘心托付烟霞，精神游弋林泉。苍劲中见温婉，疏淡里藏深情——恰如宋人对自然的敬畏，对自由的向往，尽在咫尺画卷间，让观者也随笔墨潜入山林，暂忘尘扰。",[511,512,518,614,653,594,873,616,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83a500324062626de8322a3fc16b72d.jpg","45.5x36.5厘米",[6,631],{"id":121,"slug":1825,"title":505,"dynasty":506,"author":1826,"museum":610,"description":1827,"tags":1828,"thumbUrl":1834,"material":628,"size":1835,"collection":6,"collections":1836,"showCount":1837,"zanCount":1117,"manualWeight":535,"mainColor":536},"qian-li-jiang-shan-tu-juan-jiang-can-221618","江参","该图用水墨写江南景色，群峰杂沓，山势绵亘。江水浩瀚，溪壑空远。草木葱茏，远树朦朦。阡陌纵横，农舍相属，咫尺千里，境界开阔。长卷中从始至终有一曲折的蛇形小道贯穿其中，图中山、水、桥、亭、村落、栈道、人物皆围绕这条山道而布置。故虽景物众多，连绵无尽，然皆循循可寻。该图采用了平远构图，意境开阔",[511,593,512,514,653,518,1829,1830,1831,1478,1832,626,546,706,899,544,1833],"群峰","江水","溪壑","农舍","平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c90cb29912f2c2c4d8f3b0431c5727.jpg","纵46.3厘米，横546.5厘米",[6,631,532],204,{"id":122,"slug":1839,"title":1840,"dynasty":506,"author":571,"museum":976,"description":1841,"tags":1842,"thumbUrl":1847,"material":694,"size":1848,"collection":6,"collections":1849,"showCount":1837,"zanCount":535,"manualWeight":535,"mainColor":536},"liu-ya-lu-yan-tu-zhao-ji-221334","柳鸦芦雁图","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。\n画卷的右半部分，高大的柳树枝上停着三只鸟鸦，其中两只背靠偎依，静观自得，另有一只向下俯视而鸣，似在呼唤躲藏于树根部的一只乌鸦。\n画卷的左半部分，一道清澈的水滩上，芦竹高耸，蓼花低垂，两雁傍水而饮，一雁趋前，作欲饮之状，另有一雁，好像已经饮完水，正啮咬湖中的摹花茎，姿态各不一致，形象生动有趣。\n图上钤有“宣和中秘”和“紫宸殿御书宝”两印。图后的赵佶落款，系后人勾填，右上角“紫宸殿御书宝”及“御书”葫芦印亦是后人描画的。卷后有南宋荣传辰、邓谏从题跋。另有邓易从、范逾跋，系后人伪作。卷首有清高宗弘历题“神韵天然”引首，并有弘历题诗。清梁清标题签。",[511,593,512,513,514,517,516,1843,1844,1845,1846,1744,596,642],"柳树","乌鸦","芦苇","大雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc8c5e72610db5404dd3907fbf5fc8a.jpg","纵34厘米，横223.2厘米",[6,602,532],{"id":123,"slug":1851,"title":1852,"dynasty":1465,"author":1466,"museum":1853,"description":1854,"tags":1855,"thumbUrl":1858,"material":600,"size":1859,"collection":6,"collections":1860,"showCount":1861,"zanCount":1088,"manualWeight":535,"mainColor":536},"pin-cha-tu-qian-xuan-220394","品茶图","大坂市立美术馆","本幅虽名为「品茶」，实与唐代以降「斗茶」的绘画传统有关。画中男子六人，左侧男子或持壶，或注汤点茶，或提笼注视对方；右侧三人或正举杯畅饮，或在等待取茶品尝。唯画中人物表情板滞，用色单调，画风不若钱选精细文雅，应是后人託名之作。",[511,512,593,516,544,1856,1857,579],"品茶","斗茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb62aeab0bda969cca855a01b6bc6889e.jpg","35.5x68cm",[6],199,{"id":124,"slug":1863,"title":1864,"dynasty":506,"author":650,"museum":610,"description":1865,"tags":1866,"thumbUrl":1867,"material":600,"size":1868,"collection":6,"collections":1869,"showCount":1870,"zanCount":1117,"manualWeight":535,"mainColor":536},"guan-shan-chun-xue-tu-guo-xi-220227","关山春雪图","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[511,512,1197,614,653,1410,991,523,925,617,656],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c61b8007643b9b3921aa749500eaf33.jpg","纵197.1厘米，横51.2厘米",[6,631],198,{"id":125,"slug":1872,"title":1873,"dynasty":506,"author":1235,"museum":610,"description":1874,"tags":1875,"thumbUrl":1876,"material":600,"size":1877,"collection":6,"collections":1878,"showCount":1879,"zanCount":1041,"manualWeight":535,"mainColor":536},"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","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。",[511,512,513,594,516,543,517,544,545,546,596,518,523,616,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[6,531,532],197,{"id":126,"slug":1881,"title":1882,"dynasty":506,"author":1883,"museum":976,"description":1884,"tags":1885,"thumbUrl":1887,"material":672,"size":1888,"collection":6,"collections":1889,"showCount":1890,"zanCount":535,"manualWeight":535,"mainColor":536},"xi-shan-xing-lv-tu-ye-zhu-rui-221558","溪山行旅图页","朱锐","《溪山行旅图》又名《盘车图》。图中描绘在一座大山脚下的浅滩流水畔，岸边有一条小路蜿蜒伸向山坳。小路的转弯口已有一辆车子在上坡，坡度很陡峭，所以，车轮后一个仆人正在帮助往上推动。水边不远的小路上还有一个刚上岸的行人，头戴毡帽，身穿夹袄，伛偻着身子冒寒赶路。",[511,512,513,1742,653,516,614,518,872,873,1886,549,544,871,1049,619,1410],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff647a9e5ead2727a854a195017222b3d.jpg","纵26.2厘米，横27.3 厘米",[6,631,565],193,{"id":127,"slug":1892,"title":1893,"dynasty":506,"author":637,"museum":508,"description":1894,"tags":1895,"thumbUrl":1896,"material":1897,"size":1898,"collection":6,"collections":1899,"showCount":1900,"zanCount":1117,"manualWeight":535,"mainColor":536},"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。",[511,512,514,517,516,833,544,575,518,970,752,596,523,616,545,549,526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[6,531,532],192,{"id":128,"slug":1902,"title":1903,"dynasty":506,"author":571,"museum":1002,"description":1904,"tags":1905,"thumbUrl":1906,"material":600,"size":861,"collection":6,"collections":1907,"showCount":1900,"zanCount":1041,"manualWeight":535,"mainColor":713},"si-qin-tu-zhao-ji-219112","四禽图","枝桠横斜间，禽鸟各呈姿态：或敛翅静栖于梅梢，羽翎纹理纤毫毕现；或侧首凝睇，眼神藏着未语的灵秀；或振翅欲飞，翅尖似带起微风轻响。淡墨勾枝，浅彩点花，笔意清逸如春风拂过，花枝摇曳间，暗香仿佛浮动。\n\n行间题字与朱印错落，墨迹温润与朱砂明艳交织，似时光屐痕，与花鸟相映成趣，更添古雅之韵。每一笔透着对自然的敬畏，每处细节藏着文人闲情——不刻意雕琢，却于平淡中见真味，将生机与静谧凝于尺幅。\n\n整卷如流动的诗画，春日灵趣与岁月沉淀融于一体，读来心远尘嚣，仿佛置身鸟语花香的清境，忘却俗事纷扰。",[512,514,517,833,640,768,767,721,642,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c879664cc93247940a1bf71e75def95.jpg",[6,602],{"id":129,"slug":1909,"title":1910,"dynasty":506,"author":868,"museum":508,"description":1911,"tags":1912,"thumbUrl":1914,"material":528,"size":1915,"collection":6,"collections":1916,"showCount":1917,"zanCount":1041,"manualWeight":535,"mainColor":536},"bai-qiang-wei-tu-ye-ma-yuan-221534","白蔷薇图页","画中的白蔷薇花朵硕大，枝叶繁茂，光彩夺目。画家以细笔勾出花形，用白粉晕染花瓣，以深浅汁绿涂染枝叶，笔法严谨，一丝不苟，画风清丽活泼，颇具生气，代表了南宋画院花鸟画的典型风貌。\n宋代画院花鸟画继承了五代的传统，并在此基础上有所创新，黄荃“勾勒填彩、旨趣浓艳”的富贵风格统治着画坛近百年。其画法先以极工细的线条勾出轮廓，然后敷以重彩，层层晕染，往往掩盖住黑线，展现出一种极为工稳细腻和华贵富丽的风韵。",[511,593,512,513,517,516,640,1913,642],"蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd668d914b96b091a563b3ef5d0520878.jpg","纵26.2厘米，横25.8厘米",[6,631,532],191,{"id":130,"slug":1919,"title":1920,"dynasty":506,"author":947,"museum":718,"description":1921,"tags":1922,"thumbUrl":1923,"material":672,"size":1924,"collection":6,"collections":1925,"showCount":1917,"zanCount":1029,"manualWeight":535,"mainColor":536},"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[511,512,593,513,514,517,614,653,518,991,1005,616,524,520,705,1164,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[6,631,532],{"id":131,"slug":1927,"title":1928,"dynasty":506,"author":882,"museum":718,"description":1929,"tags":1930,"thumbUrl":1931,"material":1932,"size":1933,"collection":6,"collections":1934,"showCount":1935,"zanCount":1041,"manualWeight":535,"mainColor":536},"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。",[511,512,513,514,516,517,642,544,549,873,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47339394ffdf5384ea908fa5ebe6c90.jpg","绢本 设色 手卷","纵29.4厘米 横827厘米",[6,531,532],190,{"id":132,"slug":1937,"title":1938,"dynasty":1465,"author":1939,"museum":718,"description":1940,"tags":1941,"thumbUrl":1942,"material":600,"size":861,"collection":6,"collections":1943,"showCount":1935,"zanCount":803,"manualWeight":535,"mainColor":713},"jin-ming-chi-zheng-biao-tu-wang-zhen-peng-216755","金明池争标图","王振鹏","金明池是一个传说中的美景，被描绘成一个异常和平的美景。王振鹏的作品中的人物都非常生动，表情丰富，使得整幅画面显得格外生动。金明池争标图是一幅非常珍贵的元朝时期的绘画作品，在当时非常受欢迎，被广泛流传。",[511,512,513,593,514,543,833,545,546,544,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F596dd6f3fd7a15f379a6919bf3078fae.jpg",[6],{"id":133,"slug":1945,"title":1946,"dynasty":506,"author":650,"museum":610,"description":1947,"tags":1948,"thumbUrl":1950,"material":600,"size":1951,"collection":6,"collections":1952,"showCount":1953,"zanCount":1041,"manualWeight":535,"mainColor":536},"shan-zhuang-gao-yi-zhou-guo-xi-219430","山庄高逸轴","此图绘重峦峻岭，林木枯树，交错布列，楼阁村肆，环山抱水，景致宜人。构图以中央主峰为中心，画山石以宗北宋郭熙之云头皴为主，辅以董巨之短披麻，林木则呈蟹爪树法，画法可谓纯熟老练。貌虽似郭熙，然景物过于繁复琐碎，缺乏宋人撷取自然景物之写实精神与画法。",[512,593,594,518,653,614,616,1005,545,546,547,705,617,1790,1949],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bde623440bfbc5ce33c5d2934788c7b.jpg","188.8x109.1",[6],187,{"id":134,"slug":1955,"title":1956,"dynasty":506,"author":571,"museum":610,"description":1957,"tags":1958,"thumbUrl":1959,"material":1113,"size":1960,"collection":6,"collections":1961,"showCount":1962,"zanCount":1041,"manualWeight":535,"mainColor":713},"xi-shan-qiu-se-tu-zhou-zhao-ji-221338","溪山秋色图轴","此画种在北宋末成为宫廷皇室所喜爱的一种风格。本图中实景多被安排在画面左半侧，占据不到二分之一的面积，其余以留白来表现云雾、烟霭和野水。此种设计与北宋初期，取中轴构图的巨轴山水画有所不同，可以见到山水画从雄伟风格转变为带有抒情气氛的趋势。细看《溪山秋色图》这幅画的点景人物，多半描绘渔夫在渔钓或捕鱼的情景，这代表著君子所向往与世无争、远离尘俗的生活典型。此类渔父的画题，在进入北宋之后逐渐流行，成为山水画不可或缺的重要题材。",[511,512,513,594,653,614,518,519,523,619,705,526,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730927eed7d948f9cfd62cda6491af50.jpg","纵97cm,横53cm",[6,631,565],183,{"id":135,"slug":1964,"title":1965,"dynasty":506,"author":571,"museum":610,"description":1966,"tags":1967,"thumbUrl":1968,"material":600,"size":861,"collection":6,"collections":1969,"showCount":1970,"zanCount":1117,"manualWeight":535,"mainColor":713},"song-zhi-huang-li-zhao-ji-219191","松枝黄鹂","黄鹂栖于松枝，喙微张似欲啼鸣，羽色暖润如凝脂，翼尖墨痕利落，尾羽晕染出自然层次。松针以劲挺线条勾勒，疏密有致，苍劲中见清逸。古绢底色沉雅，衬得禽鸟鲜活灵动，仿佛能闻其婉转之声。笔墨精工却不刻板，于细节处藏着对生命的细腻体察，尽显宋画工致与生机交融的雅致韵致，将瞬间的灵动定格为永恒的诗意。",[511,593,512,513,820,517,516,640,885,768],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74de9e3f8a19ac72f67df2bc65ede2d5.jpg",[6,602],180,{"id":136,"slug":1972,"title":1973,"dynasty":506,"author":957,"museum":590,"description":1974,"tags":1975,"thumbUrl":1977,"material":600,"size":861,"collection":6,"collections":1978,"showCount":1970,"zanCount":1117,"manualWeight":535,"mainColor":536},"shuang-e-tu-zhao-chang-219008","双鹅图","画面中央下方画着两只鹅，黑白相间的鹅蹲在前面，转头拂动羽毛，纯白的鹅蹲在后面，脖子弯曲，都是自然舒适的状态。",[511,593,512,513,594,517,516,640,1976],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c1b4c1ebc02a4130ffab5754faea5d.jpg",[6,602],{"id":137,"slug":1980,"title":1981,"dynasty":506,"author":702,"museum":610,"description":1982,"tags":1983,"thumbUrl":1984,"material":600,"size":1985,"collection":6,"collections":1986,"showCount":1970,"zanCount":1041,"manualWeight":535,"mainColor":536},"guan-pu-tu-xia-gui-218917","观瀑图","画中的笔触平静而简练，水墨淋漓。近景突出，构图层次分明，实与虚、疏与密、远与近、开与合的对应关系明显，人物、树木、岩石的指向都是一步步画出来的，自然景物的细节更多是叠加的。这可能与夏圭的典型风格略有不同。",[511,512,653,516,979,614,518,885,617,522,616,706,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda09cc87c5f596f8d71593807efe86cf.jpg","24.7x25.7",[6],{"id":138,"slug":1988,"title":1989,"dynasty":506,"author":1070,"museum":976,"description":1990,"tags":1991,"thumbUrl":1992,"material":672,"size":1993,"collection":6,"collections":1994,"showCount":1995,"zanCount":1029,"manualWeight":535,"mainColor":536},"xue-shu-han-qin-tu-li-di-221596","雪树寒禽图","此图描绘了覆雪的竹叶，轻染薄雪的棘枝，以及悄立枝头栖息的伯劳。图中山坡以粗笔勾出，写一丛衰草，更添雪意。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。\n此图绘写寒气凛冽的深冬，天空中飘扬着霏霏絮雪，山野坡地上一枝落尽残叶的棘树在寒风中挺立。一丛修篁傍树而生，积雪的竹叶依然清翠晶亮。在这冷寂的雪天里，一只孤单的伯劳鸟，似乎倦于飞翔，在这里暂且栖息，它安详地停立在枝头上。凝视着微茫的雪色",[511,512,593,513,594,517,516,991,1005,768,1744],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1115e9ff920959c5d8924f9a138d9fa.jpg","纵115.7厘米，纵52.8厘米",[6,602,532],179,{"id":139,"slug":1997,"title":1998,"dynasty":506,"author":1999,"museum":610,"description":2000,"tags":2001,"thumbUrl":2002,"material":708,"size":2003,"collection":6,"collections":2004,"showCount":1995,"zanCount":535,"manualWeight":535,"mainColor":536},"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\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。",[511,593,512,513,514,576,543,517,516,518,545,546,547,705,706,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[6,631,565],{"id":140,"slug":2006,"title":2007,"dynasty":506,"author":868,"museum":610,"description":2008,"tags":2009,"thumbUrl":2012,"material":600,"size":2013,"collection":602,"collections":2014,"showCount":1995,"zanCount":535,"manualWeight":535,"mainColor":713},"mei-zhu-shan-zhi-tu-ma-yuan-219203","梅竹山雉图","此图突出一个“简”，着墨甚少，然而笔精墨妙。图中梅树一棵，翠竹一枝，孤石一块，以简练的笔法画之，虽梅枝不多，怒张而有放射之态；翠竹柔姿与梅媲美；作者以浓墨大斧劈及丁头鼠尾画法相结合，石块质坚、方硬。只有图中的山雉，作者用笔精练，神彩俱牛，雄雉身上的背羽部分黑斑点，在银光闪烁的白羽上更黑更突出红脸上的黑眼，显得很有神态，黑颈白肚中夹着红色的胸羽，是画面中最能令人注目的视点。一只小小雌雉依偎在旁，更显雄者的威武，虽只有这一对雉，却使画面点缀得有声有色。",[511,512,593,513,979,516,517,653,614,721,767,2010,1049,2011,640],"山雉","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eef8b55514c8cfe1d3ed17f0508b497.jpg","纵24.1厘米，横25.2厘米",[602,6],{"id":141,"slug":2016,"title":2017,"dynasty":506,"author":2018,"museum":1071,"description":2019,"tags":2020,"thumbUrl":2022,"material":694,"size":2023,"collection":6,"collections":2024,"showCount":2025,"zanCount":1029,"manualWeight":535,"mainColor":713},"tai-bai-xing-yin-tu-liang-kai-221605","太白行吟图","梁楷","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。",[511,512,653,2021,750,544,642],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceb68802f7eb8ed417349f2db1071bb.jpg","纵向81.2厘米，横向30.4厘米",[6,531,565],177,{"id":142,"slug":2027,"title":2028,"dynasty":506,"author":540,"museum":610,"description":2029,"tags":2030,"thumbUrl":2033,"material":516,"size":2034,"collection":6,"collections":2035,"showCount":2025,"zanCount":1041,"manualWeight":535,"mainColor":536},"qing-ming-yi-jian-tu-juan-zhang-ze-duan-221319","清明易简图卷","在画卷尾端的山石上有“翰林画史臣张择端进呈”签名，台湾中研院刘渊临认为其代表“金人入主汴京时的短时间风格”。北宋风俗画作品，北宋画家张择端所作。它生动地记录了中国十二世纪城市生活的面貌，是一幅举世闻名的现实主义风俗画卷。",[511,593,512,513,514,517,543,833,516,544,525,922,545,552,551,924,520,523,925,926,2031,2032],"民俗","宋代风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2dad2c8025aad97b6171fce959ff9.jpg","该幅 38x673.4公分；隔水一 38x14.5公分；引首一 38x98.5公分；隔水二 38x14.3公分；引首二 38x50.9公分；隔水三 38x14.2 公分；隔水四 38x14.2公分；拖尾一 36x50.8公分；隔水五 14.2公分；拖尾二 28.2x55.2公分；隔水六 14.2公分。",[6,532],{"id":143,"slug":2037,"title":2038,"dynasty":506,"author":637,"museum":610,"description":2039,"tags":2040,"thumbUrl":2043,"material":600,"size":861,"collection":6,"collections":2044,"showCount":2025,"zanCount":1041,"manualWeight":535,"mainColor":536},"la-mei-han-qin-tu-yi-ming-218967","腊梅寒禽图","寒汀疏影里，腊梅枝桠斜逸，点点白花似凝着清霜，在冷寂中透出淡香。岸畔山茶红萼灼灼，与枯瘦的梅枝相映，暖了一帧冬景。两只水禽悠游浅波，羽色素净，颈间一抹白如落雪，姿态闲逸得像在细品风的轻语。远处山影淡如烟岚，天际归鸟三两，更衬出天地的旷远。\n\n笔墨细腻却不刻意，草木的情态、水禽的姿态皆得自然之趣。宋人的心境藏在这帧画里：于寻常冬景中撷取宁静与生机，让清寂时光浸着温润诗意——没有浓墨重彩的渲染，却以极简的笔触，将冬的清寒与生命的从容，凝成了可触摸的温润。",[511,593,512,513,517,516,640,767,2041,1049,2042,1469],"禽","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a6138737b9901f57872732e5659ef9.jpg",[6,602],{"id":144,"slug":2046,"title":2047,"dynasty":506,"author":637,"museum":610,"description":2048,"tags":2049,"thumbUrl":2051,"material":600,"size":861,"collection":6,"collections":2052,"showCount":2053,"zanCount":1117,"manualWeight":535,"mainColor":536},"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[511,512,513,593,518,516,820,705,544,523,1677,753,2050,1049,1789],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[6,631],172,{"id":145,"slug":2055,"title":2056,"dynasty":506,"author":882,"museum":610,"description":2057,"tags":2058,"thumbUrl":2059,"material":849,"size":2060,"collection":6,"collections":2061,"showCount":2062,"zanCount":1117,"manualWeight":535,"mainColor":536},"zuo-shi-kan-yun-tu-li-tang-220237","坐石看云图","画中物象安排较多，与一般南宋山水画半边留白模式略有差异。但仔细观察画面，不难注意其中仍具有一巧妙的斜向构图手法。依此斜向虚线，左上与右下半两部呈现出有趣的虚实对照关系。右下两位人物着宽袍濯足，望向左上侧景致。这一佳景林木繁盛，嶙峋山岩以青绿添墨染成，又间以赭石增添色彩变化。于李唐〈万壑松风图〉的逼真山石质感，揉入赵令穰小景的细腻情调，距北宋山水特色不远。",[511,512,513,593,518,544,1049,846,873,614,653,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df661a9b20032e251b879ebfce45eb8.jpg","27.7x30",[6],171,{"id":146,"slug":2064,"title":2065,"dynasty":506,"author":868,"museum":610,"description":2066,"tags":2067,"thumbUrl":2068,"material":1207,"size":2069,"collection":6,"collections":2070,"showCount":2062,"zanCount":535,"manualWeight":535,"mainColor":713},"he-gan-xu-ge-tu-ma-yuan-218868","河干虚阁图","这幅画描绘了一个站在河岸桂花树下的亭子，远处的柳树岸上有一个雕花的栅栏和一个月亮。这幅画在笔法和形式上都是马远的典型风格。",[511,512,979,518,543,545,523,616,614,653,516,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78455ff7832d3c26e3468c39f388dd57.jpg","22.1x24.3",[6],{"id":147,"slug":2072,"title":2073,"dynasty":506,"author":1107,"museum":1071,"description":2074,"tags":2075,"thumbUrl":2076,"material":2077,"size":2078,"collection":6,"collections":2079,"showCount":2080,"zanCount":1041,"manualWeight":535,"mainColor":536},"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。",[511,593,512,513,594,1111,833,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53504efddd52e59c86dadee4e5abf751.jpg","绢本水墨","纵91 2厘米，横51 4厘米",[6,531,565],170,{"id":148,"slug":2082,"title":2083,"dynasty":506,"author":571,"museum":610,"description":2084,"tags":2085,"thumbUrl":2086,"material":628,"size":2087,"collection":6,"collections":2088,"showCount":2080,"zanCount":1117,"manualWeight":535,"mainColor":536},"wen-hui-tu-zhao-ji-221331","文会图","该画作描绘的是文人学者以文会友饮酒赋诗的场景。园林中绿草如茵，雕栏环绕，树木扶疏，九名文士围着坐在桌子的周围，树下立谈的二人，另外有童仆侍从者九人，人物姿态生动有致，呈现出文人学士饮酒赋诗畅谈之景。",[511,512,593,513,517,516,544,523,1095,1099,927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a52bb2f5e40f63f9d730b696f39f122.jpg","纵184.4厘米，横123.9厘米",[6,631,532],{"id":149,"slug":2090,"title":2091,"dynasty":506,"author":637,"museum":508,"description":2092,"tags":2093,"thumbUrl":2094,"material":672,"size":2095,"collection":6,"collections":2096,"showCount":2097,"zanCount":1041,"manualWeight":535,"mainColor":536},"mei-zhu-shuang-que-tu-yi-ming-223519","梅竹双雀图","绿竹丛中逶迤伸出白梅两枝，清丽冷艳。两只鸲鹆栖于枝头，翘首顾盼。鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。梅花用白粉和淡黄色勾填，层次丰富。竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。",[511,512,513,640,517,516,767,721,1421,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F478d67e9c8453c0f58a076b0bb58b8c1.jpg","26x26.5厘米",[6,602,532],168,{"id":150,"slug":2099,"title":2100,"dynasty":506,"author":2101,"museum":764,"description":2102,"tags":2103,"thumbUrl":2106,"material":600,"size":861,"collection":6,"collections":2107,"showCount":2097,"zanCount":535,"manualWeight":535,"mainColor":536},"yuan-lu-tu-yi-yuan-ji-218943","猿鹿图","易元吉","古木虬枝盘曲，浓荫层叠如盖，数只猿猴或攀附枝桠眺望，或倒挂垂藤嬉戏，或蹲踞树间理毛，神态各异，毛发细劲蓬松，尽显野趣生机。树下小鹿昂首抬望，似与枝头猿猴遥遥呼应，动静相生间，溢出山林的清寂悠然。\n\n笔墨工细灵动，树木皴染结合，叶片层叠有致；猿鹿造型精准，细节刻画入微，可见对自然生灵的深察。绢本色调温润古朴，衬出宋画雅致意境，仿佛林间风动，猿啼鹿鸣隐约可闻，将山野悠然意趣凝于尺幅，尽显自然之美与生命之趣。",[511,593,512,513,979,516,517,2104,2105,795,1411,1084,845],"猿","鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef6adf05faacf36a9500267f5a38228.jpg",[6],{"id":151,"slug":2109,"title":2110,"dynasty":506,"author":571,"museum":610,"description":2111,"tags":2112,"thumbUrl":2114,"material":708,"size":2115,"collection":6,"collections":2116,"showCount":2117,"zanCount":535,"manualWeight":535,"mainColor":536},"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[511,512,513,514,517,833,653,640,596,781,2113,1845,1604,1049,722,642],"莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[6,602,565],164,{"id":152,"slug":2119,"title":2120,"dynasty":506,"author":637,"museum":610,"description":2121,"tags":2122,"thumbUrl":2127,"material":600,"size":861,"collection":6,"collections":2128,"showCount":2117,"zanCount":1029,"manualWeight":535,"mainColor":536},"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。",[511,512,513,516,517,544,1035,1411,767,2123,1099,927,1634,1097,1095,2124,2125,2126],"古物","古玩","平台","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[6,531],{"id":153,"slug":2130,"title":2131,"dynasty":506,"author":571,"museum":572,"description":2132,"tags":2133,"thumbUrl":2135,"material":628,"size":2136,"collection":6,"collections":2137,"showCount":2138,"zanCount":1041,"manualWeight":535,"mainColor":713},"wu-se-ying-wu-tu-zhao-ji-221328","五色鹦鹉图","《五色鹦鹉图》是北宋时期宋徽宗 创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[511,593,512,513,514,517,516,640,767,2134,722,834,642],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[6,602,532],163,{"id":154,"slug":2140,"title":2141,"dynasty":506,"author":882,"museum":610,"description":2142,"tags":2143,"thumbUrl":2144,"material":708,"size":2145,"collection":6,"collections":2146,"showCount":2147,"zanCount":535,"manualWeight":535,"mainColor":713},"zhu-ge-yan-bin-tu-li-tang-221496","竹阁延宾图","此图应为元代画家所绘，大青绿绘远处山峦起伏，陡峭险峻；中部湖面广阔，水面如静；近处树木蓊郁，岸上一处亭台建筑考究，两排并列，回廊延伸，亭内两人倚栏而坐，聊天赏景，不亦乐乎。",[511,512,979,516,518,614,706,523,544,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac77efdcd38cd2854c5b2b506f96be70.jpg","23.7×20cm",[6,631,532],161,{"id":155,"slug":2149,"title":2150,"dynasty":506,"author":2151,"museum":508,"description":2152,"tags":2153,"thumbUrl":2156,"material":2157,"size":2158,"collection":6,"collections":2159,"showCount":2147,"zanCount":1041,"manualWeight":535,"mainColor":713},"chang-jiang-wan-li-tu-juan-zhao-fu-221460","长江万里图卷","赵黻","展开此卷，可看到万里江山中的烟云风雨、山石峻岭、山间小道、樵夫行旅、乘风破浪的小舟、穿云破雾的飞鸟、山谷中的屋宇、村落、归庄的农民、深山古寺等等，可谓东起吴越、西至巴蜀、万里江山、气势宏大、一气呵成。着重描写江山壮丽景色，气势雄伟，笔法学李唐而略纵逸，但仍未脱南宋院体画之痕迹。卷末款署“赵黻作”三字，钤“黻”朱文印，画面有明代钱惟善、张宁、陆树声等诗跋 。",[511,512,514,653,1197,614,518,2154,655,526,523,705,525,2155],"江河","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纸本，水墨","纵45.1厘米，横992.5厘米",[6,631,565],{"id":156,"slug":2161,"title":2162,"dynasty":506,"author":1631,"museum":610,"description":2163,"tags":2164,"thumbUrl":2169,"material":628,"size":2170,"collection":6,"collections":2171,"showCount":2147,"zanCount":1088,"manualWeight":535,"mainColor":536},"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。",[511,512,593,517,516,544,2165,767,911,2166,2167,2168,909],"儿童","饰品","日用品","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca69375cfc2c3f744733e8fa2fb6541.jpg","纵159.2厘米，横97厘米",[6,531,532],{"id":157,"slug":2173,"title":2174,"dynasty":506,"author":702,"museum":508,"description":2175,"tags":2176,"thumbUrl":2178,"material":1563,"size":2179,"collection":6,"collections":2180,"showCount":2181,"zanCount":535,"manualWeight":535,"mainColor":536},"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[511,512,513,653,516,614,518,991,2177,705,1005,616,520,523],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纵28.2厘米，横29.5厘米",[6,631,565],160,{"id":158,"slug":2183,"title":2184,"dynasty":506,"author":1001,"museum":1108,"description":2185,"tags":2186,"thumbUrl":2187,"material":600,"size":2188,"collection":531,"collections":2189,"showCount":2190,"zanCount":535,"manualWeight":535,"mainColor":536},"song-xia-dui-yi-tu-li-cheng-220448","松下对弈图","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。",[511,512,593,513,594,653,614,518,544,885,616,617,619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dc15899bec8d07f16b7c9e8e68853c.jpg","155.1x99.1cm",[531,6],159,{"id":159,"slug":2192,"title":2193,"dynasty":506,"author":2194,"museum":1071,"description":2195,"tags":2196,"thumbUrl":2197,"material":628,"size":2198,"collection":6,"collections":2199,"showCount":2200,"zanCount":1029,"manualWeight":535,"mainColor":536},"tu-tu-sun-long-221464","兔图","孙隆","孙隆（生卒年未详），一作孙龙，字纵吉，又字廷振，号都痴，武进（今江苏常州）人。开国忠愍侯孙兴祖之孙，宣德(1426-1435)间入值内廷，曾为“金门侍御”(翰林待诏)。生性颖敏，有仙人风度。工画花鸟，得徐熙、赵昌“没骨图法”，所绘禽鱼草虫不先勾勒定形而直接以色彩点染物象，此一画技可谓另开蹊径，自成一家，丰富了花鸟画传统技法，对后世泼彩写意影响深远。亦擅山水，宗宋代米芾、米友仁父子。从艺活动约在永乐、宣德、正统间，与林良(1416-1480)同时。传世作品有《雪禽梅竹图》轴、《芙蓉游鹅图》轴，现藏故宫博物院；《花鸟草虫图》卷藏吉林省博物馆；《花鸟草虫图册》十二页藏上海博物馆；《牡丹图》册页藏辽宁省博物馆。",[511,512,513,1572,516,517,845,1379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ec09cc9935e1e2fa5e683514485bfa.jpg","21.2×27.0",[6,602,532],157,{"id":160,"slug":2202,"title":2203,"dynasty":506,"author":1276,"museum":610,"description":2204,"tags":2205,"thumbUrl":2206,"material":600,"size":861,"collection":6,"collections":2207,"showCount":2200,"zanCount":535,"manualWeight":535,"mainColor":713},"zhu-tu-wen-tong-218747","竹图","墨竹挺秀于素绢之上，枝干如铁线盘旋，墨色浓淡交织出老嫩层次。竹叶以“个”“人”形错落铺陈，笔意洒脱却不失矩度，似有风过叶舞之灵韵。文同“胸有成竹”的妙谛在此尽显：每枝每叶皆从心臆而出，无半分迟疑滞涩。老干苍劲如古松，新枝清逸若嫩柳，墨色干湿变化间藏盎然生机。留白处意蕴悠远，仿佛能闻竹间飒飒风声，见月下疏影横斜，将宋时文人画的意境与笔墨之美融于一纸。竹之坚贞与君子风骨相契，画者胸臆借竹抒发，尽展文人画的雅致气韵与精神内核。",[511,593,512,513,653,820,642,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6f635d98c2a3862422c3f72b140031.jpg",[6],{"id":161,"slug":2209,"title":2210,"dynasty":506,"author":777,"museum":610,"description":2211,"tags":2212,"thumbUrl":2213,"material":600,"size":2214,"collection":6,"collections":2215,"showCount":2216,"zanCount":535,"manualWeight":535,"mainColor":713},"zhu-cong-bai-tou-weng-tu-wu-bing-219144","竹丛白头翁图","画面中白头翁栖于竹枝，翎羽纤毫毕现，墨色晕染间绒羽柔润若触，喙爪劲挺见骨。竹丛枝叶交叠，线条清劲似铁线勾勒，翠色浅淡却透着生机，新篁嫩芽更显稚拙可爱。鸟的姿态灵动，似欲引吭或侧耳倾听，打破竹林静谧却又与清雅环境相融。画作以细腻写实之笔，精准捕捉禽鸟与植物形神，色彩淡雅温润，构图疏密有致，尽显宋代工笔花鸟的雅致韵致。方寸间藏自然生机与文人意趣，观之如置身幽篁深处，闻得禽鸣竹语，心随景静。",[511,593,512,513,979,517,516,640,721,768],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a323ffe8ba1cd4340700718353b5a8.jpg","26.1x27.5cm",[6,602],156,{"id":162,"slug":2218,"title":2219,"dynasty":506,"author":637,"museum":610,"description":2220,"tags":2221,"thumbUrl":2222,"material":849,"size":2223,"collection":6,"collections":2224,"showCount":2225,"zanCount":1041,"manualWeight":535,"mainColor":713},"qiu-shan-yu-ji-tu-yi-ming-218670","秋山雨霁图","雨霁后的秋山，似被洗去尘嚣。云雾如轻纱漫笼峰峦，在谷间缓缓流转，若隐若现的山影透着清润的轮廓。近坡上树木疏朗，枝叶带着湿意舒展，浅滩溪流潺潺，石间水痕依稀，犹存雨落余韵。墨色淡雅却层次分明，干笔皴擦勾勒山石肌理，湿墨晕染晕开云雾空濛，将秋山初晴的静谧与生机凝于一纸。那朦胧间的悠远清寂，恰是宋人山水中独有的意境——不刻意雕琢，却于简淡中藏着天地的灵秀，引人沉浸于这刚醒的秋意里，忘乎尘嚣。",[511,512,653,614,518,1410,846,523,596,656,619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaad32c24dfc8fad734affdf00c5c629.jpg","28.9x50.4cm",[6,631],155,{"id":163,"slug":2227,"title":2228,"dynasty":506,"author":1344,"museum":610,"description":2229,"tags":2230,"thumbUrl":2233,"material":600,"size":2234,"collection":6,"collections":2235,"showCount":2236,"zanCount":1029,"manualWeight":535,"mainColor":713},"yin-xing-cui-niao-tu-ma-shi-chang-220359","银杏翠鸟图","此幅为南宋作品，有宫廷画家马世昌的名款，以小字细笔题于画幅右方。斗方格局，画一对叉尾太阳鸟，驻足于银杏树的枝梢，姿态一俯一仰，形成回旋的律动曲线。银杏的果实与枝叶，殆以石绿搭配汁绿填染，益发衬托出翎毛鲜艳华丽的身形。叶片的钩筋与转折，用笔极见细腻生动，反映了宋代画家审慎观物的创作态度。",[511,512,513,798,517,516,640,2231,2232],"银杏","翠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F961418adcc8ec6419c08a470e380c2da.jpg","纵27厘米 横25.7厘米",[6],154,{"id":164,"slug":2238,"title":2239,"dynasty":506,"author":1235,"museum":610,"description":2240,"tags":2241,"thumbUrl":2242,"material":600,"size":2243,"collection":6,"collections":2244,"showCount":2236,"zanCount":1029,"manualWeight":535,"mainColor":713},"tian-zhong-shui-xi-tu-li-song-218926","天中水戏图","这幅画表现的是一艘用金色画成的巨大龙舟，上面有雕梁画栋和花窗装饰，宏伟而精致。龙头高耸，眉毛突出，张牙舞爪，舌头张开，船身密布鳞片，船尾高度弯曲上翘，给人一种威严的形象。",[511,512,593,513,820,543,516,517,545,752,970,925],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cc9b39f9dfd96d1ccdd35955b36a94.jpg","24.5x25.1",[6],{"id":165,"slug":2246,"title":2247,"dynasty":506,"author":1107,"museum":764,"description":2248,"tags":2249,"thumbUrl":2250,"material":672,"size":2251,"collection":6,"collections":2252,"showCount":2253,"zanCount":535,"manualWeight":535,"mainColor":536},"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。",[511,512,513,593,833,544,575,545,767,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f89ca0cf650498658e9f6d3c15a75dd.jpg","30x30厘米",[6,531,565],153,{"id":166,"slug":2255,"title":2256,"dynasty":506,"author":609,"museum":976,"description":2257,"tags":2258,"thumbUrl":2260,"material":1113,"size":861,"collection":6,"collections":2261,"showCount":2253,"zanCount":535,"manualWeight":535,"mainColor":854},"wan-jing-tu-fan-kuan-219928","晚景图","此图山峦圆浑高峻，水边巨石垒垒，用密集的小斧劈皴和雨点皴皴染，山顶密植树木。山形和技法的确出于范宽，但是山峦间充满虚渺云雾、远山淡墨一抹以及笔法短促简率等画法，都带有南宋李唐画派的技法因子，画面缺乏范宽那种雄伟森严的气势，应是出于南宋早期继承范宽画风的画家之手。可惜作者姓名佚失，然亦是了解由范宽画风向南宋院体画风递变时期艺术面貌的重要实迹。",[511,512,614,653,518,1410,523,656,2259],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d38b2ea5d8305bc68e3d6e69a76fe72.jpg",[6],{"id":167,"slug":2263,"title":2264,"dynasty":506,"author":1141,"museum":747,"description":2265,"tags":2266,"thumbUrl":2267,"material":672,"size":2268,"collection":6,"collections":2269,"showCount":2270,"zanCount":1041,"manualWeight":535,"mainColor":536},"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。",[511,512,513,593,517,516,1111,544,721,526,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57048aa20a5009792aff06e951ee2386.jpg","111.5x53.1cm",[6,531,532],152,{"id":168,"slug":2272,"title":2273,"dynasty":506,"author":2274,"museum":610,"description":2275,"tags":2276,"thumbUrl":2277,"material":708,"size":2278,"collection":6,"collections":2279,"showCount":2270,"zanCount":1117,"manualWeight":535,"mainColor":536},"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[511,593,512,513,820,653,516,614,518,706,523,705,519,895,2042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[6,631],{"id":169,"slug":2281,"title":2282,"dynasty":506,"author":746,"museum":610,"description":2283,"tags":2284,"thumbUrl":2285,"material":628,"size":861,"collection":6,"collections":2286,"showCount":2287,"zanCount":535,"manualWeight":535,"mainColor":536},"hua-long-tu-chen-rong-219648","画龙图","此作用墨晕染出翻涌浓云，神龙隐现其间，或露利角锐爪，或显虬劲龙身，虚实相生间，将神龙见首不见尾的玄妙尽显。龙纹勾勒雄健苍劲，鳞爪细节锋芒暗藏，裹挟着磅礴威压，仿佛只需振鳍摆尾，便要冲破云烟扶摇直上。\n墨色浓淡铺陈得宜，云雾的氤氲空濛与龙身的沉凝质感相互映衬，把龙的神性与威仪藏在晦暝云气之中，营造出幽邃缥缈的天地灵韵，尽显笔下神兽的不凡风骨。",[512,513,514,653,752,526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fb84b5cd562245554495403c27198d7.jpg",[6],151,{"id":170,"slug":2289,"title":2290,"dynasty":506,"author":2101,"museum":764,"description":2291,"tags":2292,"thumbUrl":2294,"material":628,"size":2295,"collection":6,"collections":2296,"showCount":2297,"zanCount":1029,"manualWeight":535,"mainColor":536},"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[511,593,512,513,514,516,517,640,845,1379,596,768,735,1689,1478,616,2293],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[6,602,532],148,{"id":171,"slug":2299,"title":2300,"dynasty":506,"author":637,"museum":610,"description":2301,"tags":2302,"thumbUrl":2306,"material":2307,"size":2308,"collection":6,"collections":2309,"showCount":2297,"zanCount":1029,"manualWeight":535,"mainColor":713},"qiu-gua-tu-yi-ming-218728","秋瓜图","地上长着三个秋瓜，景观中还有藤蔓、树叶和花朵。瓜皮用老绿色着色，瓜棱用赭石填充，精致而有节奏。瓜的叶子被仔细地勾勒出来，藤蔓也是圆润而细致的。这幅画没有刻上作者的名字，但我们收藏的另外两幅画《宋代草木瓜》和《钱玄同秋瓜》在构图上与此框相似，而且此卷的笔法精细，与《宋代草木瓜》相似。",[511,512,513,517,516,640,2303,2304,2305,642,820],"秋瓜","藤蔓","叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0270d205fb5d6c396d4cfa437041b14a.jpg","纸本,设色","26.8x45.5厘米",[6],{"id":172,"slug":2311,"title":2312,"dynasty":506,"author":1235,"museum":610,"description":2313,"tags":2314,"thumbUrl":2316,"material":600,"size":2317,"collection":6,"collections":2318,"showCount":2319,"zanCount":1117,"manualWeight":535,"mainColor":536},"fen-xiang-zhu-sheng-tu-li-song-220253","焚香祝圣图","描绘了依山临水的华美殿阁之中，一白衣男子携女眷焚香礼拜之景。画作巧妙运用远观视角，将画栋飞甍、风帘翠幕置于月色流转与烛影摇曳之间，望之宛如琼楼仙馆，绮丽艳逸。此图据称是依据南宋皇家园林绘制而成，画面细致地再现了南宋宫苑建筑的风格与细节，史学价值极高。",[511,512,593,513,543,516,517,1111,544,545,795,2315,642],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9f3c35ee5b3ba72fc5b5432c4379a8.jpg","纵24.8厘米，横25.8厘米",[6],146,{"id":173,"slug":2321,"title":2322,"dynasty":506,"author":2323,"museum":610,"description":2324,"tags":2325,"thumbUrl":2327,"material":2077,"size":2328,"collection":6,"collections":2329,"showCount":2330,"zanCount":1117,"manualWeight":535,"mainColor":713},"si-mei-hua-tu-juan-yang-wu-jiu-221466","四梅花图卷","扬无咎","四梅花图画面分四段画梅，自题跋语中说：“范瑞伯要予画梅四枝，一未开，一欲开，一盛开，一将残。”四梅纯以水墨绘成，花朵作白描圈线，不加晕染，即为“圈花法”，用笔轻快洗练，毫不拘板。新枝用劲直线条一笔写成，极为挺秀。粗干则用“飞白法”，显笔复加乾皴，虚实相间，墨色变化丰富。全幅呈现出匀协恬静、清淡闲野的气氛，诚如时人所谓的“村梅”格调。作品有借梅言情、迟暮感伤之意。",[511,512,513,514,653,750,833,2326,834,642],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0adde438dc6811236efafbe596d17dfd.jpg","纵27.2厘米，横358.8厘米",[6,602,532],144,{"id":174,"slug":2332,"title":2333,"dynasty":506,"author":1001,"museum":668,"description":2334,"tags":2335,"thumbUrl":2339,"material":562,"size":2340,"collection":6,"collections":2341,"showCount":2330,"zanCount":535,"manualWeight":535,"mainColor":536},"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[511,512,593,513,514,518,614,516,2336,895,523,616,526,2337,628,2338,624,619,898],"茂林","淡墨","层峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","纵45.4厘米，横141.8厘米",[6,631,565],{"id":175,"slug":2343,"title":2344,"dynasty":506,"author":571,"museum":508,"description":2345,"tags":2346,"thumbUrl":2347,"material":672,"size":2348,"collection":6,"collections":2349,"showCount":2330,"zanCount":535,"manualWeight":535,"mainColor":536},"dai-sheng-tu-zhao-ji-221365","戴胜图","宋徽宗赵佶（1082年11月2日-1135年6月4日） [6] ，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 [1] 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， [1] 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 [2] 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。 [3] 南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[511,593,512,513,517,516,640,596,909,1084,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[6,602,532],{"id":176,"slug":2351,"title":1333,"dynasty":506,"author":650,"museum":718,"description":2352,"tags":2353,"thumbUrl":2355,"material":1337,"size":1338,"collection":6,"collections":2356,"showCount":2330,"zanCount":1041,"manualWeight":535,"mainColor":536},"shu-se-ping-yuan-tu-guo-xi-221291","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[511,512,513,514,653,614,2354,518,706,872,873,1049,547,705,642],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[6,631,565],{"id":177,"slug":2358,"title":2359,"dynasty":506,"author":1001,"museum":2360,"description":2361,"tags":2362,"thumbUrl":2364,"material":628,"size":2365,"collection":6,"collections":2366,"showCount":2367,"zanCount":535,"manualWeight":535,"mainColor":536},"han-lin-gao-shi-tu-zhou-li-cheng-221440","寒林高士图轴","美国弗瑞尔美术馆","李成（公元 919年 -967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[511,512,653,594,518,992,2363,523,616,547,895,614],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425bbd40a0bd5977059e42cdf3fd2910.jpg","174 x 89.2 厘米",[6,631,565],142,{"id":178,"slug":2369,"title":2370,"dynasty":506,"author":957,"museum":508,"description":2371,"tags":2372,"thumbUrl":2373,"material":628,"size":2374,"collection":6,"collections":2375,"showCount":2367,"zanCount":1117,"manualWeight":535,"mainColor":536},"jin-hui-dui-tu-juan-zhao-chang-221373","锦灰堆图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。作者不愧有“写生赵昌”的美誉。\n此图流传有绪。通过图上所钤印文可知，它最早为南宋权相贾似道收藏，德祐年时，贾似道以卖国获罪，此卷遂被官府没收。入元后，它为元仁宗爱育黎拔力八达之姊鲁国大长公主所收藏。明初，被内府典礼纪察司收存。清代，它转入大收藏家梁清标之手，旋即又归入清内府，备受乾隆皇帝赏识。晚清宣统时又流入民间，为伪满“国兵”朱国恩抢得，存放于吉林长春的家中。1952年东北文化部组织的工作小组于长春获得此卷，交由原东北博物馆收藏，后博物馆将它与北宋崔白《寒雀图》卷、吴元瑜《荔枝图》卷一同送交国家文物局，文物局将它们转入故宫博物院庋藏。",[511,512,593,514,517,516,640,690,691,1474,1469,1062,980,797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9b890e9249dec5b777dd3cfaf3145a.jpg","29.4x174.6cm",[6,602,532],{"id":179,"slug":2377,"title":2378,"dynasty":1465,"author":1466,"museum":610,"description":2379,"tags":2380,"thumbUrl":2381,"material":628,"size":2382,"collection":6,"collections":2383,"showCount":2384,"zanCount":1117,"manualWeight":535,"mainColor":536},"hua-cao-zhong-si-qian-xuan-221709","花草螽斯","钱选，字舜举，号玉潭，霅川人。宋景定间，乡贡进士。元初吴兴有八俊之号，以赵孟頫为称首，而选与焉。及孟頫被荐等朝，诸公皆相附取宦达，独选龃龉不合，流连诗画以终其身。人物师李公麟，山水师赵伯驹，花鸟师赵昌，尤善作折枝，得意者赋诗其上。赵孟頫尝从之问画法。尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉也。湖州人经其指教，类皆以能画称。画多人物花鸟，山水颇罕其传。",[511,512,517,516,640,1474,1469],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2cd550ee9c53d194f657bfeb038acc.jpg","26.6x23",[6,602,532],139,{"id":180,"slug":2386,"title":2387,"dynasty":506,"author":1826,"museum":610,"description":2388,"tags":2389,"thumbUrl":2390,"material":628,"size":2391,"collection":6,"collections":2392,"showCount":2393,"zanCount":535,"manualWeight":535,"mainColor":536},"mo-fan-kuan-lu-shan-tu-zhou-jiang-can-221619","摹范宽庐山图轴","本幅旧传为江参作，画采全景式构图，中央主峰巍峨耸立，峰顶遍布密林。山坳处，寺宇、亭台错落。\n杂树掩映间，可见泉瀑奔流，淙淙若闻其声。山道上，并绘有行旅策蹇，络绎于途。幅左下方题：「摹范华原庐山图」。《宣和画谱》虽未著录〈庐山图〉，然此作以短笔作皴，呈密集的雨点状，明显由〈溪山行旅图〉演化而来。",[511,512,513,594,576,614,653,518,1410,656,523,617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F826530b8c83c87209bddce538d219a64.jpg","347.4x131.8",[6,631,565],138,{"id":181,"slug":2395,"title":2396,"dynasty":506,"author":2397,"museum":508,"description":2398,"tags":2399,"thumbUrl":2400,"material":528,"size":2401,"collection":6,"collections":2402,"showCount":2403,"zanCount":1041,"manualWeight":535,"mainColor":713},"dong-po-chi-bi-tu-wang-shen-221420","东坡赤壁图","王诜","『烏林赤壁事已陳，黃州赤壁天下聞』。蘇軾的兩次赤壁漫遊，喚醒和重排了赤壁古戰場在文學史和藝術史中的地位，不但前後《赤壁賦》和《水調歌頭·赤壁懷古》成爲千古名篇，由此託生的赤壁圖也成爲畫史中重要的主題。作爲蘇軾文人集團的兩位重要人物：李公麟和王詵，他們都曾畫過赤壁圖，以圖畫的方式呼應着蘇軾的歷史書寫。他們的創作直接建立了畫史中的『赤壁圖式』，對後代產生深遠影響。惜乎二作失傳。我們只能憑藉一些歷史文獻，復原二圖的基本風格面貌，爲我們探討北宋末年以來『赤壁圖式』的發展提供一些線索。",[511,512,653,979,518,705,616,547,544,1005,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93947956f8d0518422dab73c735749f6.jpg","24.8 x 28.1 CM",[6,631,565],137,{"id":182,"slug":2405,"title":2406,"dynasty":506,"author":702,"museum":2407,"description":2408,"tags":2409,"thumbUrl":2410,"material":600,"size":861,"collection":6,"collections":2411,"showCount":2403,"zanCount":535,"manualWeight":535,"mainColor":713},"mu-se-gui-yu-tu-xia-gui-219858","暮色归渔图","印第安纳波利斯艺术博物馆","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[511,512,653,614,518,705,1392,596,2259,873,1677,753],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3db900b82dc4e896d746b5cf1c4d8f.jpg",[6],{"id":183,"slug":2413,"title":2414,"dynasty":506,"author":868,"museum":508,"description":2415,"tags":2416,"thumbUrl":2418,"material":528,"size":2419,"collection":6,"collections":2420,"showCount":2421,"zanCount":1041,"manualWeight":535,"mainColor":536},"mei-shi-xi-fu-tu-ma-yuan-221529","梅石溪凫图","本幅款署“馬遠”。钤藏印：“ 潞王之寶”、“茅林心賞”、“阿蒙”、“于騰私印”。\n图中画山崖侧立，腊梅倒垂，薄雾蒙蒙的涧水中，一群野鸭正在游戏。山石以斧劈皴法画之，方硬峭拔，与用笔轻快、毛羽松蓬的野鸭形成鲜明的对比。倒垂曲折的枝条是马远特有的画法，故有“拖枝马远”之称。画面呈典型的对角线式构图，岩石、梅树都偏居画面的左上部分，梅树枝条的走势更强调了此种布局的形式感，右下方的野鸭既起到了平衡画面的作用，又是全图的点睛之笔，一幅“春江水暖鸭先知”的景象，无限生趣，跃然绢素。",[511,512,513,820,653,516,614,767,1049,547,2417,596,640,642],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae794f0f7f856fe10e8845520e5badc4.jpg","纵26.7厘米，横28.6厘米",[6,602,532],136,{"id":184,"slug":2423,"title":2424,"dynasty":506,"author":637,"museum":764,"description":2425,"tags":2426,"thumbUrl":2427,"material":600,"size":2428,"collection":6,"collections":2429,"showCount":2421,"zanCount":1117,"manualWeight":535,"mainColor":536},"song-xia-jing-si-tu-yi-ming-218583","松下静思图","悬崖边的松树上画着一根粗壮有力的杆子，伸向远方，而一个高大的男人盘腿坐在下面的蒲团上，凝视着下方；远处，一轮明月挂在天上，圆盘般的月亮象征着农历的新月之夜。",[512,513,516,517,544,885,1049,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732621ebc2bf8ef9ef1e43c8b6b51669.jpg","21x21",[6],{"id":185,"slug":2431,"title":2432,"dynasty":506,"author":650,"museum":610,"description":1865,"tags":2433,"thumbUrl":2434,"material":660,"size":2435,"collection":6,"collections":2436,"showCount":2437,"zanCount":535,"manualWeight":535,"mainColor":536},"hua-xue-jing-zhou-guo-xi-221292","画雪景轴",[511,512,1197,594,614,653,518,991,705,546,1005,524,616,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13099bc99f6d0fba5d72371002c0734c.jpg","194.3×111.1",[6,631,565],135,{"id":186,"slug":2439,"title":2440,"dynasty":506,"author":1001,"museum":610,"description":2441,"tags":2442,"thumbUrl":2443,"material":694,"size":861,"collection":6,"collections":2444,"showCount":2437,"zanCount":535,"manualWeight":535,"mainColor":536},"xie-qing-chao-yi-pin-tu-li-cheng-220247","写清朝一品图","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。",[511,512,593,513,594,653,614,518,885,705,544,616,520,523,1450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ecb114ae83d161ba1539feb347adb9.jpg",[6],{"id":187,"slug":2446,"title":2447,"dynasty":506,"author":868,"museum":590,"description":2448,"tags":2449,"thumbUrl":2451,"material":600,"size":861,"collection":6,"collections":2452,"showCount":2437,"zanCount":535,"manualWeight":535,"mainColor":536},"yan-ai-qiu-she-tu-ma-yuan-219737","烟霭秋涉图","此作用笔简劲老辣，以半边取景铺陈秋山之境。远景峰林隐没在烟霭之中，淡墨晕染出空濛虚渺，似将秋意揉进雾色里。近岸古木盘曲，枯干如铁铸，枝头缀着丹红秋叶，为萧飒秋景添了一抹暖色。浅滩处旅人策杖徐行，缓步涉过清浅溪涧，将山野行旅的幽寂之意藏于细节。\n山石以斧劈皴扫出棱线，硬朗峭拔，和远景的朦胧柔润形成强烈虚实对比，以少胜多，留白处尽是山野空寂的秋意，把深秋山涧的清旷冷冽，尽数融在水墨浓淡之间，尽显秋山烟水的澹远诗意。",[511,1572,512,513,594,653,516,518,1005,2450,526,656,614,2050,753],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187656824905620f997701fcc165e4fd.jpg",[6,631],{"id":188,"slug":2454,"title":2455,"dynasty":506,"author":2456,"museum":2457,"description":2458,"tags":2459,"thumbUrl":2461,"material":1113,"size":2462,"collection":6,"collections":2463,"showCount":2464,"zanCount":535,"manualWeight":535,"mainColor":713},"yuan-xiu-qing-yun-tu-mi-you-ren-219861","远岫晴云图","米友仁","日本大阪市立美术馆","《远岫晴云图》是北宋书画家米友仁所创作的一幅水墨设色画，现藏于日本大阪市立美术馆。\n该画作是一幅文人画，描绘的是米友仁笔下常见的山水风景，画中以湿润的笔墨点染云山树石，表现烟云变幻、山色朦胧的动人景象。“米氏云山”的特色展示得淋漓尽致。\n《远岫晴云图》绘制的是烟雨迷蒙时的风景，远山模糊不清，近树萧疏迷离，一条溪流潺潺自远处绕到赏者面前。图中左下角作一小丛树，间隔溪水的对岸是云气缭绕的疏林，远处是尖锐如刻削的山峦。\n画面上有款“元晖戏作”四个字，上方另有横纸又自题“绍兴甲寅元夕前一日，自新昌泛舟来赴朝参，居临安七宝山戏作小卷，付与廪收口”。",[593,512,513,653,518,895,846,523,616,614,2460],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe5e3ae0ecfe57c4dc77a8c68325a4c.jpg","24.7x28.6cm",[6],134,{"id":189,"slug":2466,"title":2467,"dynasty":506,"author":1057,"museum":610,"description":2468,"tags":2469,"thumbUrl":2470,"material":600,"size":2471,"collection":6,"collections":2472,"showCount":2473,"zanCount":1117,"manualWeight":535,"mainColor":536},"chun-shao-ming-xi-tu-lu-zong-gui-219278","春韶鸣喜图","此幅画春日山涧情景，石壁间激泉如响，巉巖上翠竹流青，梅竞妍，山雀鸣唱，野雉偎嬉，构思造境，描染俱佳，乃岁朝张挂之图画。本幅画石，皴法用笔直泻而不含蓄，且水墨淋漓，显非南宋人画法，而是明人学宋代之浙派风格。树干皴纹，也如同边文进、吕纪一系之用笔，花鸟施朱用粉，更近于吕纪风格，该院另藏有宋人”岁朝图“，构图同出一稿，树石画法更近于明人风格。",[511,512,593,513,594,517,516,640,767,1187,768,616,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28e1b378998f3d4ce72f6c73aec9810.jpg","164x77.9公分",[6,602,532],131,{"id":190,"slug":2475,"title":2476,"dynasty":506,"author":947,"museum":610,"description":2477,"tags":2478,"thumbUrl":2481,"material":516,"size":2482,"collection":6,"collections":2483,"showCount":2484,"zanCount":535,"manualWeight":535,"mainColor":536},"xi-yuan-ya-ji-juan-liu-song-nian-221554","西园雅集卷","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。",[511,593,512,513,514,517,516,544,523,616,2479,1095,2480],"芭蕉","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00b965e299d9c4feb3a56ffa3172034.jpg","34×191cm",[6,531,532],130,{"id":191,"slug":2486,"title":2487,"dynasty":506,"author":936,"museum":668,"description":2488,"tags":2489,"thumbUrl":2491,"material":672,"size":2492,"collection":6,"collections":2493,"showCount":2484,"zanCount":1029,"manualWeight":535,"mainColor":536},"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[511,593,512,513,514,516,517,614,518,1843,546,922,544,520,2490,1664,557,523],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[6,631,532],{"id":192,"slug":2495,"title":2496,"dynasty":506,"author":1131,"museum":610,"description":2497,"tags":2498,"thumbUrl":2499,"material":600,"size":861,"collection":6,"collections":2500,"showCount":2484,"zanCount":535,"manualWeight":535,"mainColor":854},"han-gong-chun-xiao-tu-zhao-bo-ju-219942","汉宫春晓图","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[511,512,543,516,515,517,518,545,706,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ccd5ae19644bbac9117abbd0f0ff532.jpg",[6],{"id":193,"slug":2502,"title":2503,"dynasty":506,"author":868,"museum":610,"description":2504,"tags":2505,"thumbUrl":2510,"material":672,"size":2511,"collection":6,"collections":2512,"showCount":2513,"zanCount":1117,"manualWeight":535,"mainColor":713},"shan-jing-chun-xing-tu-ma-yuan-221520","山径春行图","《山径春行图》描绘了一个怡然自得的文人，一手捋着胡须，一手移动衣袖，慢步进行在春天的山径上，面向远方。似乎在触景生情吟咏赞美春天的诗句。随风飘动的柳枝，雀跃嬉戏的小鸟，生机勃发的山径两旁的桃花，既是在描写春天的自然景色，也是在借景抒发文人此时此刻内心充满诗意的喜悦之情。鸟语花香春意盎然而又显得闲适恬静的画面气氛，是文人内在修养和心理活动的生动写照，是对春天来临所唤起的生命之美的赞叹。",[511,593,512,1197,653,516,1448,2506,614,518,544,1843,596,1501,2507,523,619,895,2508,1097,2509],"兼工带写","春景","童子","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","纵27.4厘米，横43.1厘米",[6,631,531,565],129,{"id":194,"slug":2515,"title":2516,"dynasty":506,"author":936,"museum":718,"description":2517,"tags":2518,"thumbUrl":2519,"material":672,"size":2520,"collection":6,"collections":2521,"showCount":2522,"zanCount":1041,"manualWeight":535,"mainColor":536},"shi-liu-la-zui-tu-ma-lin-221670","石榴蜡嘴图","马麟是马远之子，生卒年不详。马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。此《石榴蜡嘴》图页传为马麟所作，但据考，未确认。",[511,593,512,513,517,516,640,1060,768,1625],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7383521319c32631aeca0f4aaf74fe.jpg","纵27.3厘米，横27.3厘米",[6,602,532],128,{"id":195,"slug":2524,"title":2525,"dynasty":506,"author":637,"museum":610,"description":2526,"tags":2527,"thumbUrl":2529,"material":600,"size":2530,"collection":6,"collections":2531,"showCount":2522,"zanCount":1117,"manualWeight":535,"mainColor":536},"tao-li-yuan-tu-yi-ming-218801","桃李园图","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭亭台，有渔人在溪边垂钓，无所谓岁月。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它看起来更像是吴镇或其流派的画家的作品。",[511,512,593,516,543,517,614,518,545,706,544,885,1083,2528,616,523],"李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a3b07bae6cc5546e3f59ca75ecae6e.jpg","19.7x24.3",[6],{"id":196,"slug":2533,"title":2534,"dynasty":506,"author":637,"museum":976,"description":2535,"tags":2536,"thumbUrl":2537,"material":600,"size":2538,"collection":6,"collections":2539,"showCount":2540,"zanCount":1041,"manualWeight":535,"mainColor":536},"jiang-fei-wan-yue-tu-yi-ming-218600","江妃玩月图","月色如练，泼洒在虬枝瘦干间。墨笔勾勒的树影横斜，嶙峋枝干似在夜风中轻语。凭栏处，佳人衣袂翩然，或执扇凝睇，或侧首听月，身影与疏枝、栏杆相映成趣。夜的清寂被月色化开，淡墨晕染出朦胧意蕴，每一处线条都简劲有致，藏着宋人笔墨的雅致风骨。无需浓妆艳抹，仅以素淡之笔，便将玩月的悠然、月夜的幽远揉成一幅清绝画境，让人在静默中触碰到那份穿越时光的古雅与深情。",[511,512,513,653,833,544,575,1743,873,546,872,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbdeecfafad713f88037a5c5c52fa50.jpg","25.4x24.8",[6],127,{"id":197,"slug":2542,"title":2543,"dynasty":506,"author":2544,"museum":1071,"description":2545,"tags":2546,"thumbUrl":2550,"material":628,"size":2551,"collection":6,"collections":2552,"showCount":2553,"zanCount":1029,"manualWeight":535,"mainColor":536},"yuan-tu-mao-song-221555","猿图","毛松","这幅猴图在表现上非常出色，超越了单纯的写实，在众多的宋画当中亦堪称名品。据说所画的是日本猴而非中国猴，除水墨之外还使用了金泥，工笔细腻自然。南宋画院画家毛松所作的说法始于狩野探幽，但此说缺乏依据。曾由武田信玄捐赠与曼殊院觉如。该图在褐色的底色上，利用金泥所绘线条的交织，表现出绒毛的光泽。又以细腻的笔致，表现其面部的皱纹、嘴势、眼神以及颇有戏剧性的爪足，极其逼真地将这只金毛浓淡有致、赤面红耳的猿猴画了出来。",[511,593,512,513,517,653,516,2547,845,2548,2549],"猴","金泥","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5893ea0ae36c7bc5b4c46f296e8fce.jpg","纵：47.0cm，横：36.5cm",[6,602,532],126,{"id":198,"slug":2555,"title":2556,"dynasty":506,"author":609,"museum":718,"description":2557,"tags":2558,"thumbUrl":2559,"material":672,"size":2560,"collection":6,"collections":2561,"showCount":2553,"zanCount":1041,"manualWeight":535,"mainColor":536},"yan-lan-qiu-xiao-tu-fan-kuan-221391","烟岚秋晓图","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[511,512,513,514,518,614,516,616,523,526,2050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4500b9eb4cfa21cb904ea04c412212b.jpg","40x603.3cm",[6,631,565],{"id":199,"slug":2563,"title":2564,"dynasty":506,"author":2565,"museum":1673,"description":2566,"tags":2567,"thumbUrl":2568,"material":600,"size":2569,"collection":6,"collections":2570,"showCount":2553,"zanCount":1117,"manualWeight":535,"mainColor":713},"yue-xia-yu-she-tu-zhao-ling-rang-219887","月下渔舍图","赵令穰","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。",[512,516,518,614,1005,596,546,547,1743,1392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64745e0ff99130ce0f92eb82148afe6.jpg","26.7x26.7",[6],{"id":200,"slug":2572,"title":2573,"dynasty":506,"author":947,"museum":610,"description":2574,"tags":2575,"thumbUrl":2576,"material":672,"size":2577,"collection":6,"collections":2578,"showCount":2579,"zanCount":535,"manualWeight":535,"mainColor":536},"shi-ba-xue-shi-tu-juan-liu-song-nian-221544","十八学士图卷","作品描绘十八学士们的雅集生活。唐初十八学士这一历史，传到两宋，已经成为了典故。这些雅集活动大多不可缺少琴、棋、书、画四样东西。此外，歌舞曲艺、古玩彝器、诗词歌赋酒美食也都成为宋人文人雅集时候所常见的内容。",[511,512,513,514,517,516,544,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292859c44e3f3bde81de6bbfbd870ca.jpg","44.5x182.3",[6,531,532],125,{"id":201,"slug":2581,"title":2582,"dynasty":506,"author":637,"museum":610,"description":2583,"tags":2584,"thumbUrl":2587,"material":600,"size":2588,"collection":6,"collections":2589,"showCount":2579,"zanCount":1117,"manualWeight":535,"mainColor":536},"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[511,512,513,518,516,653,614,2585,2586,546,547,705,1164,1392,706],"柳","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[6,631],{"id":202,"slug":2591,"title":2592,"dynasty":506,"author":1826,"museum":1108,"description":2593,"tags":2594,"thumbUrl":2595,"material":600,"size":2596,"collection":6,"collections":2597,"showCount":2598,"zanCount":535,"manualWeight":535,"mainColor":536},"pan-che-tu-jiang-can-218629","盘车图","寒林覆雪，枝桠虬曲如铁线，在凛风中舒展筋骨。山峦以淡墨晕染，层叠间透着清寂，山脚却藏烟火暖意——几辆盘车缓行于雪泥道上，牛蹄踏雪留痕，车轮碾过碎雪，车旁人物裹衣呵气，似在抵御严寒。远处村落隐于林麓，屋舍错落，炊烟轻袅，与苍茫山色相映。笔墨细腻处见功力：枯树皴擦显苍劲，盘车结构精准，人物动态鲜活；而雪景朦胧与山峦雄浑，又营造出阔远意境。整幅画于萧瑟冬日，融旅途艰辛与人间烟火于一炉，写实功底见古画本色，诗意留白引观者遐思，尽显冬日山水间的生活韵致与苍茫之美。",[512,593,513,516,614,518,616,1005,873,871,554,550,544,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1548d14d9bbde0476e8e9f354f0095f2.jpg","30x24",[6],124,{"id":203,"slug":2600,"title":2601,"dynasty":506,"author":702,"museum":610,"description":2602,"tags":2603,"thumbUrl":2608,"material":660,"size":2609,"collection":6,"collections":2610,"showCount":2611,"zanCount":535,"manualWeight":535,"mainColor":536},"xi-hu-liu-ting-tu-zhou-xia-gui-221572","西湖柳艇图轴","西湖柳艇图画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润。",[511,593,512,653,594,518,1843,2604,2605,2606,2607,544,546,547,705,517],"长堤","水榭","湖舍","画舫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d0b03ccc5a62ec9034caad9749d55.jpg","纵107.2厘米，横59.3厘米",[6,631,565],123,{"id":204,"slug":2613,"title":2614,"dynasty":506,"author":1001,"museum":610,"description":2615,"tags":2616,"thumbUrl":2619,"material":628,"size":2620,"collection":6,"collections":2621,"showCount":2611,"zanCount":535,"manualWeight":535,"mainColor":536},"song-quan-pan-shi-zhou-li-cheng-221413","松泉磐石轴","本幅之题材与风格，属松石格之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。 松石格是兴起于八世纪的绘画，或画松石、树石，含松柏及其他树木。它是山水画范围的一部分。\n飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身扭曲，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。",[512,513,594,653,614,518,885,2617,2618,546,547,616,523],"泉水","磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","160.3x96.8cm",[6,631,565],{"id":205,"slug":2623,"title":2624,"dynasty":506,"author":1376,"museum":610,"description":2625,"tags":2626,"thumbUrl":2630,"material":600,"size":2631,"collection":6,"collections":2632,"showCount":2611,"zanCount":535,"manualWeight":535,"mainColor":536},"qiu-pu-rong-bin-tu-cui-bai-220144","秋蒲蓉宾图","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鹡鸰腾跃，翡翠静静停留，两鸿雁振翅凌空，意在千里。无画家款印，旧传为崔氏之作。崔白(约西元十一世纪)，安徽凤阳人，字子西。宋仁宗至神宗时为画院画家。精工画花卉翎毛，尤以枯荷凫雁得名，但亦精于道释、人物、鬼神。据说他作画时从不起稿，画长直坚挺的线条，无须使用直尺界画，操笔立就。",[511,798,1472,516,2549,2627,2628,1846,689,2629,781,910,1469,782,596],"写生","细腻笔触","蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0742ff18547c75d91c9eaba1ab1932e4.jpg","本幅 149.1x95.5公分、全幅 133公分",[6,602],{"id":206,"slug":2634,"title":2635,"dynasty":506,"author":868,"museum":778,"description":2636,"tags":2637,"thumbUrl":2638,"material":600,"size":2639,"collection":6,"collections":2640,"showCount":2611,"zanCount":535,"manualWeight":535,"mainColor":536},"lin-xia-qing-yan-tu-ma-yuan-220071","林下清宴图","此作用笔苍劲老辣，斧劈皴勾勒山石棱角，峭拔硬朗的峰峦隐没在空濛烟霭之中，虚实相生晕染出幽渺的层次感。近岸古木虬枝舒展，汀渚蜿蜒柔缓，和远山形成刚柔对照。江头扁舟静泊，云岫深处藏着古寺，留白的烟岚晕开天地，把林下幽寂的清旷意境铺陈开来。\n整幅画以淡墨晕染出空寂冷逸的氛围，将林泉高致的雅趣藏于山水间，尽显悠然超脱的林下风流，暗合文人寄情林泉、清宴忘忧的隐逸襟怀。",[511,593,512,513,518,653,516,614,1410,795,706,526,544,1411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ac221a46ecf53a5c3c912cd524c59d.jpg","104.7 x 101.4",[6],{"id":207,"slug":2642,"title":2643,"dynasty":506,"author":1070,"museum":610,"description":2644,"tags":2645,"thumbUrl":2647,"material":600,"size":2648,"collection":6,"collections":2649,"showCount":2650,"zanCount":1117,"manualWeight":535,"mainColor":536},"feng-yu-gui-mu-tu-li-di-220356","风雨归牧图","绘两牧童沿柳岸归牧，风雨大作，柳枝、丛芦在风雨中摇荡。牧童策牛逆风徐行，一牧童披蓑衣俯身紧拉住斗笠，另一牧童的斗笠被风吹落。画家善于从江南乡村常见的景象中挖掘出美感，非常富有生活气息。全图用笔工细严谨，牧童的神情、水牛的憨态也都描绘得很真切。",[511,512,517,516,614,550,845,544,795,1164,2646],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdacf6fa6d8af2dba4881d869e5c6742d.jpg","纵120.7cm，横102.8cm",[6],122,{"id":208,"slug":2652,"title":2653,"dynasty":506,"author":2654,"museum":610,"description":2655,"tags":2656,"thumbUrl":2659,"material":600,"size":2660,"collection":602,"collections":2661,"showCount":2662,"zanCount":1041,"manualWeight":535,"mainColor":536},"ye-ju-qiu-chun-tu-li-an-zhong-219228","野菊秋鹑图","李安忠","画幅中心位置上画两只鹑鸟，全身几乎长满了近似粉白色的翎毛，只有少量的黑褐色斑毛，将头部与背勾画得更加显明突出。一只鹑鸟抬头远望，一只鹑鸟低头啄食，它们伫立在倾斜的土坡上、土坡的上方，白色的野菊花穿插在带棘的灌木中，还有竹竿枝权探头画面上、土坡的下方有蒲公英等野草花点缀着，一仰一俯的两只鹑鸟，互相依偎，自由地在大自然的环境中生活，其神态逼真，栩栩如生。该图设色淡雅，配色和谐。",[511,512,593,517,516,640,2657,2658,721],"鹌鹑","野菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763aa29896547493e563c587705ce6b7.jpg","纵24.1cm，横40.5cm",[602,532,6],121,{"id":209,"slug":2664,"title":2665,"dynasty":506,"author":868,"museum":668,"description":2666,"tags":2667,"thumbUrl":2668,"material":516,"size":2669,"collection":6,"collections":2670,"showCount":2671,"zanCount":1117,"manualWeight":535,"mainColor":536},"song-shou-tu-ma-yuan-221525","松寿图","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[511,512,513,594,516,518,544,614,885,616,2508,1097,1744,873,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[6,631,565],119,{"id":210,"slug":2673,"title":2674,"dynasty":506,"author":571,"museum":2457,"description":2675,"tags":2676,"thumbUrl":2677,"material":1113,"size":2678,"collection":631,"collections":2679,"showCount":2671,"zanCount":1117,"manualWeight":535,"mainColor":713},"qing-lu-heng-yun-tu-zhao-ji-220353","晴麓横云图","此作景物结构近似宋徽宗 〈溪山秋色图〉，然画面集中下方，馀为空白。山形如云朵状，近似李郭风格，然用笔严谨，皴染亦细致，与李郭富强烈粗细变化的线条不同，有学者推测为金代继承李郭传统的作品。画右上方有瘦金书「晴麓橫雲」，书风略显柔弱，「御書之寳」亦存疑，推测为后人追摹。此幅现藏于大阪市立美术馆，纸本浅设色。",[511,512,513,594,653,614,518,616,526,1005,895,992,658,622,2337,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[631,6],{"id":211,"slug":2681,"title":2682,"dynasty":506,"author":2683,"museum":976,"description":2684,"tags":2685,"thumbUrl":2688,"material":861,"size":861,"collection":6,"collections":2689,"showCount":2671,"zanCount":1117,"manualWeight":535,"mainColor":2690},"bai-miao-dao-jun-xiang-tu-juan-song-ren-203436","白描道君像图卷","宋人","以白描技法绘就的画面，道君居于核心，神光笼罩下仪态端凝。侍从仙官列队环侍，衣纹线条细劲流畅，尽显飘逸之姿；虎、龙等神兽悄然伏立，为场景注入神圣威严。背景楼阁依界画之法构建，飞檐翘角细节毕现；林木扶疏，亭桥掩映，景致层层铺展却井然有序。整卷线条刚柔相济，或如铁线勾勒轮廓，或似游丝描绘衣袂，将宗教的肃穆与自然的清幽完美融合，尽显南宋书画的典雅韵致与精湛技艺。",[511,512,513,514,833,543,1111,544,545,523,2686,518,2687,752],"虎","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c346d69351d49d24311e155794dd04a.jpg",[6],"988264",{"id":212,"slug":2692,"title":2693,"dynasty":506,"author":868,"museum":610,"description":2694,"tags":2695,"thumbUrl":2698,"material":2699,"size":2700,"collection":6,"collections":2701,"showCount":2702,"zanCount":1041,"manualWeight":535,"mainColor":536},"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","此图描写大雪封山的清晨，一山民赶着两只身驮木炭的小毛驴在白雪皑皑的山间行走。山民衣着单薄，弓腰缩颈，使人感到雪天寒气逼人。毛驴、竹筐、木炭及人物衣纹均用干笔钩勒，并施以水墨渲染。\n作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[511,512,593,513,653,516,614,544,2696,2697,1005,616,620,1198],"驴","雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米",[6,631,565],118,{"id":213,"slug":2704,"title":2705,"dynasty":506,"author":2706,"museum":610,"description":2707,"tags":2708,"thumbUrl":2711,"material":516,"size":2712,"collection":6,"collections":2713,"showCount":2702,"zanCount":1117,"manualWeight":535,"mainColor":536},"qie-zi-tu-juan-chen-ju-zhong-221456","茄子图卷","陈居中","陈居中（生卒年不详），南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年（1207年）为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。 虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[511,593,512,513,514,517,516,2709,1084,912,1474,2710],"茄子","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a2515db414029768f29a0bf0dd13bc.jpg","35.8x 191.2",[6,602,532],{"id":214,"slug":2715,"title":2716,"dynasty":506,"author":637,"museum":764,"description":2717,"tags":2718,"thumbUrl":2719,"material":600,"size":861,"collection":6,"collections":2720,"showCount":2721,"zanCount":535,"manualWeight":535,"mainColor":536},"e-xi-tu-yi-ming-218401","鹅戏图","这幅画描绘了一个池塘，漂浮着如盘子般碧绿的荷叶，点缀着鲜红的荷花，四只白天鹅在水中嬉戏，一只领头，两只尾随，最后一只正在奋力追赶。\n这幅画色彩淡雅，薄而透明，色彩与水墨相得益彰，整体上没有浓墨重彩，导致前景的四只白天鹅特别明亮。",[511,512,593,979,517,516,1976,783,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4cd89f1d562c9fdb8d729cb3008bbc.jpg",[6],117,{"id":215,"slug":2723,"title":2724,"dynasty":506,"author":637,"museum":778,"description":2725,"tags":2726,"thumbUrl":2729,"material":600,"size":861,"collection":602,"collections":2730,"showCount":2731,"zanCount":1117,"manualWeight":535,"mainColor":536},"cao-chong-tu-yi-ming-218950","草虫图","藤蔓如蚓，蜿蜒牵惹着几片翠叶与明黄的花，柔劲的线条里藏着自然的生趣。笼栅细劲，圈住一只草虫——翅翼的纹理纤毫毕现，触须轻颤似在嗅闻叶间清香，敛足欲跃的姿态，让静穆画面漫出一丝灵动。绢本的古褐底色如陈年书卷，淡绿与嫩黄的晕染，似将春日温煦凝在绢上。\n\n宋人画草虫向来重写实却不泥于形，这帧小品无浓墨喧阗，只有对生命细微处的温柔体察：藤蔓卷舒、花叶轻颤、草虫意态，都藏着文人案头的闲雅时光。风过叶隙时，仿佛能听见那若有若无的虫鸣，漫溢出清宁的田园况味，古雅的色调里，沉淀着时光的温煦与悠然。",[511,512,517,516,640,2727,2304,980,912,2728],"草虫","虫笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd768168c81591ad3b140352772d501.jpg",[602,6],116,{"id":216,"slug":2733,"title":2734,"dynasty":506,"author":637,"museum":610,"description":2735,"tags":2736,"thumbUrl":2737,"material":600,"size":2738,"collection":6,"collections":2739,"showCount":2731,"zanCount":535,"manualWeight":535,"mainColor":713},"jie-hua-lou-ge-2-yi-ming-218811","界画楼阁2","这幅画和另一幅亭子的边框画应该是同一个人在同一时间画的，但这幅画离建筑更近一些，这使它更富丽堂皇。在这幅山崖画中，笔触与马、夏相似，但有相同的魅力。",[512,513,543,820,516,545,518,523,546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4826f7703c0edc976ee25967d7cb579d.jpg","23.9x26.1",[6],{"id":217,"slug":2741,"title":1650,"dynasty":506,"author":702,"museum":1071,"description":2742,"tags":2743,"thumbUrl":2744,"material":2745,"size":2746,"collection":6,"collections":2747,"showCount":2748,"zanCount":535,"manualWeight":535,"mainColor":536},"shan-shui-tu-xia-gui-221507","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等",[511,512,653,518,614,523,616,706,2042,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab5472f3ba598d3a5927e16ecc79efb.jpg","绢本 水墨","25.9×34.3厘米",[6,631,565],115,{"id":218,"slug":2750,"title":2751,"dynasty":506,"author":2565,"museum":610,"description":2752,"tags":2753,"thumbUrl":2755,"material":516,"size":2756,"collection":6,"collections":2757,"showCount":2748,"zanCount":535,"manualWeight":535,"mainColor":713},"hu-xiang-xue-bu-tu-juan-zhao-ling-rang-221227","湖乡雪捕图卷","此作用淡墨晕染出江南雪后的萧寒清寂，以留白衬出遍野积雪，坡岸沙洲覆着薄雪，汀渚逶迤向远，尽显平远小景的幽旷淡荡。\n枯木虬枝错落，竹丛清劲挺拔，林间茅舍隐现，不见村人渔事，只留空寂的雪色天地。笔法温婉秀雅，淡墨轻勾慢染，不着浓艳重彩，将冬日湖乡的静谧空濛晕染开来，不取雄奇壮阔之景，只以细碎小景铺就幽寂诗意，把江南雪后的雅致清寒娓娓铺展，尽显淡远萧散的文人逸趣，是小景山水里的绝佳逸品。",[511,593,512,514,653,516,518,1198,1005,1744,616,1785,614,2754,925],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a702fe2585679e8059dde2bea057470.jpg","25.9x161.7",[6,631,565],{"id":219,"slug":2759,"title":2760,"dynasty":506,"author":637,"museum":610,"description":2761,"tags":2762,"thumbUrl":2763,"material":600,"size":2764,"collection":6,"collections":2765,"showCount":2748,"zanCount":1041,"manualWeight":535,"mainColor":536},"hua-hu-tu-yi-ming-218797","画虎图","这幅画上的签名是 袁桂珍画虎。在面板的左侧是 归真 的签名，似乎已经被改变。因此需要进一步研究，以确定这幅画是由 归真 还是 李 姓画家创作的。画中，旷野荒凉，松树茂盛，绿竹随风飘荡，溪水潺潺。中国的习俗是把鹰和虎都画在一起。'虎'字形容地势雄伟险要，'鹰'字指的是雄伟壮丽的人才展示。这是一种比喻方式，表达了一种优越的地位和挥舞大权的能力。对于古代画家来说，老虎并不像今天这样容易看到，这幅画对老虎的形态描绘得非常精致，是中国绘画史上最好的作品之一。画风的上限可能早于元代，但可能是南宋的作品。",[511,512,979,516,614,2686,845,523,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15501d2a2c11b6aebfe96cf28f72ce0c.jpg","25.6x26.6",[6],{"id":220,"slug":2767,"title":2768,"dynasty":506,"author":868,"museum":1071,"description":2769,"tags":2770,"thumbUrl":2771,"material":672,"size":2772,"collection":6,"collections":2773,"showCount":2774,"zanCount":535,"manualWeight":535,"mainColor":536},"lin-he-jing-mei-hua-tu-ma-yuan-221528","林和靖梅花图","孤山已无吟诗处，\n西湖仍有处处枝。\n疏影高士横卧看，\n红日半斜香风迟。",[511,512,513,653,516,517,614,544,518,767,1743,1411,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcda8f28fa7dbe93178e2179ff242a9b.jpg","24.5×38.6cm",[6,602,565],114,{"id":221,"slug":2776,"title":2777,"dynasty":506,"author":957,"museum":1071,"description":2778,"tags":2779,"thumbUrl":2780,"material":2781,"size":2782,"collection":6,"collections":2783,"showCount":2784,"zanCount":1029,"manualWeight":535,"mainColor":536},"zhu-chong-tu-zhou-zhao-chang-221298","竹虫图轴","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的“没骨”画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[511,593,512,513,594,517,516,640,721,690,692,735,980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caf6fb1a56d046b3a504e74b2fa9ef8.jpg","轴，绢本设色","纵99 4厘米，横54 2厘米",[6,532,1492],113,{"id":222,"slug":2786,"title":2787,"dynasty":506,"author":2788,"museum":2789,"description":2790,"tags":2791,"thumbUrl":2792,"material":600,"size":2793,"collection":6,"collections":2794,"showCount":2784,"zanCount":1029,"manualWeight":535,"mainColor":536},"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","日本东京国立博物馆","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。",[511,593,512,513,594,516,517,1111,544,2687],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3ad92414ef1bcdc9e61d67eae92da0.jpg","118.8×51.7cm",[6,531],{"id":223,"slug":2796,"title":2797,"dynasty":506,"author":571,"museum":610,"description":2798,"tags":2799,"thumbUrl":2801,"material":528,"size":2802,"collection":6,"collections":2803,"showCount":2804,"zanCount":535,"manualWeight":535,"mainColor":536},"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 五字，左下角钤“宣和殿制”印并“天下一人”画押。\n这是一幅描绘冬日雪景的山水画。画面起首远山平缓，进入中段以后，山势渐渐高耸，转而趋于平缓，整幅画面富有高低错落的节奏感，使观者仿佛身临其境，坐于舟船中，沿江眺望窗外时时变换的景色，充分展示了长卷绘画的特点和魅力。全卷用笔细劲，笔法流畅，意境肃穆凝重，代表了宋徽宗时期画院的艺术水平。",[511,514,517,614,653,516,834,809,642,518,705,2800,523,616,1664],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1036396b87433672d8f6f1cab8e3a99f.jpg","纵30.3厘米，横190.8厘米",[6,631,565],111,{"id":224,"slug":2806,"title":1496,"dynasty":506,"author":637,"museum":610,"description":2807,"tags":2808,"thumbUrl":2809,"material":600,"size":2810,"collection":6,"collections":2811,"showCount":2804,"zanCount":1117,"manualWeight":535,"mainColor":713},"shan-ju-tu-yi-ming-218814","这幅画描绘了一个僻静的山间小屋，村子里的一家人正在享受着秋冬季节树上落下的叶子。这幅画表现的是山中民居的一角，没有任何细致的景物，但笔触轻盈，缺乏宋代的气氛。",[511,512,653,518,614,1005,1410,753,1502,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2924421e597798386d1aab5272a02a28.jpg","25.1x26.4",[6],{"id":225,"slug":2813,"title":2814,"dynasty":506,"author":2815,"museum":2816,"description":2817,"tags":2818,"thumbUrl":2821,"material":672,"size":2822,"collection":6,"collections":2823,"showCount":2824,"zanCount":1041,"manualWeight":535,"mainColor":536},"wen-ji-gui-han-tu-zhang-yu-221678","文姬归汉图","张瑀","吉林省博物院","全卷共画十二人，前有胡服官员执旗骑马引道，中间是头戴貂冠、身着华丽胡装、骑着骏马的蔡文姬，马前有两人挽缰，后面还有官员护送，并有猎犬、小驹、鹰相随。画面上风沙漫天、人骑错落有致，互相呼应，神情逼真，塞北风光尽现纸上。\n此图所绘是文姬归汉途中的情景。前端一汉人骑老马引路，肩扛圆月旗，躬背缩首，迎风沙而行，侧后方有一马驹紧紧相随。稍后数步便是画卷中心人物蔡文姬，头戴貂冠，身着华丽胡装， 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。",[511,593,512,514,833,517,544,549,2819,578,642,2820],"狗","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3649796ffeb0f1854f87bb5103aa850a.jpg","纵29cm，横129cm",[6,531,532],109,{"id":226,"slug":2826,"title":1407,"dynasty":506,"author":650,"museum":610,"description":2827,"tags":2828,"thumbUrl":2829,"material":849,"size":2830,"collection":6,"collections":2831,"showCount":2832,"zanCount":535,"manualWeight":535,"mainColor":536},"xue-jing-shan-shui-tu-guo-xi-288542","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[511,593,512,518,653,1198,546,547,705,545,1005,616,1500,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379281940bfa667cffd341b05cc.jpg","87.7x150.9",[6],108,{"id":227,"slug":2834,"title":2835,"dynasty":506,"author":571,"museum":610,"description":2836,"tags":2837,"thumbUrl":2839,"material":600,"size":2840,"collection":602,"collections":2841,"showCount":2832,"zanCount":535,"manualWeight":535,"mainColor":536},"la-mei-shan-qin-tu-zhao-ji-219243","蜡梅山禽图","画中有蜡梅一枝，自右下方向左上方挺生，枝细瘦，却用双线勾成，并略加晕染，勾出结节。蜡梅花用勾线填色法画成，疏朗地缀于枝头。一对白头翁安逸地栖于枝上，形态各异，用笔精炼准确，形象生动。",[511,512,513,594,517,516,640,767,910,2838,642,722],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e78e323c8fc6210fddf024e14353a71.jpg","纵83.3横53.3厘米",[602,6,532],{"id":228,"slug":2843,"title":2564,"dynasty":506,"author":2844,"museum":1673,"description":2845,"tags":2846,"thumbUrl":2847,"material":600,"size":2848,"collection":6,"collections":2849,"showCount":2832,"zanCount":535,"manualWeight":535,"mainColor":713},"yue-xia-yu-she-tu-gu-liang-218643","顾亮","皎洁的月光下，三艘渔船停泊在湖岸的左右两边，右边船上的渔民坐在船中央仰望天空，岸边的树木郁郁葱葱，一间小屋躺在树下，四周有围栏，这里安静祥和。",[511,512,593,513,518,516,1743,1392,705,873,616,547,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bd989e6eda292aac4a6ea806d7f79a.jpg","25.7x25.4",[6],{"id":229,"slug":2851,"title":1650,"dynasty":506,"author":1001,"museum":764,"description":2361,"tags":2852,"thumbUrl":2853,"material":516,"size":861,"collection":6,"collections":2854,"showCount":2855,"zanCount":535,"manualWeight":535,"mainColor":536},"shan-shui-tu-li-cheng-221441",[511,512,513,593,653,614,516,518,519,546,547,705,523,656,545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[6,631,565],107,{"id":230,"slug":2857,"title":2858,"dynasty":506,"author":571,"museum":718,"description":2859,"tags":2860,"thumbUrl":2861,"material":672,"size":2862,"collection":6,"collections":2863,"showCount":2855,"zanCount":535,"manualWeight":535,"mainColor":713},"zhu-qin-tu-quan-juan-zhao-ji-221343","竹禽图全卷","这幅《竹禽图》横55.4厘米，纵33.8厘米。宋人花鸟画都是以小品画见长，又以精细而见功。此画也不例外。在粗略的崖石间伸出两枝翠竹，一上一下形成一个侧着的“V”字。竹枝和竹叶都没有勾勒，此画法与赵佶的《芙蓉锦鸡图》等以往的画作有所不同。翠竹下面的还有一丛荆棘。一上一下的竹枝上停着两只小鸟。下面的那只鸟侧对着人们，它仰着头在看上面的那只鸟。上面的那只鸟腹部正对着人们，头向右侧着，它回望着下面的那只鸟。两小鸟目光相对，互相顾盼，仿佛就差嘴巴一张一合鸣叫的瞬间了。这两只小鸟是画面的主角。看着它们就使人想起杜甫的那句“两个黄鹂鸣翠柳”。不妨换一下，“两只小鸟鸣翠竹”。\n全画竹草崖石用写意画的方法处理，两小鸟用工笔画的方法绘制。粗细方法互助也显示了徽宗的绘画技艺的高妙。画卷后面有皇室后裔赵孟頫的题跋：“道君聪明，天纵其于绘事，尤极神妙。动植物无不曲尽其性，殆若天地生成，非人力所能及。此卷不用描墨，粉彩自然，宜为世宝。然丛尔小禽蒙圣人所录，抑何幸耶。”",[511,512,513,514,517,516,722,642,640,721,1049,910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942d16befcc838e9850d9ab89e536a94.jpg","画心纵33.8厘米，横55.5厘米",[6,1492],{"id":231,"slug":2865,"title":2866,"dynasty":506,"author":650,"museum":610,"description":2867,"tags":2868,"thumbUrl":2870,"material":628,"size":2871,"collection":6,"collections":2872,"showCount":2855,"zanCount":1117,"manualWeight":535,"mainColor":536},"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[511,512,513,514,518,614,653,655,523,1005,546,547,705,618,559,895,2869,524],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[6,631,565],{"id":232,"slug":2874,"title":2875,"dynasty":506,"author":947,"museum":2876,"description":2877,"tags":2878,"thumbUrl":2879,"material":672,"size":2880,"collection":6,"collections":2881,"showCount":567,"zanCount":535,"manualWeight":535,"mainColor":536},"xue-shan-xing-lv-tu-liu-song-nian-223667","雪山行旅图","四川省博物馆","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[511,512,593,513,594,653,516,518,2697,616,1005,546,547,871,614,517,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[6,631],{"id":233,"slug":2883,"title":1981,"dynasty":506,"author":637,"museum":718,"description":2884,"tags":2885,"thumbUrl":2887,"material":2888,"size":2889,"collection":6,"collections":2890,"showCount":567,"zanCount":1117,"manualWeight":535,"mainColor":536},"guan-pu-tu-yi-ming-223647","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[511,512,513,1197,516,614,616,617,706,885,547,2886,873,546],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[6,631],{"id":234,"slug":2892,"title":2893,"dynasty":506,"author":868,"museum":1071,"description":2894,"tags":2895,"thumbUrl":2897,"material":1803,"size":2898,"collection":6,"collections":2899,"showCount":567,"zanCount":535,"manualWeight":535,"mainColor":536},"dong-shan-du-shui-tu-ma-yuan-221667","洞山渡水图","为宋代画家马远绘制。描绘的是曹洞宗祖师洞山良价在云游途中，涉水之时见到自己水中之影而恍然大悟的一刹那，是为数不多的马远的真迹之一。原藏于圆明园，1860年火烧圆明园后被掠夺并流失海外，现收藏于日本东京国立博物馆。图上有南宋皇帝宋理宗的皇后杨妹子之题字。款识：携藤拔草胆风，未免登山涉水，不知触处皆渠，一见低头自喜。本与天龙寺所藏的云门大师图、清凉法眼禅师图同为描绘禅宗法师的画作之一。",[511,593,512,513,594,653,516,544,518,547,1049,2896,614,834,642],"藤杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e95161b48bfccbab4bee9ff42ba247b.jpg","纵77.6厘米，横33厘米",[6,631],{"id":235,"slug":2901,"title":2432,"dynasty":506,"author":868,"museum":610,"description":2902,"tags":2903,"thumbUrl":2904,"material":516,"size":2905,"collection":6,"collections":2906,"showCount":567,"zanCount":535,"manualWeight":535,"mainColor":536},"hua-xue-jing-zhou-ma-yuan-221533","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[511,512,513,594,517,614,516,518,1198,706,1035,549,544,546,617,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[6,631,532],{"id":236,"slug":2908,"title":2909,"dynasty":506,"author":1365,"museum":508,"description":2910,"tags":2911,"thumbUrl":2921,"material":694,"size":2922,"collection":6,"collections":2923,"showCount":567,"zanCount":1041,"manualWeight":535,"mainColor":713},"shui-mo-xie-sheng-tu-mu-xi-221500","水墨写生图","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。\n沈周卷后题识称：“不施色彩，任意潑墨，儼然若生。回視黃筌、舜舉之流，風斯下矣。”本幅无作者款印，沈周定为“真宋物也”。徐邦达先生认为，沈周题跋中“牧”字有挖改痕迹，是“似牧非牧之画”。",[511,512,593,513,514,653,2627,750,640,2912,2913,2914,2915,2916,768,2917,2918,2919,2920,781,909,911,1604,980],"蔬果","水族","鱼","虾","蟹","燕子","麻雀","萝卜","白菜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf031a51ea46b7afc61efea8475b520.jpg","纵47.3厘米，横814．1厘米",[6,602,565],{"id":237,"slug":2925,"title":2926,"dynasty":506,"author":1235,"museum":764,"description":2927,"tags":2928,"thumbUrl":2929,"material":600,"size":2930,"collection":6,"collections":2931,"showCount":567,"zanCount":535,"manualWeight":535,"mainColor":536},"song-yin-xian-zuo-tu-li-song-219006","松荫闲坐图","苍松覆荫，烟岚轻笼远山，黛色隐于薄雾间。近树虬枝盘曲，叶色深浓如墨，似将尘嚣隔绝。林间空地上，一人闲坐石畔，或凝思或望远，身旁童子悄然侍立，动静相衬，幽趣自生。\n\n笔墨简淡却意韵悠长：山石以斧劈皴略施渲染，显峻秀之态；树木枝干苍劲，线条灵动如舞。整幅画于静谧中藏生机，简远中见雅致，恰是宋人山水小品里“天人合一”的写照——将文人寄情林泉、超然物外的心绪，融于每一笔墨、每一处留白，读来如沐清风，心向往之。",[511,512,513,594,653,614,518,885,872,873,544,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70413899e21118c8e47102d3e86827c9.jpg","118x57",[6],{"id":238,"slug":2933,"title":2934,"dynasty":506,"author":571,"museum":610,"description":2935,"tags":2936,"thumbUrl":2939,"material":628,"size":2940,"collection":6,"collections":2941,"showCount":2942,"zanCount":1117,"manualWeight":535,"mainColor":536},"la-mei-shan-qin-tu-zhou-zhao-ji-221344","腊梅山禽图轴","画面构图十分简约，两丛开花的萱草，一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁。\n画家笔墨细致。萱草、梅树、花朵的轮廓，都用工细线条勾勒，树杆的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。\n两只挤在一起的白头翁最为传神，鸟头都朝向左前方，呼应着左边的留白。身体成交叉向，两只鸟眼圆溜溜，显得机警而敏感，似乎一有风吹草动，随时就要腾空而去。",[511,512,593,594,517,516,640,767,2937,2938,642,722,834],"兰","山禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbda2c89bcfa6df1b60effce2a1968.jpg","82.8x52.8cm",[6,602,532],105,{"id":239,"slug":2944,"title":2945,"dynasty":506,"author":868,"museum":610,"description":2946,"tags":2947,"thumbUrl":2953,"material":2954,"size":2955,"collection":6,"collections":2956,"showCount":2957,"zanCount":535,"manualWeight":535,"mainColor":536},"han-yan-ji-xue-tu-zhou-ma-yuan-221518","寒岩积雪图轴","季节的变化，为大自然改换面貌、增添新色，冬天时万物凋零，呈现一片幽寂的景象，最适宜入画。画中白雪覆盖了整个溪岸与山峰。长松挺立在庭园中央，屋宇周围处梅花绽开，在静谧的气氛中增添生气。屋内坐着两位秉烛谈心的文人，微弱的烛光，也为幽寂昏暗的景色带来丝丝地暖意。",[511,593,512,513,594,653,516,614,518,1743,2948,2949,885,1005,544,2950,656,2951,2952],"寒岩","积雪","轩","湖面","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[6,631,565],104,{"id":240,"slug":2959,"title":2960,"dynasty":506,"author":1631,"museum":1071,"description":2961,"tags":2962,"thumbUrl":2964,"material":672,"size":2965,"collection":6,"collections":2966,"showCount":2957,"zanCount":1088,"manualWeight":535,"mainColor":536},"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。",[511,593,512,517,516,544,2165,2963,523,798],"傀儡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128d6f14c797843ff768db6c9441c208.jpg","23.6×23.2cm",[6,531,532],{"id":241,"slug":2968,"title":2969,"dynasty":506,"author":868,"museum":508,"description":1799,"tags":2970,"thumbUrl":2971,"material":628,"size":2972,"collection":6,"collections":2973,"showCount":2974,"zanCount":1117,"manualWeight":535,"mainColor":536},"kong-qiu-xiang-tu-ye-ma-yuan-221516","孔丘像图页",[511,512,513,820,544,833,516,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140533cc0f37b2814b2ddd30cf0df06f.jpg","27.7x23.2",[6,531,532],103,{"id":242,"slug":2976,"title":2977,"dynasty":506,"author":609,"museum":610,"description":2978,"tags":2979,"thumbUrl":2983,"material":628,"size":2984,"collection":6,"collections":2985,"showCount":2974,"zanCount":535,"manualWeight":535,"mainColor":536},"qiu-lin-fei-pu-zhou-fan-kuan-221393","秋林飞瀑轴","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[511,593,512,513,594,614,653,518,2980,2981,656,619,523,2982],"秋林","飞瀑","山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","纵：181厘米，横：99.5厘米",[6,631,565],{"id":243,"slug":2987,"title":2988,"dynasty":506,"author":2989,"museum":610,"description":2990,"tags":2991,"thumbUrl":2993,"material":600,"size":2994,"collection":6,"collections":2995,"showCount":2974,"zanCount":535,"manualWeight":535,"mainColor":536},"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[511,593,512,513,514,516,517,518,546,547,550,523,1832,2992,596,706],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[6,631],{"id":244,"slug":2997,"title":2998,"dynasty":506,"author":571,"museum":610,"description":2999,"tags":3000,"thumbUrl":3002,"material":1113,"size":3003,"collection":6,"collections":3004,"showCount":2974,"zanCount":535,"manualWeight":535,"mainColor":536},"hua-ying-tu-zhao-ji-218788","画鹰图","该图描绘了一只雄鹰威风凛凛地站在一棵枯树的树干上，在孔武有力的鹰嘴帮助下，仰头梳理自己的羽毛。",[511,512,513,517,653,640,3001,656],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff856060d6a30964688536f3e2943de33.jpg","88.8x43",[6],{"id":245,"slug":3006,"title":3007,"dynasty":506,"author":3008,"museum":747,"description":3009,"tags":3010,"thumbUrl":3012,"material":600,"size":3013,"collection":6,"collections":3014,"showCount":2974,"zanCount":1041,"manualWeight":535,"mainColor":713},"chi-bi-tu-yang-shi-xian-218561","赤壁图","杨士贤","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[511,512,513,514,653,516,614,518,705,1743,1552,3011,523,722,834,642],"风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","30.9x128.8cm",[6,631],{"id":246,"slug":3016,"title":3017,"dynasty":506,"author":637,"museum":610,"description":3018,"tags":3019,"thumbUrl":3020,"material":600,"size":3021,"collection":6,"collections":3022,"showCount":3023,"zanCount":1117,"manualWeight":535,"mainColor":713},"xian-guan-nong-hua-tu-yi-ming-218883","仙馆秾花图","亭台楼阁错落有致，木构窗棂细密精巧，飞檐翘角带着宋式建筑的清雅韵味。阁内数人或对坐清谈，或凭栏远眺，衣袂轻扬间透着闲适散淡；阶下一人缓步小径，似在赏玩周遭景致。苍松倚石而立，枝叶遒劲，庭院间花木点缀，山石错落，笔墨细腻却不失灵动，悄然铺展宋人的雅致生活图景。画面静谧温润，细节处见匠心，仿佛能窥见千年前那方庭院里的悠然时光，尽显宋代文人雅士的生活意趣与审美追求。",[511,512,516,543,517,820,544,545,523,735,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973f9d56457127b7ab4280a85457e24c.jpg","26.4x27.2",[6],102,{"id":247,"slug":3025,"title":3026,"dynasty":506,"author":2456,"museum":610,"description":3027,"tags":3028,"thumbUrl":3029,"material":1113,"size":3030,"collection":6,"collections":3031,"showCount":3023,"zanCount":1041,"manualWeight":535,"mainColor":713},"yun-shan-de-yi-tu-mi-you-ren-218641","云山得意图","米友仁（公元1086—1165年），南宋书画家。字元晖，米芾长子。徽宗宣和四年应选入掌画学, 南渡后官兵部侍郎、敷文阁直学上。米友仁受家庭的熏陶，能书善画，长于山水。他受文人画主张的影响，所作山水“点滴烟云，草草而成，而不失天真”，与当时流行的山水画风迥异其趣。其画法被后世称为“米点山水”，予元明以来的山水画创作以相当的影响。传世作品有《潇湘奇观图》卷、 《云山得意图》卷。",[511,512,513,514,653,614,722,642,518,846,1410,753],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米",[6,3032],"书法精选",{"id":248,"slug":3034,"title":3035,"dynasty":506,"author":637,"museum":747,"description":3036,"tags":3037,"thumbUrl":3042,"material":600,"size":3043,"collection":6,"collections":3044,"showCount":3045,"zanCount":1041,"manualWeight":535,"mainColor":536},"gui-qu-lai-ci-shu-hua-tu-yi-ming-218506","归去来辞书画图","在画卷中，最后两部分的文字和图画已经消失了，每幅画的顶部和底部都被切掉了几厘米。在1920年从日本收购之前，这幅画一直被认为是后来的复制品，启功、傅斯年等专家也证实，这幅画的书法是南宋孝宗所写，画风也与孝宗的风格一致。这两个缺失的部分可以从弗里尔收藏的陶渊明的早期画作中重现，归功于李公麟，但两者在手法上有很大不同，前者更古朴，没有作者气质，而后者则更精致，更漂亮。",[511,512,513,514,516,517,722,544,518,706,546,547,705,523,545,3038,3039,3040,3041],"笔","墨","纸","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04eb7a69d7e3b717e4e2e268521f93a7.jpg","30x438.6",[6],101,{"id":249,"slug":3047,"title":3048,"dynasty":506,"author":702,"museum":718,"description":3049,"tags":3050,"thumbUrl":3051,"material":2077,"size":3052,"collection":6,"collections":3053,"showCount":3054,"zanCount":535,"manualWeight":535,"mainColor":536},"xi-kou-chui-diao-tu-xia-gui-221659","溪口垂钓图","夏圭，生卒年不详。南宋画家。字禹玉，临安（今浙江杭州）人。早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[511,512,513,653,518,547,705,1164,1392,873,1049,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","23.2x23.8厘米",[6,631,532],100,{"id":250,"slug":3056,"title":1981,"dynasty":506,"author":868,"museum":718,"description":3057,"tags":3058,"thumbUrl":3059,"material":672,"size":3060,"collection":6,"collections":3061,"showCount":3054,"zanCount":1117,"manualWeight":535,"mainColor":713},"guan-pu-tu-ma-yuan-221537","在中国历代传统绘画作品中，有相当数量的佳作，在画面风格和审美意趣上都具有某种明确的思想倾向，而这种倾向又多集中体现在对儒、道、释文化的承载上，比如宋代山水画的绘画形式和意境传达，除了受宋代理学的影响外，又常和老庄思想及佛教文化中的出世情怀相关联，但与一般意义的宗教绘画教化功用又有所不同，该绘画作品往往会透露出作者内心的情感思绪，特别是对出世情怀的向往，从而使画面呈现出独特的风格特点和意境营造，这类作品在以后的历史阶段着实影响了不少画家，南宋的马远就是这样一个例子。",[511,512,513,979,518,653,614,617,795,616,544,547,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fef887806591c0a160593aa1c4c9e00.jpg","30×30cm",[6,631,532],{"id":251,"slug":3063,"title":3064,"dynasty":506,"author":2683,"museum":610,"description":3065,"tags":3066,"thumbUrl":3070,"material":3071,"size":3072,"collection":6,"collections":3073,"showCount":3054,"zanCount":1041,"manualWeight":535,"mainColor":713},"song-ke-si-qun-xian-gong-shou-tu-zhou-song-ren-221240","宋缂丝群仙拱寿图轴","素地设色织。寿星骑鹤从天而来，八仙拱手翘首观望。\n画面极小，但织工细微精致，人物构图愈小愈难制作，但此幅却不受这样的限制，虽然人物全挤在小小的空间中，但无论是动作、神态都十分写实自然，尤其以八仙的面部表情最为生动，将八人不同的特性表露无遗，尤其须眉等处都用针法勾线，更增添几分写实活泼的面貌。",[511,3067,594,516,544,3068,642,1111,3069],"缂丝","神仙","丝织工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf97f2b70cc41bd7d15d665e12e812cc.jpg","图轴，绢本","纵：41.3 厘米，横：23.8 厘米",[6,531,532],{"id":252,"slug":3075,"title":3076,"dynasty":506,"author":3077,"museum":610,"description":3078,"tags":3079,"thumbUrl":3086,"material":600,"size":3087,"collection":602,"collections":3088,"showCount":3054,"zanCount":1117,"manualWeight":535,"mainColor":713},"xian-yan-yuan-lu-tu-ma-shi-rong-219202","仙岩猿鹿图","马世荣","岩岫间古木扶疏，虬枝盘曲，叶态丰茂，翠影婆娑。猿猱或攀附枝柯，或隐于叶隙，姿态灵动；麋鹿潜身丛筱，茸角微露，神情悠然。山石皴法细腻，纹理毕现，苔点繁密如星，更添苍润之气。设色古雅沉静，赭石为底衬出林木葱郁，墨色浓淡相宜，线条细劲却不失婉转。整幅画将仙岩幽邃与生灵自在融于一体，笔墨工致中见生机，意境空灵里藏野趣，仿佛能闻林间风声、猿啼鹿鸣，尽显宋人对自然生灵的细腻观照与诗意捕捉。",[511,512,979,516,517,845,2104,2105,656,523,616,3080,3081,2628,3082,3083,3084,3085],"宋代绘画","花鸟兽类","自然景物","山石景观","枝叶树木","动物形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022e7f9aab8d54c6068b8efa4d35a5e4.jpg","26.6x26.6cm",[602,6],{"id":253,"slug":3090,"title":3091,"dynasty":506,"author":1235,"museum":610,"description":3092,"tags":3093,"thumbUrl":3095,"material":600,"size":3096,"collection":6,"collections":3097,"showCount":3054,"zanCount":535,"manualWeight":535,"mainColor":536},"shui-dian-zhao-liang-tu-li-song-218974","水殿招凉图","画中有一道门，将湖水引入运河，流向宫廷花园。有顶的廊桥建在池塘和沼泽上，下面是底，上面是一排叉柱，柱子上有锅炉，锅炉之间有梁，这对研究宋代的桥梁和水闸是很有价值的资料。碑文上写着 李部长 几个字，从画风上看，应该是李松的作品。",[511,593,512,979,543,516,544,545,3094,547,1843,927],"廊桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666a148dad7f30d97877d2b6a766c63a.jpg","24.5x25.4",[6],{"id":254,"slug":3099,"title":3100,"dynasty":506,"author":2565,"museum":610,"description":3101,"tags":3102,"thumbUrl":3104,"material":600,"size":3105,"collection":6,"collections":3106,"showCount":3054,"zanCount":535,"manualWeight":535,"mainColor":536},"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[511,512,513,979,653,518,517,3103,2585,706,522,753,895,1677,795,544],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[6,631],{"id":255,"slug":3108,"title":3109,"dynasty":506,"author":1022,"museum":2360,"description":3110,"tags":3111,"thumbUrl":3112,"material":628,"size":3113,"collection":6,"collections":3114,"showCount":3115,"zanCount":535,"manualWeight":535,"mainColor":536},"zhong-li-fang-dao-tu-li-zhou-jing-hao-226547","钟离访道图立轴","荆浩（约850-？），字浩然，号洪谷子，山西沁水人，五代后梁画家，尊为北方山水画派之祖。因避战乱，常年隐居太行山 。\n擅画山水，师从张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。\n作品还有《匡庐图》《雪景山水图》等。",[511,512,513,594,518,653,614,655,523,617,526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[6,631,565],97,{"id":256,"slug":3117,"title":790,"dynasty":506,"author":637,"museum":2457,"description":3118,"tags":3119,"thumbUrl":3120,"material":600,"size":3121,"collection":6,"collections":3122,"showCount":3123,"zanCount":1117,"manualWeight":535,"mainColor":536},"mu-niu-tu-yi-ming-215141","柳树下母子牛与牧童幽然自得，老牛正舔小水牛，使人很自然想起舔犊情深的成语。一牧童依坐在柳树下打盹欲睡，远处池塘水波拂动，柳树及所有青草一齐飘拂一边，显然是春风和熙的春天情境。",[511,512,517,516,544,550,795,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb029c7a8756d57f421eeee8d256b9e45.jpg","24.7x25.6cm",[6,602],96,{"id":257,"slug":3125,"title":3126,"dynasty":506,"author":3127,"museum":718,"description":3128,"tags":3129,"thumbUrl":3130,"material":516,"size":3131,"collection":6,"collections":3132,"showCount":3133,"zanCount":535,"manualWeight":535,"mainColor":536},"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[511,512,593,514,516,614,518,885,706,549,544,895,526,617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[6,631,565],95,{"id":258,"slug":3135,"title":3136,"dynasty":506,"author":1376,"museum":764,"description":3137,"tags":3138,"thumbUrl":3139,"material":628,"size":3140,"collection":6,"collections":3141,"showCount":3142,"zanCount":535,"manualWeight":535,"mainColor":536},"xie-sheng-cao-chong-tu-juan-cui-bai-221442","写生草虫图卷","崔白，字子西，北宋濠梁人，杰出的花鸟画家。北宋中期翰林图画院画家，擅长画花鸟，所做动物在写生基础上概括，形象生动活泼。他不仅擅画花竹翎毛、败荷凫雁，而且画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生，所画鹅、蝉、雀堪称三绝。他一改百余年画风，成为北宋画坛革新主将，数百年来颇受画坛尊祟。\n崔白的一生中大部分时间只是个民间画工，生活颠沛流离，后来有很多人都为他的不得赏识打抱不平。像米芾在他的《画史》中说，在嘉年间（1056—1063年），公卿贵族们的收藏竞相一味求古，多是阎立本、韩滉一类画家的赝品，而对于像崔白这么优秀的当代画家的画作，他们却熟视无睹。",[511,512,513,514,517,516,2627,2727,690,911,909],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80e1171b5cd251561cf91850b031251.jpg","26×150",[6,602,532],94,{"id":259,"slug":3144,"title":3145,"dynasty":506,"author":3146,"museum":3147,"description":3148,"tags":3149,"thumbUrl":3150,"material":600,"size":3151,"collection":6,"collections":3152,"showCount":3142,"zanCount":535,"manualWeight":535,"mainColor":536},"cang-ying-bu-zhi-tu-huang-ju-shi-219105","苍鹰捕雉图","黄居宩","圣路易斯艺术博物馆","画在山坡上，青竹高大，桃枝顶绿叶萌芽，桃花盛开； 下方，一只老鹰将野鸡按在脚下，野鸡五颜六色的羽毛在被捕获后瞬间炸开。 ，张开的喙似乎受到惊吓并尖叫着求救。",[511,593,512,513,594,517,516,640,767,721,1049,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[6,602],{"id":260,"slug":3154,"title":3155,"dynasty":506,"author":637,"museum":764,"description":3156,"tags":3157,"thumbUrl":3158,"material":1113,"size":3159,"collection":631,"collections":3160,"showCount":3142,"zanCount":1041,"manualWeight":535,"mainColor":854},"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[512,513,979,517,653,516,547,596,523,1049,640,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[631,6],{"id":261,"slug":3162,"title":3163,"dynasty":506,"author":882,"museum":988,"description":3164,"tags":3165,"thumbUrl":3166,"material":628,"size":3167,"collection":6,"collections":3168,"showCount":3169,"zanCount":1117,"manualWeight":535,"mainColor":536},"hao-liang-qiu-shui-tu-li-tang-221578","濠梁秋水图","《濠梁秋水图》是宋代画家李唐创作的一幅中国画，描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。\n《濠梁秋水图》的创作，似乎正处于其风格转变过程中的后期，是南宋新风格的开始，构图局部取景的方式已有所体现；而《采薇图》只不过是把要表现的物象更加拉近了而已。皴法上，此图出现了大量的侧锋用笔，洗练、刚劲，但笔触略小，石质坚实，这是大斧劈皴的雏形。到了《采薇图》，则变为阔笔挥洒，更加简略，充满速度和力感，转变体现得更加明显了。还有《采薇图》的远景部分，仿佛弥漫着一层雾气，树石的画法也是水气淋漓，这可能与李唐已久居江南有关。《濠梁秋水图》则显得稍有不同，透露出一种浑厚深沉的山水景象。\n从用笔、风格、水准等方面来看，《濠梁秋水图》当属李唐从《万壑松风图》到《采薇图》之间的过渡作品，仿佛是他在为北宋风格向南宋风格的转变做精巧的注释一般，因而显示出此作珍贵的历史价值和学术价值。",[511,512,513,514,518,653,614,544,523,656,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606bd8755e55a8ff1f77d67242cb344.jpg","纵24厘米，横114.5厘米",[6,631,532],93,{"id":262,"slug":3171,"title":3172,"dynasty":506,"author":571,"museum":508,"description":3173,"tags":3174,"thumbUrl":3178,"material":1337,"size":3179,"collection":6,"collections":3180,"showCount":3169,"zanCount":535,"manualWeight":535,"mainColor":713},"pi-pa-shan-niao-tu-ye-zhao-ji-221333","枇杷山鸟图页","本幅款押“天下一人”。钤“御书”朱文葫芦形印一方。裱边题签：“宋宣和枇杷山鸟”。鉴藏印钤“宣统御览之宝”，中缝钤“八征耄念之宝”、“太上皇帝之宝”朱文印各一方。\n图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[511,512,513,979,653,517,3175,640,821,3176,3177,722,642],"没骨","山雀","凤蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc63c4273f7440564bd9b6a15e123f.jpg","纵22.6厘米，横24.5厘米",[6,602,532],{"id":263,"slug":3182,"title":3183,"dynasty":506,"author":957,"museum":590,"description":1711,"tags":3184,"thumbUrl":3186,"material":3187,"size":3188,"collection":6,"collections":3189,"showCount":3169,"zanCount":1117,"manualWeight":535,"mainColor":536},"xiao-niao-tu-zhao-chang-221301","小鸟图",[511,512,513,517,516,640,3185,721,1049,2710],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eb5c32590fc804144ae8ebd0bd02d8d.jpg","绢本淡设色","纵23厘米，横30厘米",[6,602,532],{"id":264,"slug":3191,"title":3192,"dynasty":506,"author":609,"museum":764,"description":1408,"tags":3193,"thumbUrl":3194,"material":516,"size":3195,"collection":6,"collections":3196,"showCount":3197,"zanCount":1117,"manualWeight":535,"mainColor":536},"qiu-yi-tu-li-shan-fan-kuan-221431","秋意图立軕",[511,512,513,594,516,518,614,616,523,547,2050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3263c8c2537dc9bc31283a3c58aea08c.jpg","50.8x36.5",[6,631,532],92,{"id":265,"slug":3199,"title":3200,"dynasty":506,"author":1107,"museum":508,"description":3201,"tags":3202,"thumbUrl":3203,"material":628,"size":3204,"collection":6,"collections":3205,"showCount":3197,"zanCount":1117,"manualWeight":535,"mainColor":536},"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。",[511,593,512,513,514,576,833,549,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc407cbff0db594e50f3614e4d2025047.jpg","纵46.2厘米，横429.8厘米。",[6,531,565],{"id":266,"slug":3207,"title":3208,"dynasty":506,"author":882,"museum":610,"description":3209,"tags":3210,"thumbUrl":3211,"material":628,"size":3212,"collection":6,"collections":3213,"showCount":3214,"zanCount":1088,"manualWeight":535,"mainColor":536},"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。",[511,593,512,513,517,516,544,1005,797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bb7dc93dedae7fb05e015e0366dc9fc.jpg","纵68．8厘米，横58．7厘米",[6,531,532],91,{"id":267,"slug":3216,"title":3217,"dynasty":506,"author":868,"museum":610,"description":3218,"tags":3219,"thumbUrl":3220,"material":672,"size":3221,"collection":6,"collections":3222,"showCount":3214,"zanCount":535,"manualWeight":535,"mainColor":536},"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[511,512,513,594,516,543,517,518,545,544,885,722,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[6,631,565],{"id":268,"slug":3224,"title":3225,"dynasty":506,"author":3226,"museum":610,"description":3227,"tags":3228,"thumbUrl":3229,"material":600,"size":3230,"collection":631,"collections":3231,"showCount":3214,"zanCount":1029,"manualWeight":535,"mainColor":536},"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[512,513,594,516,614,834,722,518,545,523,616,547,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[631,6],{"id":269,"slug":3233,"title":3234,"dynasty":506,"author":746,"museum":1540,"description":3235,"tags":3236,"thumbUrl":3238,"material":1337,"size":3239,"collection":6,"collections":3240,"showCount":3241,"zanCount":535,"manualWeight":535,"mainColor":536},"mo-long-juan-chen-rong-221459","墨龙卷","此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[511,512,653,514,752,846,753,750,3237],"泼墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd432ff264797bbb1461c11c9690c404d.jpg","185.8厘米×106.1厘米",[6,602,565],90,{"id":270,"slug":3243,"title":3244,"dynasty":506,"author":2706,"museum":508,"description":3245,"tags":3246,"thumbUrl":3248,"material":528,"size":3249,"collection":6,"collections":3250,"showCount":3241,"zanCount":1117,"manualWeight":535,"mainColor":536},"si-yang-tu-chen-ju-zhong-221455","四羊图","这是南宋画家陈居中创作的一幅极为生动的动物画。在很小的尺幅上，画家选取了一个日常的景象，在村郊野外的小土坡上，牧羊人正在小憩，两只白色的小山羊打闹嬉戏，一只似是占到了便宜，惹得另一只发火地低头撞来，另一只毛色略重的老羊似欲走来制止，又一只则立于土坡之上，沉静地俯视着下面所发生的一切。四只羊的组合仿佛是一个家庭，母亲正在看管着孩子，父亲则高高在上，保持着一家之主的威严，画家将动物之间的情爱描写得十分真实，又富有人世的生活意趣。在置景上力求简单明快，土坡只以墨笔勾出轮廓，略加擦染，几株小草与荆棘也安排得很疏阔，画面左上角画一株老干，侧生一棵新枝。画家亦注重细节的刻画，如立于树干上的两只小山雀，俯首观看，形态生动。全图无论是写物、写景，皆突出了一个“动”字，生活气息极为浓厚。\n图中山羊的形态描绘准确，体现了画家深厚的写生功底，如小山羊跳跃、抵撞的姿态，老山羊前蹄收缩、双耳上竖的细部动作，甚至翻转的双角，均表现得一丝不苟，体现了宋代院体绘画精工细致、刻划入微的风格特征。全图毫无板滞之气，画家抓住表现对象的主要特征，舍弃琐碎的细节，运用不多的笔墨和写意的手法追求言简意赅的艺术效果。\n此画在构图上受时代流风的影响，采用南宋院体山水的边角式布局法。画面以斜对角式区分，左下部分为全部景物，右上部分则全部留白，将所要表现的物体加以集中，使狭小的尺幅产生一定的空间感，虚实对比更加鲜明，以此增强画面的吸引力。\n在中国古代文字中，“羊”字与“祥”、“阳”相通，“吉祥”在古文中就写作“吉羊”；又《易经》中谓每年正月卦象为三阳在下，三阴在上，故古人称每年正月为三阳开泰之时，此成语也就成了常用的吉祥语。这幅画表现的四羊即寓意三阳在下，一阳在上，反映了祈盼吉祥如意的美好愿望。\n陈居中最擅长人马画，但对动物写生一类题材也很热衷，并刻画得细致生动，这幅带有吉祥寓意的《四羊图》页即代表了他在这一方面的艺术水平。",[511,512,593,517,516,3247,845,1005,1049,642],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231d6d11c8c4a722dd36f131bc7896c2.jpg","纵22.5厘米，横24厘米",[6,602,532],{"id":271,"slug":3252,"title":3253,"dynasty":506,"author":936,"museum":3254,"description":3255,"tags":3256,"thumbUrl":3257,"material":849,"size":3258,"collection":6,"collections":3259,"showCount":3241,"zanCount":535,"manualWeight":535,"mainColor":536},"xi-yang-qiu-se-tu-ma-lin-220312","夕阳秋色图","根津美术馆","《夕阳秋色图》画面上的淡云浅山已经褪色，水流处一片苍茫。这种岁月的沧桑，在画墨的点线之中且隐且行，既刻录了时间的优雅，又释放出历史的气味。\n宋理宗赵昀在欣赏《夕阳秋色图》时忘乎所以，把一切朝中繁杂置之脑后，流连画中苍茫山水、江南秋色。在几只燕子嬉戏的场景里，忽然想起活泼可爱的周汉公主。在膝下无子的岁月里，这位掌上明珠得到理宗的万般宠爱。",[512,518,516,614,2259,895,523,596,2042,2050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcd624d868e1bf9f63b27d62406ca745.jpg","51.3X26.6厘米",[6,565],{"id":272,"slug":3261,"title":3262,"dynasty":506,"author":702,"museum":718,"description":2408,"tags":3263,"thumbUrl":3264,"material":3265,"size":3266,"collection":6,"collections":3267,"showCount":3268,"zanCount":535,"manualWeight":535,"mainColor":713},"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷",[511,512,513,514,653,614,518,705,1552,795,519,526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","纸本 水墨","29.3x376",[6,631,565],89,{"id":273,"slug":3270,"title":3271,"dynasty":506,"author":947,"museum":610,"description":3272,"tags":3273,"thumbUrl":3274,"material":3275,"size":3276,"collection":6,"collections":3277,"showCount":3278,"zanCount":1117,"manualWeight":535,"mainColor":536},"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。",[511,512,517,516,614,543,518,544,545,885,616,523,526,898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20358360b91c23dd09f3758afe3d4ad8.jpg","立轴 绢本 设色","纵198.7厘米，横109.1厘米",[6,531,532],88,{"id":274,"slug":3280,"title":3281,"dynasty":506,"author":1107,"museum":764,"description":3282,"tags":3283,"thumbUrl":3284,"material":694,"size":3285,"collection":6,"collections":3286,"showCount":3278,"zanCount":1041,"manualWeight":535,"mainColor":713},"fa-hai-ling-shan-tu-ce-li-gong-lin-221398","法海灵山图册","尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。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。贵贱研丑止以肥红瘦黑分之。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",[511,512,593,513,820,833,1111,544,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0df1b380f365d00c48d70258594a85.jpg","23x299cm",[6,531],{"id":275,"slug":3288,"title":3289,"dynasty":506,"author":2456,"museum":508,"description":3290,"tags":3291,"thumbUrl":3293,"material":3294,"size":3295,"collection":6,"collections":3296,"showCount":3297,"zanCount":1117,"manualWeight":535,"mainColor":713},"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[511,512,513,514,653,1197,614,2460,834,642,846,1410,523,895,896,3292],"水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纸本，墨笔","纵21.4厘米，横195.8厘米",[6,631,565],87,{"id":276,"slug":3299,"title":3300,"dynasty":506,"author":2565,"museum":590,"description":3301,"tags":3302,"thumbUrl":3303,"material":849,"size":861,"collection":6,"collections":3304,"showCount":3297,"zanCount":535,"manualWeight":535,"mainColor":536},"zhou-yue-tu-zhao-ling-rang-219789","舟月图","画面以大片空寂底色铺就，将月夜江天的辽远清寒尽数晕开。扁舟横卧水面，舟中二人意态悠然，一人凭舷凝望悬垂的冷月，一人垂竿静候，寥寥数笔便勾勒出闲逸松弛的林下幽情。淡墨轻皴出水波微漾，朦胧月色漫过空阔江面，将天地晕成浑然一色的清寂。边角的古印题字晕染出古雅厚重，整幅画作以极简之笔写尽淡远萧疏的意趣，把文人寄情烟波、物我两忘的幽淡心境藏在空寂月色里，尽显水墨山水以少胜多的诗意禅味。",[593,512,513,653,833,516,544,705,1743,642,594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b922f084156fdab8779361947ae5c3.jpg",[6],{"id":277,"slug":3306,"title":3307,"dynasty":506,"author":1235,"museum":610,"description":3308,"tags":3309,"thumbUrl":3310,"material":600,"size":3311,"collection":6,"collections":3312,"showCount":3297,"zanCount":535,"manualWeight":535,"mainColor":536},"song-wu-yan-bin-tu-li-song-218896","松坞延宾图","这幅画描绘了山中溪边的一个村庄，一个贵族把自己隐居起来，在家里建起了一些区域，当客人到来时，他们会用菜肴招待。这幅画是艺术家笔下的杰作，虽然它很饱满，但有一股清晰的水流在其中流淌。",[511,512,513,979,543,516,517,544,545,1035,795,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af25e2e2d0263c374707240ac706ee.jpg","24.5x24.4",[6],{"id":278,"slug":3314,"title":3315,"dynasty":506,"author":868,"museum":610,"description":3316,"tags":3317,"thumbUrl":3318,"material":528,"size":3319,"collection":6,"collections":3320,"showCount":3321,"zanCount":535,"manualWeight":535,"mainColor":536},"ban-qiao-ta-xue-tu-ma-yuan-221527","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[511,512,513,1197,594,653,614,516,1410,1411,795,546,544,549,871,991],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[6,631,565],86,{"id":279,"slug":3323,"title":3324,"dynasty":506,"author":3008,"museum":508,"description":3325,"tags":3326,"thumbUrl":3327,"material":516,"size":3328,"collection":6,"collections":3329,"showCount":3321,"zanCount":535,"manualWeight":535,"mainColor":536},"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[511,512,513,593,518,614,653,516,616,617,523,524,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[6,631,565],{"id":280,"slug":3331,"title":3332,"dynasty":506,"author":3333,"museum":610,"description":3334,"tags":3335,"thumbUrl":3336,"material":516,"size":861,"collection":6,"collections":3337,"showCount":3321,"zanCount":535,"manualWeight":535,"mainColor":713},"song-ren-yuan-hua-ce-2-sheng-mao-220337","宋人院画册-2","盛懋","此作绘秋江渔隐之境，近岸林木枯柔相生，苍枝虬曲间柔柳垂拂，刚柔相衬愈见山野意趣。滩头渔舟静泊，舟中二人对坐晤谈，将江湖闲散的逸致娓娓铺展。平湖澹澹，水鸟掠波惊起细碎涟漪，远山如黛晕染天际，留白晕出水天寥廓空濛。\n\n笔墨工秀兼带写意松灵，设色浅淡清润，将江南水畔的清寂淡远揉入尺幅之中，把渔樵寄情山水的隐逸诗意藏进边角细节，尽显宋人平淡天真的美学意趣，是宋式山水小品里野逸闲情的绝佳写照。",[511,512,513,820,516,518,705,1164,596,523,547,1392,895,896,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58769b723ca1095e59ebae7b52a1713d.jpg",[6],{"id":281,"slug":3339,"title":3340,"dynasty":506,"author":1376,"museum":610,"description":3341,"tags":3342,"thumbUrl":3344,"material":660,"size":3345,"collection":6,"collections":3346,"showCount":3347,"zanCount":1117,"manualWeight":535,"mainColor":536},"pi-pa-kong-que-tu-cui-bai-288266","枇杷孔雀图","不同于崔白其他传世作品，画面富丽堂皇，显示出了崔白对黄筌父子画风的传承，应是其尚未变法以前的作品。画中的主体是一对雄雌孔雀，一只栖立在枇杷树上，一只游憩于花丛之间。两只小鸟立于枇杷树枝头，与画面左侧展翅的绶带鸟相望。背景处一块湖石，中间有细竹、杂花相互掩映。 整幅作品为全景式构图，丰满繁复。禽鸟造型体态雍容，逼真生动，惟妙惟肖。在绘画技法上，禽鸟使用的是典型的勾线设色法，用线遒劲，设色上层层渲染，富丽华美。而对画面背景处的山石、枇杷树干的表达，画家则使用了稍微写意性的笔法进行勾勒，并在此基础上使用了皴染技法表现凹凸质感和阴阳向背。这种对树干与景石的描绘方法，我们似乎可以从中感受到崔白在 《双喜图》中，描绘树干所使用的灵活悠游又不失法度的水墨工写结合技法。",[511,512,513,517,516,640,821,3343,596,960,909],"孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f51404c96f2c60be675e39c78ae54fd.jpg","183.1x109.8",[6],85,{"id":282,"slug":3349,"title":3350,"dynasty":506,"author":637,"museum":976,"description":3351,"tags":3352,"thumbUrl":3354,"material":672,"size":3355,"collection":6,"collections":3356,"showCount":3357,"zanCount":1117,"manualWeight":535,"mainColor":536},"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","是宋代界画精品之一，为典型的“宣和装”，留有“宣和七玺”中的四枚。该卷屋宇楼榭，向背分明，斗拱铺作，不失绳墨。虽然台门有制、界画有度，但画家却用高超的技法突破题材的限制，生动呈现了一幅官营水磨作坊的日常情景。清代成亲王跋云：“雏凤楼中宝绘，须以此为第一，与汉瓦唐琴辉映千古。”",[511,593,512,513,514,543,517,516,544,545,547,554,548,523,525,3353],"劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","纵55.4厘米横124.1厘米",[6,532],84,{"id":283,"slug":3359,"title":1650,"dynasty":506,"author":3360,"museum":2360,"description":3361,"tags":3362,"thumbUrl":3363,"material":653,"size":3364,"collection":6,"collections":3365,"showCount":3357,"zanCount":535,"manualWeight":535,"mainColor":536},"shan-shui-tu-yan-ci-yu-221505","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[511,512,593,513,516,614,518,616,523,526,656,546,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[6,631,565],{"id":284,"slug":3367,"title":3368,"dynasty":506,"author":3369,"museum":610,"description":3370,"tags":3371,"thumbUrl":3372,"material":600,"size":3373,"collection":6,"collections":3374,"showCount":3357,"zanCount":535,"manualWeight":535,"mainColor":854},"jiang-shan-xue-ji-tu-lou-guan-220218","江山雪霁图","楼观","楼观（公元13世纪）南宋钱塘（今浙江杭州）人，生卒年不详。\n南宋理宗赵昀朝（1225—1264）为画院祗候，《画史会要》谓其为度宗赵樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[511,593,512,1197,798,516,614,1410,991,1830,524,523,992,616,545,1664,1198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[6,631],{"id":285,"slug":3376,"title":3377,"dynasty":506,"author":637,"museum":610,"description":3378,"tags":3379,"thumbUrl":3380,"material":628,"size":3381,"collection":6,"collections":3382,"showCount":3383,"zanCount":535,"manualWeight":535,"mainColor":536},"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[511,512,513,594,516,518,614,1410,991,1449,596,523,706,524,656,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[6,631,565],83,{"id":286,"slug":3385,"title":3386,"dynasty":506,"author":2018,"museum":1071,"description":3387,"tags":3388,"thumbUrl":3389,"material":672,"size":3390,"collection":6,"collections":3391,"showCount":3383,"zanCount":535,"manualWeight":535,"mainColor":536},"chu-shan-shi-jia-tu-zhou-liang-kai-221602","出山释迦图轴","释迦着单衣跣足站于枯树旁，手举胸前，双眸微微下视，面容清瘦，须发密长。尽管已值冬季，衣带在寒风中飘举，但释迦似乎并未感受到寒冷，丝毫没有瑟瑟呵冻之态，而是神情专注，愈显入山苦修悟道后，意志弥坚。画家以劲利的线条画排叠的衣纹，用笔谨严，于人物神情刻画尤见功力；苍幹枯枝，用笔劲硬，很好地烘托了环境。背景的坡石略加勾皴，树石的画法还可看出受到李唐的影响，此图与其传世减笔人物画相比，属较为工致的画作。画幅左侧的石壁上署有“御前图画梁楷”六字款。",[511,512,513,594,516,1111,544,1049,1005,2021],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823f2524319f6cbdc884ddb4cd9087a.jpg","纵119厘米，横52厘米",[6,631],{"id":287,"slug":3393,"title":3394,"dynasty":506,"author":1070,"museum":508,"description":3395,"tags":3396,"thumbUrl":3398,"material":528,"size":3399,"collection":6,"collections":3400,"showCount":3383,"zanCount":1117,"manualWeight":535,"mainColor":536},"feng-ying-zhi-ji-tu-zhou-li-di-221592","枫鹰雉鸡图轴","此图又称《鹰雉图》或《鹰窥雉图》，是传世宋画中罕见的巨幅，由南宋宫廷画家李迪创作。据左上方署款“慶元丙辰歲李迪畫”，知作于宋宁宗庆元二年（1196年）。\n画面作对角线构图，主体禽鸟雄鹰置于左上角枯枝巅，俯首下视，紧盯着右下角的锦雉。锦鸡张口鸣叫，正向草丛中窜逃。斜线的呼应关系和锦鸡奔向画外的动态，营造出强烈的紧张气氛，扣人心弦。画家着意刻画苍鹰的眼、喙、爪三个关键部位，目光圆瞪，钢喙如钩，爪尖扣进树皮，既突出了鹰的凶猛矫健秉性，又强调出捕捉猎物时的力之凝聚和意念之专注，可谓真实传神。雉的形象也逼真如生，仓惶奔逃的姿态，惊惧的目光，乍开的羽毛，尤其是蹬出后腿又收缩脚爪的动作，准确地刻画出急于逃命又难脱厄运的情状，可见作者体察生物及其捕捉瞬间之动态的敏锐洞察力和写生传神的高超表现力。\n作品的笔墨敷彩技巧也十分成熟。禽鸟工整精细，设色轻淡，承北宋崔白以来的院体花鸟传统画更增动感和生意。树干粗勾细染，斑纹点点，呈苍劲之质。枫叶、兰草、丛竹则细笔双勾，淡墨渲染，形体富有弹性，又疏密有致，画法遵循“宣和体”的写生法则。山石运斧劈皴，兼作笔实墨重的擦染，近李唐又存北宋之法。此图堪称宋代院体花鸟画的巨构杰作。",[511,512,513,594,517,516,640,845,3001,3397,873,1084],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268072dfb8e29fae047930d5a892391.jpg","纵189厘米，横209.5厘米",[6,602,532],{"id":288,"slug":3402,"title":3403,"dynasty":506,"author":1070,"museum":610,"description":3404,"tags":3405,"thumbUrl":3407,"material":3408,"size":3409,"collection":6,"collections":3410,"showCount":3383,"zanCount":1117,"manualWeight":535,"mainColor":536},"jiu-ci-tu-juan-li-di-221591","九鹚图卷","李迪“画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，超亦能作山水小景。构思精妙，功力深湛，雄伟处动人心魄。”所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动，刻画细致，各具神态。山水师法李唐，也多又佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”",[511,593,512,513,514,516,517,640,1843,1469,1049,3406],"鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba83bf3091278e25daedea126febf6f5.jpg","设色,浅设色","本幅34.7x226.6 隔水一13 隔水二13 拖尾34.7x43",[6,602,532],{"id":289,"slug":3412,"title":3413,"dynasty":506,"author":637,"museum":764,"description":3414,"tags":3415,"thumbUrl":3416,"material":600,"size":861,"collection":6,"collections":3417,"showCount":3383,"zanCount":535,"manualWeight":535,"mainColor":536},"gong-yuan-tu-yi-ming-218582","宫苑图","飞檐翘角隐于松柳荫翳间，回廊曲折勾连亭榭深院。素衣宫人缓步庭阶，衣袂轻扬似携春风漫行。古绢底色晕染时光温润，笔墨细腻勾勒宋式雅致：柳枝垂丝如梳，松针攒簇似绣，格子窗棂映出廊下幽影，石畔苔痕晕开清寂氛围。构图疏密得宜，动静相谐——建筑的规整与草木的生机相映，人物的闲步与庭院的静谧相融，将宫苑深处的雍容闲寂悄然铺展，如一卷慢启的宋时清梦，每一处细节都藏着时光沉淀的温婉与考究。",[593,512,513,543,516,544,545,706,523,616,927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb239ee50763d90f5622390b38b842e66.jpg",[6],{"id":290,"slug":3419,"title":3420,"dynasty":506,"author":868,"museum":572,"description":3421,"tags":3422,"thumbUrl":3423,"material":672,"size":3424,"collection":6,"collections":3425,"showCount":3426,"zanCount":535,"manualWeight":535,"mainColor":713},"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[511,512,513,593,516,543,518,545,706,846,523,655,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[6,631],82,{"id":291,"slug":3428,"title":2643,"dynasty":506,"author":1070,"museum":610,"description":3429,"tags":3430,"thumbUrl":3431,"material":628,"size":3432,"collection":6,"collections":3433,"showCount":3426,"zanCount":535,"manualWeight":535,"mainColor":536},"feng-yu-gui-mu-tu-li-di-221597","《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。",[511,593,512,513,517,516,550,845,795,796,2646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640cb098d037ce82eb11fa48ec2f370e.jpg","纵123.7厘米，横102.8厘米",[6,531,532],{"id":292,"slug":3435,"title":3436,"dynasty":1465,"author":1520,"museum":610,"description":3437,"tags":3438,"thumbUrl":3439,"material":600,"size":3440,"collection":6,"collections":3441,"showCount":3426,"zanCount":1117,"manualWeight":535,"mainColor":713},"mao-ting-song-lai-tu-zhao-meng-fu-218971","茅亭松籁图","顶端有强烈的轮廓，不太会凿刻。颜料先用赭石涂抹，然后分别用石绿和石青从山顶上染出。绿色和赭石的结合使这幅画在深度上有一种古朴的优雅，创造了一种宁静的气氛和松树音乐的基调，所谓天人合一。",[511,512,513,979,516,518,614,706,1035,616,546,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ec586288683e2204eb12e7e55b91b.jpg","26.4x27.7",[6],{"id":293,"slug":3443,"title":3444,"dynasty":506,"author":882,"museum":508,"description":3445,"tags":3446,"thumbUrl":3447,"material":628,"size":3448,"collection":6,"collections":3449,"showCount":3450,"zanCount":535,"manualWeight":535,"mainColor":536},"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”。",[511,593,512,513,820,979,516,550,1005,596,642,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[6,531,532],81,{"id":294,"slug":3452,"title":3453,"dynasty":506,"author":882,"museum":610,"description":3454,"tags":3455,"thumbUrl":3458,"material":600,"size":3459,"collection":6,"collections":3460,"showCount":3450,"zanCount":535,"manualWeight":535,"mainColor":536},"xian-yan-cai-yao-tu-li-tang-218981","仙岩采药图","这幅画来自《名画集》的第七板块，描绘了一个男人肩上扛着一个葫芦，沿着一条蜿蜒的小路走到森林里去采药。艺术家以森林中交错的树枝和茂密的树叶为 实，以溪流和小路为 虚，并采用了对应于实和虚的对角线布局，暗示了南宋边缘构图的思想。石头和树木的轮廓是用浓墨勾勒出来的，树叶是用双钩画出来的，然后用绿色覆盖，使森林看起来更加茂盛。画笔很灵活，用尖锐的细笔画出水面，用更简单的笔触在岩石和树木上创造纹理。没有作者的标记，但树木和石头的画法以及配色都与李唐的相似。也许这就是为什么老签名表明这幅画是李唐的作品。",[511,593,512,513,653,614,544,873,3456,518,3457],"山岩","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb1d36a81146ad83b80ed92d8cd863.jpg","22.4x23.8",[6],{"id":295,"slug":3462,"title":3463,"dynasty":506,"author":3464,"museum":764,"description":3465,"tags":3466,"thumbUrl":3468,"material":3469,"size":3470,"collection":6,"collections":3471,"showCount":3472,"zanCount":1041,"manualWeight":535,"mainColor":536},"pu-tao-tu-wen-ri-guan-221249","葡萄图","温日观","善草书，精画葡萄，自成一家。他于一笔中带有深浅不同之墨色画叶，并以深墨点染仍带湿润 之葡萄，表现出明暗和体积，颇显自然逼真，人称“温葡萄”，很得赵孟頫推崇。元至元二十七年（1290），温日观偶遇同乡士人曾遇，得知他即将赴京，欣然画葡萄两幅，一幅托他带给赵孟頫，另一幅赠给曾遇。次年，赵孟頫在葡萄卷上题跋：“日观老师作墨葡萄，初若不经意，而枝叶肯棨，细玩之纤悉皆具，殆非学所能至。俗人恳恳求之，靳不与一笔。遇佳士，虽不求，辄索纸笔挥洒无吝色，岂可谓道人胸中无泾渭耶。吾与师仅一再面，去冬曾君自吴来燕，辱以一纸见寄，相望数千里不遐遗乃尔。因想胜风，欲相从西湖山水间，何可得也。”\n温日观画葡萄率意而作，天真烂漫，吐露心声。《画禅》称他：“自成一家法，人不可测。”由于他擅长草书，葡萄的梗须枝叶都用草书笔法，收藏者以此鉴别真赝。陈继儒称他：“葡萄极得草书三昧法。”有一幅作于至元二十八年（1291）的《葡萄图》轴，上面题诗“香稻雨催熟，丹心老变灰。夕阳归路近，魂梦日徘徊”，后流入日本。《葡萄图》卷现藏美国高居翰先生景元斋。为人超逸绝尘，出言愤世骇俗。行书法杨凝式。据戴表元《宋温日观书心经》题跋，说他“放浪啸傲于西湖三竺间五十年”，享年当在六十岁以上。",[511,593,512,513,640,653,3467,2304,820],"葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f93f7fe5ef5954868af2d6649c5e2f2.jpg","水墨纸本","27×188.5cm",[6,602,565],80,{"id":296,"slug":3474,"title":3475,"dynasty":506,"author":2323,"museum":610,"description":3476,"tags":3477,"thumbUrl":3478,"material":600,"size":3479,"collection":6,"collections":3480,"showCount":3472,"zanCount":535,"manualWeight":535,"mainColor":536},"du-zuo-tan-qin-tu-yang-wu-jiu-219965","独坐弹琴图","扬无咎（1097─1169年），字补之，号逃禅老人，又号清夷长者，清江（今属江西省）人，寓居南昌。自称为东汉著名文学家扬雄之后，故其姓氏从“手”而不从“木”。生平事迹不详。他为人正直耿介，绍兴（1131─1162年）年间，奸相当道，朝廷对外妥协苟安，无咎“不直秦桧，累征不起”，一生没有作官，是一位藐视权贵的画家。他为梅花传神写照，以“墨梅擅天下，身后寸纸千金”，成为中国梅画的初始者之一。事实上，“画如其人”，无咎笔底高标清韵的梅花，正是画家素洁坚贞的高尚操守的化身。",[511,512,513,594,653,614,834,722,642,544,1036,518,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8dca1f72c4020db5b4154f5b7b91632.jpg","40x25.5",[6,631],{"id":297,"slug":3482,"title":3483,"dynasty":506,"author":3484,"museum":610,"description":3485,"tags":3486,"thumbUrl":3489,"material":3490,"size":3491,"collection":6,"collections":3492,"showCount":3493,"zanCount":1117,"manualWeight":535,"mainColor":536},"wei-lu-bo-gu-tu-zhang-xun-li-287652","围炉博古图","张训礼","庭中松树挺立，梅花盛开。屏风前三文士围束腰长桌而坐，其中二文士坐於榻上，榻下壶门开光，一观画，一盥手回首；靠背扶手椅上文士手作研磨状，似为点茶备茶。一文士园中踱步吟诗。",[593,512,594,516,544,517,3487,545,579,3488],"古松","博古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc850534567ac90cd07b70a89c97c8ca.jpg","未知","138x72.7",[6],79,{"id":298,"slug":3495,"title":3496,"dynasty":506,"author":2018,"museum":3497,"description":3498,"tags":3499,"thumbUrl":3503,"material":628,"size":3504,"collection":6,"collections":3505,"showCount":3493,"zanCount":535,"manualWeight":535,"mainColor":536},"can-zhi-tu-juan-liang-kai-221612","蚕织图卷","黑龙江省博物馆","图描绘江浙一带的蚕织户自“腊月浴蚕”到“下机入箱”为止的养蚕、织帛的整个生产过程。该卷由二十四个场面组成，用长房贯穿，每个场面下有楷书小字，注明内容。全卷场面宏大，共绘七十四人，翁媪长幼，皆服宋装。图中人物的神态举止，惟妙惟肖，桑树、户牖、几席、蚕具、织具等，富有写真写实之风。",[511,512,514,517,516,543,544,3500,3501,927,524,523,3353,653,3502,577],"织机","蚕桑","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5708c7869732c0eddc83d2007b004137.jpg","27.5x513",[6,531,532],{"id":299,"slug":3507,"title":3508,"dynasty":506,"author":957,"museum":764,"description":3509,"tags":3510,"thumbUrl":3514,"material":672,"size":3515,"collection":6,"collections":3516,"showCount":3493,"zanCount":1117,"manualWeight":535,"mainColor":536},"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[511,512,593,514,517,516,640,2657,721,783,768,619,1469,2304,3511,1689,3512,3513],"坡地","野花","禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","横301.5cm纵32.5cm",[6,602,532],{"id":300,"slug":3518,"title":3519,"dynasty":506,"author":637,"museum":610,"description":3520,"tags":3521,"thumbUrl":3523,"material":600,"size":3524,"collection":6,"collections":3525,"showCount":3493,"zanCount":1041,"manualWeight":535,"mainColor":713},"sang-zhi-huang-niao-tu-yi-ming-220363","桑枝黄鸟图","北宋绘画讲求写生，当时的画家必需要能同时掌握大自然中瞬息万变的面貌，以及具备精湛的绘画技巧。因此这件作品所体现画家这份力图师法自然、再现自然的匠心，令人弥足珍惜。",[511,512,593,513,820,517,516,640,596,3522,1084],"桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84d0d6b4547248df308176a7ee1cb94.jpg","25.4 x 26.5公分",[6],{"id":301,"slug":3527,"title":3528,"dynasty":506,"author":1001,"museum":610,"description":3529,"tags":3530,"thumbUrl":3533,"material":2077,"size":3534,"collection":6,"collections":3535,"showCount":3536,"zanCount":535,"manualWeight":535,"mainColor":536},"han-lin-ping-ye-tu-li-cheng-232619","寒林平野图","北宋山水画主要承续五代荆浩、关仝的北方山水画系，由李成、范宽创立一代新风，传派繁衍。北宋时代，知名画家的人数仅从《图画见闻录》和《画继》两书来统计，就有386人之多。而李成的山水画以“气象萧疏，烟林清旷，毫锋颖脱，墨法精微”而著称，因而《宣和画谱》云：“凡称山水者，必以成为古今第一”。\n图绘萧瑟的隆冬平野中，长松亭立，林木薄疏，小丘起伏，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。此画李成用硬笔锐锋，在绢上勾画的松针，粗干细枝，土坡石廓，线条瘦硬坚韧，极具功力，即使不染墨，也神定气足。图中所绘树枝，无论粗细，均呈弧曲形，将线条的力度发挥到了最大程度。所以李成的画，仅用淡墨作少量的烘染，给人以一种秀润淡雅的享受。\n李成注重真实的山水写生，深谙透视画理，墨法变化微妙，风格清新，意韵精致。他的山水画不但表现出山川气象形势的变化，而且还特别强调了季节气候的特点，其中最突出的成就，是他创造了“寒林”的形象。\n另外，李成作画总是用墨不浓，轻淡如在烟雾里，显得缥缈幽清，史称李成“惜墨如金”。\n李成(919—967)，字咸熙，其先人为唐宗室，世居长安(今西安)。他出身贵族，有文学才能，性情旷达，聪颖多才，因世变抑郁不得志，而好饮酒与游历。善画山水以自娱。《宣和画谱》记述他的山水画说：“所画山林薮泽，平远险易，萦带曲折，飞流、危栈、断桥、绝涧、水石，风雨晦明，烟云雪雾之状，一皆吐其胸中，而写之笔下。”李成在继承前代成就的基础上，将山水画的表现内容和技巧，推向了纵深的发展，影响而及元、明、清。",[512,513,594,653,614,518,1005,873,3531,1049,655,2011,3532],"平野","裸根","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcee0e7c9374961a654e3f9f6b89cc35.jpg","纵137.8厘米，横69.2厘",[6],78,{"id":302,"slug":3538,"title":3539,"dynasty":506,"author":936,"museum":610,"description":3540,"tags":3541,"thumbUrl":3545,"material":600,"size":3546,"collection":6,"collections":3547,"showCount":3536,"zanCount":1117,"manualWeight":535,"mainColor":536},"san-guan-chu-xun-tu-ma-lin-231052","三官出巡图","云气浩荡漫卷寰宇，巡行仪仗铺陈开三界威仪。尊神安坐牛舆，仙官神将扈从环伺，或腾云跨兽，或执旄持戟，旌旗翻卷如龙，神性肃穆融于缥缈云雾之间。\n\n笔墨苍劲古雅，设色沉敛厚重，以铁线描勾勒衣袂甲胄，须发纹路纤毫毕现。云雾晕染层层叠叠，虚实相生，将天界出行的宏阔盛景缓缓铺展。画面疏密有致，云间仙众、浪里神异错落排布，既恪守仪仗森严规制，又尽显仙道空灵意境，将神话中的巡游盛景定格于绢素之上，尽显工笔精致入微的意趣与神性之美。",[511,512,593,517,516,1111,544,550,752,845,3542,526,3543,3544],"神话","仪仗","神性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318baad11558966bff3e3445d454be2c.jpg","174.2x122.9",[6],{"id":303,"slug":3549,"title":3550,"dynasty":506,"author":1235,"museum":1002,"description":3551,"tags":3552,"thumbUrl":3553,"material":528,"size":3554,"collection":6,"collections":3555,"showCount":3536,"zanCount":535,"manualWeight":535,"mainColor":713},"ming-huang-dou-ji-tu-li-song-221488","明皇斗鸡图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n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。",[511,512,513,593,517,516,544,549,545,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89089138511bc1aca4f7a0f4bc671a45.jpg","纵25.6厘米，横26.4厘米",[6,531,532],{"id":304,"slug":3557,"title":3558,"dynasty":506,"author":2706,"museum":610,"description":3559,"tags":3560,"thumbUrl":3562,"material":600,"size":3563,"collection":6,"collections":3564,"showCount":3536,"zanCount":1117,"manualWeight":535,"mainColor":536},"chen-ju-zhong-ping-yuan-she-lu-tu-chen-ju-zhong-220234","陈居中平原射鹿图","平野寥廓萧瑟，将塞外猎场的辽远铺展开来。骑手俯身引弓，满弦待发，衣摆随奔马带起的劲风翻涌，骏马四蹄腾空，肌理紧绷绷迸发出奔逐的力量。前方野鹿弓腰疾逃，肢体满是惊惶，奔逃的仓促与骑手的沉凝形成鲜明对冲，将狩猎瞬间的张力拉至顶峰。\n\n画作以极简布景衬出旷野苍茫，线条劲挺爽利，晕染精细熨帖，把人马的剽悍雄健与野鹿的仓皇奔逃刻画得鲜活逼真，将草原射猎的快意与北国的雄放意趣，凝在这奔逐的一瞬之间。",[511,593,512,513,516,517,544,549,2105,3561],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd68da4e95aefa993938654434b8b7a50.jpg","36.8×54.9",[6],{"id":305,"slug":3566,"title":3567,"dynasty":506,"author":637,"museum":610,"description":3568,"tags":3569,"thumbUrl":3571,"material":600,"size":3572,"collection":6,"collections":3573,"showCount":3536,"zanCount":1117,"manualWeight":535,"mainColor":536},"zhu-shi-shuang-lu-tu-yi-ming-220217","竹石双鹭图","整幅画面以留白营造幽远意境，右下拳石嶙峋，丛竹攒簇，墨色苍润，枝叶带风自含山野清趣。两只白鹭一动一静，一者振翅掠空，翎羽舒展灵动，一者徐行浅滩，身姿安然闲适，动静相映，愈发衬出水面空寂无波。\n\n淡墨轻勾汀渚细草，浅染出水泽清浅之态，赭色绢底晕开初夏郊塘的温润氛围。笔致秀雅清润，不施浓艳，以极简物象铺陈出悠远禅意，将塘间幽寂之美收揽尺幅，观之如临静塘，暑意尽散，尽显雅致空灵的宋人意趣。",[511,512,593,513,517,516,640,721,1411,3570,596,642],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf49cc778c3c4eb41b7d150d5f1c280.jpg","31.4x28.1",[6],{"id":306,"slug":3575,"title":3576,"dynasty":506,"author":3577,"museum":610,"description":3578,"tags":3579,"thumbUrl":3581,"material":600,"size":3582,"collection":6,"collections":3583,"showCount":3536,"zanCount":1117,"manualWeight":535,"mainColor":536},"lu-yan-tu-huang-ju-cai-219300","芦雁图","黄居寀","画中三只芦雁从姿态与翎毛、口唇，可分出其雌雄与年龄大小，年幼者在父母之旁安然入睡，公雁者为首领独居图中，形象高大粗壮，具有长者地位，雌雁者既在幼雁旁有护驾之意，又张口切切私语，含情脉脉地望着对方，这种富有家庭意识的禽鸟之态，表现得淋漓之尽。作者对画中的芦雁画法精细，特别羽毛画笔工致，华润淋漓，神态生动逼真；芦苇枝叶双勾与晕染，阴阳背向分明。整个画面主题突出，构图严正，背景简洁明了，水面、沙滩及芦苇布置及画法恰到好处。居案的绘画从写生中出，在《东斋记事》中写着：“其家多养鹰鹘，观其神俊以模写之，故得其妙。”从此芦雁图中可知，长期的写生和临摹训练带给他真实生动地描绘禽鸟的功力，其准确度不亚于动物标本式的记录。",[511,512,593,513,517,516,640,3580,1845,768,753,1677],"雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f48e78c47390b027fe23bdb5ccc424.jpg","纵144.5厘米，横93.3厘米",[6,602,532],{"id":307,"slug":3585,"title":3586,"dynasty":506,"author":817,"museum":3147,"description":3587,"tags":3588,"thumbUrl":3589,"material":600,"size":3590,"collection":6,"collections":3591,"showCount":3536,"zanCount":535,"manualWeight":535,"mainColor":536},"shan-qin-mi-shi-tu-lin-chun-219083","山禽觅食图","描绘了两枝树支。 下部枝叶有阔叶，叶片黄色，多孔。 最左边的叶子上有一只黑色的昆虫，似乎已经吃掉了叶子。 高大的枯树的叶子已经枯萎。 而右边的树枝上，却长出了新的叶芽，站在树枝上的鸟儿正盯着那只黑色的虫子。",[511,593,512,513,517,516,640,2938,1625,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4ff92e043a2bee2158780d7469100a.jpg","26.5x25.7cm",[6,602],{"id":308,"slug":3593,"title":3594,"dynasty":506,"author":3595,"museum":668,"description":3596,"tags":3597,"thumbUrl":3598,"material":3599,"size":3600,"collection":6,"collections":3601,"showCount":3602,"zanCount":1117,"manualWeight":535,"mainColor":713},"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","马和之","《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。",[511,512,513,514,833,653,516,544,518,523,706,546,547,596,1049,871,642,722,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[6,531,532],77,{"id":309,"slug":3604,"title":3605,"dynasty":506,"author":3606,"museum":2360,"description":3607,"tags":3608,"thumbUrl":3611,"material":628,"size":3612,"collection":6,"collections":3613,"showCount":3602,"zanCount":535,"manualWeight":535,"mainColor":536},"dong-xue-shan-shui-tu-juan-yan-wen-gui-221418","冬雪山水图卷","燕文贵","景口郭卑天锡父题。长卷绘山连绵起伏，山顶云雾缭绕，山下河水平静，村落树木白雪覆盖，画面静谧空旷。",[511,593,512,513,514,516,614,518,3609,3610,520,523,616],"冬雪","山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769365f4d6505b4b415e55c2a2bad217.jpg","34.7x354.5厘米",[6,631,565],{"id":310,"slug":3615,"title":3616,"dynasty":506,"author":637,"museum":610,"description":3617,"tags":3618,"thumbUrl":3621,"material":600,"size":3622,"collection":6,"collections":3623,"showCount":3602,"zanCount":535,"manualWeight":535,"mainColor":536},"lu-ting-bai-lu-tu-yi-ming-219200","芦汀白鹭图","图绘白鹭两对栖于芦苇丛生的洲渚岸边，一饮啄、一飞降、一静息，一仰首迎接。全画用墨层次丰富，掌握住秋天的景致气氛。在题材、构图、设色上保留南宋汀渚水鸟小景画的意趣，但通幅笔力较为薄弱。",[511,512,516,517,1742,640,1845,1603,3619,596,3620,653],"汀渚","水泽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77827917d9c35594679d81fabbd6da53.jpg","25x25.5cm",[6,602],{"id":311,"slug":3625,"title":3626,"dynasty":506,"author":2018,"museum":508,"description":3627,"tags":3628,"thumbUrl":3629,"material":3630,"size":3631,"collection":6,"collections":3632,"showCount":3633,"zanCount":535,"manualWeight":535,"mainColor":536},"xue-zhan-xing-qi-tu-ye-liang-kai-221617","雪栈行骑图页","画中表现了深冬山中，白雪覆盖了山林，两位行人骑着牲口匆匆赶路的情景。技法上基本是以没骨方式染出雪山，以少许淡墨略皴，用生动的笔划画出人物与丛树。整幅画用笔很少，反映了梁楷的“画法简逸”、“惜墨如金”的风格。",[511,512,653,820,614,593,518,991,1005,549,544,626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbecd869a79db686331de7ca8c64673f.jpg","绢本，水墨","纵23.5、横24.2厘米",[6,631,532],76,{"id":312,"slug":3635,"title":3636,"dynasty":506,"author":3637,"museum":610,"description":3638,"tags":3639,"thumbUrl":3642,"material":849,"size":3643,"collection":6,"collections":3644,"showCount":3633,"zanCount":535,"manualWeight":535,"mainColor":536},"hui-chong-qiu-ye-pan-diao-hui-chong-220191","惠崇秋野盘雕","惠崇","惠崇（965- 1017），福建建阳人，北宋僧人，擅诗、画。作为诗人，他专精五律，多写自然小景，忌用典、尚白描，力求精工莹洁，颇为欧阳修等大家称道；作为画家，他“工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也”（北宋郭若虚语）。苏轼为惠崇画作《春江晚景》的题诗：“竹外桃花三两枝，春江水暖鸭先知”，名传千古。",[511,593,512,513,516,517,596,1049,873,640,3640,3641],"秋野","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56df0b08b27fc595e4372d9f087822ef.jpg","23.7x24.9",[6,602],{"id":313,"slug":3646,"title":3647,"dynasty":506,"author":1107,"museum":764,"description":3648,"tags":3649,"thumbUrl":3650,"material":849,"size":3651,"collection":6,"collections":3652,"showCount":3653,"zanCount":535,"manualWeight":535,"mainColor":536},"bai-miao-shou-lie-tu-juan-li-gong-lin-218095","白描狩猎图卷","白描狩猎图卷是一幅巨大的屏风画，共有四卷，每卷长约10米，宽约1.5米。它描绘了一场盛大的狩猎活动，其中参加狩猎的人物有皇帝、皇后、王子和贵族，以及许多官员和太监。画面中还有各种各样的动物，包括骏马、鹿、鸟和兔子。\n\n李公麟的白描狩猎图卷以其精细的绘画技巧和丰富的内容而闻名。他使用了白色和黑色的墨水，在白色的底纸上绘制出细腻的线条。他还使用了许多细节，比如服装上的绣花和皇家徽章，以及动物身上的斑点和杂毛。\n\n白描狩猎图卷被认为是宋朝绘画史上的杰作，也是李公麟最著名的作品之一。它不仅是一幅精美的艺术品，还是对当时宋朝社会、文化和政治的重要记录。",[511,593,512,513,514,833,544,518,549,2686,845,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca98a46e48106d01d0de91429a75d903.jpg","36.8×819",[6],75,{"id":314,"slug":3655,"title":3656,"dynasty":506,"author":3657,"museum":2360,"description":3658,"tags":3659,"thumbUrl":3660,"material":528,"size":3661,"collection":6,"collections":3662,"showCount":3663,"zanCount":1117,"manualWeight":535,"mainColor":536},"song-shan-xing-lv-tu-li-shan-221680","松杉行旅图","李山","图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[511,593,512,513,594,653,614,518,1035,1411,544,546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a9d7a7b39ad254c492ab8c13f18c80.jpg","163.6*107.2CM",[6,631,565],74,{"id":315,"slug":3665,"title":3666,"dynasty":506,"author":637,"museum":610,"description":3667,"tags":3668,"thumbUrl":3670,"material":600,"size":3671,"collection":6,"collections":3672,"showCount":3663,"zanCount":1117,"manualWeight":535,"mainColor":536},"xue-lu-shuang-yan-zhou-yi-ming-221238","雪芦双雁轴","描绘的是寒冬汀岸一隅，四只雁栖息于芦苇丛下的岸边，有的仰天引颈而望，有的蹲伏理翎，另外二只掠空飞起。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自左下角向内延伸，其余部分大片留白，形成清远空旷的意境",[511,593,512,513,594,517,516,640,3669,1845,596,1198,797],"双雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c1047960693bbada4ff966b1451860.jpg","174.6x99.5",[6,602,532],{"id":316,"slug":3674,"title":3675,"dynasty":506,"author":3676,"museum":1673,"description":3677,"tags":3678,"thumbUrl":3679,"material":600,"size":3680,"collection":6,"collections":3681,"showCount":3663,"zanCount":1117,"manualWeight":535,"mainColor":713},"ku-mu-xi-qin-tu-xu-dao-ning-219885","枯木溪禽图","许道宁","许道宁，北宋画家，生卒年不详，活跃于北宋初到北宋中期，长安（今陕西西安）人，又作河间 (今河北河间县)人。 许道宁擅长绘林木、平远、野水、秋江、雪景、寒林,并将这些自然景色和行旅、野渡、捕鱼等人文景观相结合,画风豪放，笔法简快潇洒,峰峦峻秀挺拔,山林强劲有力,幽林荒冷萧条。 传世作品有《渔父图》（又叫《秋江鱼艇图》）、《关山密雪图》、《秋山萧寺图》。",[512,653,516,518,1005,910,1049,547,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9597e31491ea2287ed2d24e604cb11.jpg","25.7x25.1",[6,602],{"id":317,"slug":3683,"title":3684,"dynasty":506,"author":637,"museum":610,"description":3685,"tags":3686,"thumbUrl":3687,"material":600,"size":3688,"collection":6,"collections":3689,"showCount":3663,"zanCount":535,"manualWeight":535,"mainColor":713},"jie-hua-lou-ge-1-yi-ming-218809","界画楼阁1","这幅画描绘了一个山间别墅的庭院，有雕花栏杆和奇花异木，这应该是一个富裕家庭的家。这座建筑的风格与署名为马麟的亭子相似，这幅画可以追溯到南宋时期。",[511,512,513,820,543,516,545,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f6e3d094caae67171695fac9a80a22.jpg","23.7x26.4",[6],{"id":318,"slug":3691,"title":3692,"dynasty":506,"author":637,"museum":508,"description":3693,"tags":3694,"thumbUrl":3695,"material":770,"size":3696,"collection":6,"collections":3697,"showCount":3698,"zanCount":535,"manualWeight":535,"mainColor":536},"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[511,593,512,513,514,516,518,523,546,547,705,524,614,517,1543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","纵24.5厘米，横185.5厘米",[6,631,565],73,{"id":319,"slug":3700,"title":3701,"dynasty":506,"author":868,"museum":610,"description":3218,"tags":3702,"thumbUrl":3703,"material":3704,"size":3705,"collection":6,"collections":3706,"showCount":3698,"zanCount":535,"manualWeight":535,"mainColor":536},"hua-deng-shi-yan-tu-zhuang-biao-ma-yuan-221515","华灯侍宴图（装裱）",[511,512,513,517,516,518,545,523,544,543,925,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345c3f34a1ad94ec43a66b9c6788247.jpg","设色 墨本","111.9公分 横：53.5公分",[6,531,532],{"id":320,"slug":3708,"title":3709,"dynasty":506,"author":637,"museum":610,"description":3710,"tags":3711,"thumbUrl":3713,"material":600,"size":3714,"collection":6,"collections":3715,"showCount":3698,"zanCount":1117,"manualWeight":535,"mainColor":713},"yue-ming-jin-su-tu-yi-ming-218838","月明金粟图","这幅画描绘了山中的一轮明月，一枝金桂（又称金粟）从天而降，香气远扬。其构图在古代和现代的折叠式微型画中是独一无二的，折叠式花枝伴随着远山、云彩和月亮。",[511,593,512,513,979,517,516,1743,3712,1084,640],"桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffe1f4cf683153ff158daeb9f1f5bf1.jpg","21.7x23.8",[6,602],{"id":321,"slug":3717,"title":3718,"dynasty":506,"author":2323,"museum":610,"description":2324,"tags":3719,"thumbUrl":3720,"material":2077,"size":2328,"collection":6,"collections":3721,"showCount":3722,"zanCount":1117,"manualWeight":535,"mainColor":713},"si-mei-tu-juan-quan-juan-yang-wu-jiu-221465","四梅图卷全卷",[511,593,512,513,514,653,833,767,722,834,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21caf8fd4f408a77f793104e6fbc872.jpg",[6,602,532],72,{"id":322,"slug":3724,"title":3725,"dynasty":506,"author":3726,"museum":764,"description":3727,"tags":3728,"thumbUrl":3730,"material":1337,"size":3731,"collection":6,"collections":3732,"showCount":3722,"zanCount":535,"manualWeight":535,"mainColor":536},"yan-jiang-yu-yu-tu-ye-pu-an-221224","烟江欲雨图页","朴庵","整幅画笔墨奔放，气势磅礴，水墨迈阿密的效果淋漓尽致。是南宋马夏一派",[511,593,512,513,820,653,614,518,523,3729,895,2450,705],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da05bc26f2c363a81a72b51990a6dbb.jpg","纵24.9厘米、横26.3厘米",[6,631,565],{"id":323,"slug":3734,"title":3735,"dynasty":506,"author":947,"museum":610,"description":3736,"tags":3737,"thumbUrl":3742,"material":628,"size":3743,"collection":6,"collections":3744,"showCount":3745,"zanCount":1117,"manualWeight":535,"mainColor":536},"luo-han-tu-1-liu-song-nian-221549","罗汉图1","该图画一罗汉，长眉深目，头角峥嵘，伏倚枯枝。旁绘一小僧展衣接受树上猿猴献果。该图描绘工丽精当，笔法劲秀。背景设色以墨为主。层层渲染，纯净明丽。人物则以敷彩为主，墨染为辅，对比明媚雅致",[511,593,512,1111,3738,517,516,3739,3740,3741,2011],"人物画","罗汉","僧人","猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a28b401aad44e929fc003a7cb38ace.jpg","纵117公分，横55.8公分",[6,602,532],71,{"id":324,"slug":3747,"title":3748,"dynasty":506,"author":2101,"museum":2360,"description":2291,"tags":3749,"thumbUrl":3750,"material":628,"size":3751,"collection":6,"collections":3752,"showCount":3745,"zanCount":1117,"manualWeight":535,"mainColor":536},"shan-zhuang-tu-ye-yi-yuan-ji-221302","山庄图页",[511,512,513,593,516,614,518,546,547,616,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f88332f8b93c6ca6e62d137e999a3fc.jpg","31×30",[6,631,532],{"id":325,"slug":3754,"title":3755,"dynasty":506,"author":3756,"museum":1071,"description":3757,"tags":3758,"thumbUrl":3759,"material":653,"size":3760,"collection":6,"collections":3761,"showCount":3745,"zanCount":1117,"manualWeight":535,"mainColor":536},"mu-tong-tu-dai-ze-221257","牧童图","戴泽","整幅画作氤氲着江南水畔的萧散野趣，淡赭底色晕染出暮冬将醒的沉柔氛围。枯树斜欹坡岸，枝桠疏朗留白，衬得陂塘水色愈见空濛。\n\n两名牧童随性自在，一骑牛信步缓行，安然垂首似在聆听水声；一立树侧，牵引着俯身饮水的水牛，稚气隐于简淡笔触之下。水牛造型朴拙憨态，笔墨简括却筋骨俱现。\n\n画作以极简构图传递出平淡天真的意趣，将乡野日常的闲逸诗意藏于浅淡晕染间，褪去冗杂，只剩江南牧歌的松弛韵致，静穆中晕开鲜活的田园烟火气。",[511,512,513,506,516,544,550,873,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faced28b4a42cd3e3f64e1fd502af2828.jpg","25.6×22.8",[6,531,532],{"id":326,"slug":3763,"title":3764,"dynasty":506,"author":3765,"museum":764,"description":3766,"tags":3767,"thumbUrl":3768,"material":3769,"size":3770,"collection":6,"collections":3771,"showCount":3772,"zanCount":1117,"manualWeight":535,"mainColor":536},"luo-han-xi-yi-gua-zhou-lin-ting-gui-221599","罗汉洗衣挂轴","林庭珪","整作以苍劲古松与幽寂崖谷铺陈出世外氛围，将罗汉洗衣的日常绘得意趣盎然。下方罗汉或俯身浣洗布帛、或用力拧绞衣物，动态憨朴自然，衣袂褶皱随动作舒展，质感写实入微。上方二僧持物旁观，神态松弛闲适，崖边悬垂的僧衣晕染出柔和的色彩层次，暗合僧家清简日常。\n\n笔墨兼具工致与写意，山石松木以浓墨勾勒皴擦，尽显苍浑老辣，罗汉面容细节刻画精细，褪去神像的肃穆高远，还原僧众山间悠游的烟火日常，在禅意与世俗意趣间寻得精妙平衡，尽显宋代人物写生的细腻共情与雅致格调。",[511,593,512,513,594,1111,517,516,544,656,885,547,577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc5e0c2176d701ed80a3ec70560fa41.jpg","立轴绢本","112.3x53",[6,531,532],70,{"id":327,"slug":3774,"title":3775,"dynasty":506,"author":868,"museum":610,"description":3776,"tags":3777,"thumbUrl":3779,"material":628,"size":3780,"collection":6,"collections":3781,"showCount":3772,"zanCount":535,"manualWeight":535,"mainColor":536},"xue-tan-shuang-lu-tu-ma-yuan-221539","雪滩双鹭图","此图描绘雪后郊野水滨的景色。全图用笔苍劲有力，景物及白鹭皆以粗笔写出，不加刻意修饰却十分形象，白鹭的神态较为生动。全图构图严谨、造型生动、诗意盎然，为马远画中精品。\n画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应\n此图为江湖小景，梅枝斜出崖上。梅取折枝，并特别突出远折枝”成为它的突出风貌。图中近景的山石，以浓墨大斧劈勾皴点染， 远的山、水以淡墨勾染， 约略朦胧间自然拉开了空间远近的透视关系。梅树枝干虬曲，俯伸的拖枝一直探向水面，水边的几只鹭， 实际上是作为点缀物。画面境界十分幽远开阔。\n此图远处画雪山，空漯一片，近置溪流，冰棱历历，岸边枯荻老树参差，有数只白鹭闲憩，一样卷缩畏寒，表现了中国画习见的荒寒境界。此图亦体现出马远绘画简而刚的特点，山色溪涧皆在烟色微茫中，树取一枝，石取一角，溪出一湾。简率中透露出清旷之旨。用笔草草，只在写意，如树枝虬曲之态勾勒极为生动。\n此图以特写镜头式描绘双鹭在雪滩上栖息的情景。画中左侧上方画有巨石一角，下方还有奇石曲壁，在巨石与奇石之间伸出曲臂老梅一枝及一簇竹丛；在下边的水塘枯苇中有一对白鹭，一只藏在背风的石边苇子中，披着一身白羽，扭头张望，另一只在枯树干边缩颈御寒，虽然图中未见纷飞的雪花，确从老梅枝上的积雪及芦苇中的几处余雪，可见是雪后的河滩边，融雪更比下雪寒。一对白鹭或以静静栖息越冬，或已疲劳后同到雪滩来休息，在画面的上面有一对山雀在梅枝头，一只在俯首瞰视，一只刚落停枝头，发出喳喳叫声，因此引起苇塘中的白鹭昂首张望。但另一只毫无反映，只顾自己静静的酣睡。\n此图以禽鸟为山水之衬景，是融花鸟于山水及诗境的特殊表现形式。此图实景集中于左边角，崖壁与崎岖的石岸，配合着高悬其上的枯树，形成一个开阔的空间，将雪滩和白鹭涵纳其中，远山简单数笔，用淡墨烘出，空漾一片，写出了严寒的景象。\n此图与其他作品一样，在笔墨的运用上也很成功。作者用硬如曲铁的笔触来画树石，山石用浓墨勾出，以大斧劈及小斧劈画出石质坚硬，老梅枝曲枝有疏有密，又显苍老；芦苇用细笔淡墨画之。尤其对白鹭的描绘，在绢素本色上留白，淡墨轻勾，只有嘴及双腿用浓墨细笔画之，仔细观察羽毛绒绒，神态逼真，而且图中不只是一对可见的白鹭，主要是描写鹭鸟在雪滩上栖息时的静态。在梅枝头上的一对山雀，冬雪之后主要是描写他们在秃梅枝之问飞动栖伫的情况。上下两种鸟的姿态，是动静对比，也是画面上色差的对比。网右下方石际有马远款字。曾经明安桂坡、项元汴藏。",[511,512,513,593,653,614,1162,1198,3778,3570,1005,656],"滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87344f3b4cf68fea492a2b2e78463c8c.jpg","纵60厘米，横38厘米",[6,602,532],{"id":328,"slug":3783,"title":3784,"dynasty":506,"author":3785,"museum":1108,"description":3786,"tags":3787,"thumbUrl":3790,"material":694,"size":3791,"collection":6,"collections":3792,"showCount":3772,"zanCount":1041,"manualWeight":535,"mainColor":854},"jia-pai-tu-quan-juan-gong-kai-220074","笳拍图全卷","龚开","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[511,512,513,514,833,544,549,3788,722,834,3789,809],"帐篷","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a6695fc73019d28ed46873d7d95576.jpg","全卷30.6X770厘米",[6],{"id":329,"slug":3794,"title":3795,"dynasty":506,"author":637,"museum":610,"description":3796,"tags":3797,"thumbUrl":3798,"material":600,"size":3799,"collection":6,"collections":3800,"showCount":3772,"zanCount":535,"manualWeight":535,"mainColor":713},"song-xi-you-qi-tu-yi-ming-218839","松溪游骑图","画面描绘了一座横跨溪流的桥梁，高大的松树从溪流岸边的大窠中升起，露出农场的大门和农场的一角，主人正从春天的郊游中返回。这幅画与刘松年的画风相似，与故宫收藏的《四季山水卷》中的春景相似，可以确定是刘松年南宋画派的作品。",[511,512,593,513,518,516,614,1035,547,549,616,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3922c2209b73b6b6fb69c2e5b68d4b33.jpg","23.1x25.8",[6],{"id":330,"slug":3802,"title":2716,"dynasty":506,"author":637,"museum":778,"description":2717,"tags":3803,"thumbUrl":2719,"material":600,"size":861,"collection":6,"collections":3804,"showCount":3772,"zanCount":1041,"manualWeight":535,"mainColor":536},"e-xi-tu-yi-ming-218537",[511,512,513,979,516,517,1976,783,795,753,642],[6,602],{"id":331,"slug":3806,"title":3807,"dynasty":506,"author":637,"museum":764,"description":1894,"tags":3808,"thumbUrl":3809,"material":1897,"size":1898,"collection":6,"collections":3810,"showCount":3811,"zanCount":535,"manualWeight":535,"mainColor":536},"luo-shen-tu-juan-yi-ming-223548","洛神图卷",[511,512,513,514,516,517,834,642,544,518,523,616,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg",[6,531,532],69,{"id":332,"slug":3813,"title":3814,"dynasty":506,"author":1276,"museum":610,"description":3815,"tags":3816,"thumbUrl":3817,"material":600,"size":3818,"collection":6,"collections":3819,"showCount":3811,"zanCount":1117,"manualWeight":535,"mainColor":713},"lang-gan-ting-xiu-tu-wen-tong-218746","琅玕挺秀图","画的是两根竹子的墨迹，竹叶在风中摇曳。与文同的水墨游戏标准 墨竹 相比，这个小框架特别有趣。",[511,512,513,820,653,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ca0d9372912c6958ecc427f42b609c.jpg","46.7x29.7",[6],{"id":333,"slug":3821,"title":3822,"dynasty":506,"author":1497,"museum":508,"description":3823,"tags":3824,"thumbUrl":3825,"material":628,"size":3826,"collection":6,"collections":3827,"showCount":3828,"zanCount":535,"manualWeight":535,"mainColor":536},"guan-shan-ji-xue-tu-yan-su-221426","关山积雪图","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[511,512,513,518,614,516,2949,1410,795,546,547,706,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[6,631,565],68,{"id":334,"slug":3830,"title":3831,"dynasty":506,"author":571,"museum":610,"description":3832,"tags":3833,"thumbUrl":3834,"material":628,"size":861,"collection":6,"collections":3835,"showCount":3828,"zanCount":535,"manualWeight":535,"mainColor":713},"xi-shan-wan-diao-tu-zhao-ji-219951","溪山晚钓图","此作用平远之法铺展暮色溪山，淡墨晕染出山峦氤氲的烟霭，将黄昏的温润沉凝揉进层叠丘壑，山林在暮色里晕成朦胧黛色，漫出浑然的静谧。前景虬曲枯木苍劲古拙，疏枝横斜，暗合深秋荒寒意趣。右下角一叶扁舟随波轻漾，独钓渔翁静卧舟中，把幽寂闲适的隐逸之思铺陈开来。设色沉雅古穆，赭石淡晕铺就黄昏底色，将晚归溪山的空寂淡远尽数勾勒，将宋人寄情山水的澹泊襟怀藏在朦胧暮色之中，尽显清远萧散的文人意韵。",[511,593,512,513,820,516,614,518,705,1164,1005,616,547,2259,1392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63514bbaa1ed78f805a168466c561b14.jpg",[6],{"id":335,"slug":3837,"title":3838,"dynasty":506,"author":637,"museum":610,"description":3839,"tags":3840,"thumbUrl":3843,"material":861,"size":861,"collection":6,"collections":3844,"showCount":3845,"zanCount":1117,"manualWeight":535,"mainColor":536},"dong-ri-ying-xi-tu-yi-ming-231056","冬日婴戏图","深冬庭院里，梅枝缀满玉蕊，竹影清疏横斜，山茶燃着点点艳红，揉化了凛冬寒意。\n\n梳着双丫髻的女娃牵着小同伴，两人的目光齐齐追着脚边扑跃的花狸猫，小男娃手里的兔形花灯险些坠地，稚拙娇憨的神态被刻画得活灵活现。\n\n整幅设色柔润雅致，工笔写实细腻，孩童软绵的衣料褶皱，狸猫蓬松的皮毛，花木的鲜活情态都一一晕染真切，将冬日里稚童嬉游的融融温情铺陈开来，把萧索寒冬晕成了满纸天真暖意，恰似一帧鲜活的冬日闲趣剪影。",[511,512,593,517,516,544,767,721,3841,578,579,3842],"猫","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F758a8c0d4776f0fd17509254b24ed5ae.jpg",[6],67,{"id":336,"slug":3847,"title":3848,"dynasty":506,"author":3849,"museum":1071,"description":3850,"tags":3851,"thumbUrl":3852,"material":3853,"size":3854,"collection":6,"collections":3855,"showCount":3856,"zanCount":1117,"manualWeight":535,"mainColor":536},"zhu-ji-tu-zhou-luo-chuang-221669","竹鸡图轴","萝窗","本画描绘的是五更（凌晨四时）之时，在未明的幽暗中的身兼文、武、勇、仁、信五德的家鸡的形象。不过，鸡的形象仿佛一位在五更时分大彻大悟的禅僧。浅野家旧藏。",[511,512,593,594,516,517,640,721,1177,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2020ebfe9cf8bf048ae9e63dc5de2973.jpg","绢本，墨画","纵96.3cm 横43.4cm",[6,602,532],66,{"id":337,"slug":3858,"title":3859,"dynasty":506,"author":3595,"museum":508,"description":3860,"tags":3861,"thumbUrl":3862,"material":562,"size":3863,"collection":6,"collections":3864,"showCount":3865,"zanCount":1041,"manualWeight":535,"mainColor":536},"hou-chi-bi-fu-tu-juan-ma-he-zhi-221621","后赤壁赋图卷","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[511,593,512,513,514,833,653,516,518,544,705,873,1743,547,596,1049,834,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","25.9*143cm",[6,631,532],65,{"id":338,"slug":3867,"title":3868,"dynasty":506,"author":868,"museum":764,"description":3869,"tags":3870,"thumbUrl":3872,"material":694,"size":3873,"collection":6,"collections":3874,"showCount":3865,"zanCount":535,"manualWeight":535,"mainColor":536},"gao-shi-guan-tiao-tu-ma-yuan-221540","高士観眺图","本作是马远“边角山水”之代表作，他以简练的笔法和精致的诗画意境成功表现了山间景色，笔法劲爽，意境深邃。作品构图精巧，位置经营独到而臻极致。树木、远山集中绘于画幅左侧，以淡墨皴染的山径渐次虚淡。近处的高士持杖远眺，人物衣纹或是兰叶描、或是钉头鼠尾描，线条劲直，或如刀砍竹，或行笔略有颤掣，人物本身怡然惬意的神情已经跃然纸上。画幅右侧大量留白，虚渺空灵。另有一只白鹤转头回望，与高士相响应，款款深情，意蕴无穷，给观者以无穷遐想",[511,512,513,518,706,544,653,516,614,1049,873,3871],"边角山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4306c43ca294d4cdac872ca054890ff8.jpg","82x67",[6,631,565],{"id":339,"slug":3876,"title":3877,"dynasty":506,"author":3878,"museum":3879,"description":3880,"tags":3881,"thumbUrl":3883,"material":694,"size":861,"collection":6,"collections":3884,"showCount":3865,"zanCount":535,"manualWeight":535,"mainColor":713},"yuan-pu-gui-fan-tu-yu-jian-220361","远浦归帆图","玉涧","名古屋德川美术馆","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[511,593,512,513,653,614,518,705,722,655,3729,3882,2820],"远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523feeccb80b8a79fb8b4c95a88ae5d5.jpg",[6],{"id":340,"slug":3886,"title":3887,"dynasty":506,"author":637,"museum":3888,"description":3889,"tags":3890,"thumbUrl":3891,"material":600,"size":861,"collection":6,"collections":3892,"showCount":3865,"zanCount":535,"manualWeight":535,"mainColor":854},"xia-jing-shan-shui-tu-yi-ming-220255","夏景山水图","日本久远寺","此图绘深山幽谷，山雨欲来，树木摇曳，云雾弥漫，一隐士拄杖欲过溪桥，侧首观赏林泉，怡然自乐。本图为四季山水四条幅中的一幅，其中春景图早已遗失，其内容不详；秋景图和冬景图流失于日本后，经大内氏、明智院传到金地院；此图在日本由滨松城主太田资宗施给久远寺。各幅在构图、景物刻画上既相互联系，又富于变化，每幅上都有流失日本前钤的二枚鉴藏印。后日本收藏者足利三代将军义满又在画幅上钤『天山』鉴藏印。这三幅图是目前流传下来的宋代四季山水图中最早的作品，体现了南宋画院早期山水画的风格特征。",[511,512,593,1197,594,653,516,614,517,518,885,616,526,544,1097],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd810dc2b018ad6e47852a0c78483968.jpg",[6],{"id":341,"slug":3894,"title":3895,"dynasty":506,"author":637,"museum":610,"description":3896,"tags":3897,"thumbUrl":3898,"material":628,"size":3899,"collection":6,"collections":3900,"showCount":3865,"zanCount":535,"manualWeight":535,"mainColor":536},"bian-zhuang-zi-ci-hu-1-yi-ming-220236","卞庄子刺虎1","宋人画卞庄子刺虎图，是从宋代遗存下来的古画，由于作品未留署名，尚不能确定作者是谁，有人推测是出自宋代李公麟之手！这幅画是一副寓意图，描绘的是两只老虎想吃一头牛，而卞庄又想猎杀两只老虎的场景，通过这些场景和最后结果的描绘想劝告人们做事不要只凭勇气，而没有智慧；另一方面的，也阐释出自己人“两只老虎”相争，最后却被别人得到利益。",[512,517,516,544,2686,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34154e0aa0ce30e7ee5f4a8eb6e91b1.jpg","39×169.1公分",[6],{"id":342,"slug":3902,"title":3903,"dynasty":506,"author":2397,"museum":610,"description":3904,"tags":3905,"thumbUrl":3906,"material":628,"size":3907,"collection":6,"collections":3908,"showCount":3909,"zanCount":535,"manualWeight":535,"mainColor":1042},"ying-shan-tu-juan-wang-shen-221378","赢山图卷","《宋王诜赢山图》用勾勒青绿填染画山，古朴清雅，元代钱选小青绿山水即似此画风，卷末山石上有小楷题识，云：“保宁赐第王晋卿赢山既觉，因图梦中所见，甲辰春正月梦游者。",[511,512,513,514,518,516,614,655,523,524,520,705,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60b9eb105d6a170d78f0e0696507e39.jpg","纵24.5厘米、横145.1厘米",[6,531,532],64,{"id":343,"slug":3911,"title":3912,"dynasty":506,"author":3913,"museum":2457,"description":3914,"tags":3915,"thumbUrl":3916,"material":628,"size":3917,"collection":6,"collections":3918,"showCount":3919,"zanCount":535,"manualWeight":535,"mainColor":536},"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[511,512,593,513,514,653,614,518,655,523,885,526,546,547,705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[6],63,{"id":344,"slug":3921,"title":3922,"dynasty":506,"author":3923,"museum":718,"description":3924,"tags":3925,"thumbUrl":3926,"material":528,"size":3927,"collection":6,"collections":3928,"showCount":3919,"zanCount":535,"manualWeight":535,"mainColor":536},"mei-xi-pu-bu-tu-ce-ye-cui-que-221316","梅溪瀑布图册页","崔悫","《梅溪瀑布图》传为北宋画家崔悫所作。无款。裱边题签“崔慤梅溪瀑布”。\n图绘山涧湍急，水花四溅。水边山石上有一株老梅，虬曲盘折，梅花开满枝头。枝上停着几只雀鸟，空中还有一只雀鸟飞来。",[511,593,512,513,820,517,516,518,767,721,547,617,596,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46eeace5004b00d7ed1b1eb2e6c2cf42.jpg","24.7×22.2cm",[6,602,532],{"id":345,"slug":3930,"title":3931,"dynasty":506,"author":650,"museum":610,"description":3932,"tags":3933,"thumbUrl":3935,"material":600,"size":3936,"collection":6,"collections":3937,"showCount":3919,"zanCount":535,"manualWeight":535,"mainColor":854},"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[511,512,593,513,594,653,516,614,518,1198,523,616,525,922,898,3934],"流水 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[6,631,565],{"id":346,"slug":3939,"title":790,"dynasty":506,"author":637,"museum":764,"description":3940,"tags":3941,"thumbUrl":3942,"material":600,"size":3943,"collection":6,"collections":3944,"showCount":3919,"zanCount":535,"manualWeight":535,"mainColor":536},"mu-niu-tu-yi-ming-219011","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[511,593,512,513,979,653,516,550,873,1049,547,642,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[6],{"id":347,"slug":3946,"title":3947,"dynasty":506,"author":637,"museum":610,"description":3948,"tags":3949,"thumbUrl":3950,"material":600,"size":3951,"collection":6,"collections":3952,"showCount":3953,"zanCount":535,"manualWeight":535,"mainColor":536},"mei-zhu-ju-qin-tu-yi-ming-223520","梅竹聚禽图","此幅《梅竹聚禽图》的构图严谨，并且重视描绘物象的准确性，符合徽宗画院注重观察写生、讲究师承法度的标准，是一件能够代表“宣和体”的佳作。画面中央，画梅树一株，枝干弯曲而上，后方衬以翠竹棘条，有伯劳、绿鸠、鹌鹑等鸟禽栖身其间。整幅画的构图以S形屈曲的梅干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[511,512,593,513,594,517,516,640,767,721,768,1049,873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[6,602,532],62,{"id":348,"slug":3955,"title":3956,"dynasty":506,"author":2018,"museum":610,"description":3957,"tags":3958,"thumbUrl":3959,"material":694,"size":3960,"collection":6,"collections":3961,"showCount":3953,"zanCount":1117,"manualWeight":535,"mainColor":713},"shan-yin-shu-sha-tu-liang-kai-219954","山阴书箑图","画中每个人物均表情生动，衣纹线条潇洒流畅，虽然不见得是梁楷亲笔所作，却能充分掌握住写意人物的简率趣味。",[511,593,512,513,653,833,2021,544,873,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b1cc436980034bf908ab2030dac5a49.jpg","31.3×58.9公分",[6],{"id":349,"slug":3963,"title":3964,"dynasty":506,"author":637,"museum":610,"description":3965,"tags":3966,"thumbUrl":3968,"material":600,"size":3969,"collection":6,"collections":3970,"showCount":3953,"zanCount":1117,"manualWeight":535,"mainColor":713},"he-ting-ting-yu-tu-yi-ming-218855","荷亭听雨图","这幅画描绘了一个荷花亭，主人躺在沙发上看荷花、听雨声，而一个童仆拿着小提琴在桥头的花下姗姗来迟，抱头鼠窜，而一只受惊的鸟儿则飞上了天空。这幅画与刘松年的风格相似，笔触厚实而坚定，画感引人入胜。",[511,593,512,516,543,517,706,783,523,545,3967],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4871b40e4780da845cf4f472108e38a.jpg","23.2x24.4",[6,531],{"id":350,"slug":3972,"title":3973,"dynasty":506,"author":817,"museum":764,"description":3974,"tags":3975,"thumbUrl":3977,"material":600,"size":3978,"collection":6,"collections":3979,"showCount":3953,"zanCount":1041,"manualWeight":535,"mainColor":536},"he-hua-chong-jie-tu-lin-chun-218558","荷花虫介图","这幅画描绘了一个有着厚厚的白色条纹和点状绿色皮肤的大绿瓜，红色的蜻蜓和两只蜜蜂在瓜上盘旋，似乎是水果的香味吸引了它们；一只绿色的蚱蜢蹲在宽大的叶面上，似乎也在向瓜爬来。",[593,512,513,517,516,640,781,3976,1049,1380],"虫介","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11bbb375e79fb24e593b6af6beedad0f.jpg","28x26",[6],{"id":351,"slug":3981,"title":3982,"dynasty":506,"author":3637,"museum":1071,"description":3983,"tags":3984,"thumbUrl":3985,"material":3986,"size":3987,"collection":6,"collections":3988,"showCount":3989,"zanCount":535,"manualWeight":535,"mainColor":536},"yan-tu-hui-chong-221251","雁图","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[511,593,512,513,653,516,3580,596,753,1845,1049,1572,3641,910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[6,602,532],61,{"id":352,"slug":3991,"title":3992,"dynasty":1465,"author":1520,"museum":508,"description":3993,"tags":3994,"thumbUrl":3995,"material":3996,"size":3997,"collection":6,"collections":3998,"showCount":3989,"zanCount":535,"manualWeight":535,"mainColor":536},"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[511,512,513,514,516,640,721,596,722,642,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 设色画","纵25.4厘米,横36.2厘米",[6,602,532],{"id":353,"slug":4000,"title":4001,"dynasty":1465,"author":4002,"museum":2789,"description":4003,"tags":4004,"thumbUrl":4005,"material":600,"size":4006,"collection":6,"collections":4007,"showCount":3989,"zanCount":535,"manualWeight":535,"mainColor":536},"luo-han-tu-cai-shan-220240","罗汉图","蔡山","本图描绘的是一位拄拐杖坐在岩石上的罗汉，从姿态上看来应属第一宾度罗跋啰堕阇尊者，尊者右足跨在左膝之上，半跏坐于岩石上，右手执竹杖靠住右肩，容貌古野呈胡相，长眉之下慈悲坚毅的目光炯炯有神。用笔稳健有力，脸上皱纹、衣服褶纹、以及手足线条等均相当周密，调整合宜，设色淡雅，不碍线条的流畅。罗汉坐的岩石隙缝中暗藏有“蔡山”落款。估计此图原为十六罗汉图全套中的一幅，现存有类似风格的另一幅罗汉图。从苍老消痩的罗汉表现手法中可以看出蔡山的固有画风，画中透露出的怪异氛围，与同时代的颜辉派有着相通之处。画面右下角有足利义直的寄进铭“奉三宝弟子右兵卫督源直义舍入”， 可知它是捐献给足利直义的某寺之物。据说由足利直义于贞和2年(1346)赠予高野山金刚三昧院。\n“蔡山”之名，根据室町时代的 “君台观左右帐记”中记载，除了“元人”之外，其他均不详，传统的画史上也始终未见其名。就署名于岩石隙缝一事来看，似仍沿袭了宋代的古风，元代中期以后，此风便不多见了。本幅罗汉图属于高古细润的作风，那是融和了南宋以来，文人画和职业画工的优点，在元画中又是一件杰出而珍贵的作品。",[511,512,513,594,1111,544,517,516,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea77b489c9244d27f3da7403e09bf107.jpg","113.3×53.9 cm",[6],{"id":354,"slug":4009,"title":4010,"dynasty":506,"author":637,"museum":610,"description":4011,"tags":4012,"thumbUrl":4015,"material":516,"size":4016,"collection":6,"collections":4017,"showCount":4018,"zanCount":535,"manualWeight":535,"mainColor":536},"xi-shan-mu-xue-zhou-yi-ming-223566","溪山暮雪轴","此画描绘的是白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[511,512,593,594,518,614,653,1410,991,523,619,4013,705,4014],"暮景","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[6,631,565],60,{"id":355,"slug":4020,"title":4021,"dynasty":506,"author":637,"museum":1002,"description":4022,"tags":4023,"thumbUrl":4024,"material":694,"size":4025,"collection":6,"collections":4026,"showCount":4018,"zanCount":535,"manualWeight":535,"mainColor":536},"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[511,512,513,514,653,614,518,523,656,526,618,1410,753,1049,871,706,596,872,873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[6,631,565],{"id":356,"slug":4028,"title":4029,"dynasty":506,"author":3595,"museum":508,"description":4030,"tags":4031,"thumbUrl":4032,"material":528,"size":4033,"collection":6,"collections":4034,"showCount":4018,"zanCount":1117,"manualWeight":535,"mainColor":536},"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[511,512,513,514,833,516,834,722,544,545,523,924,518,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[6,631,532],{"id":357,"slug":4036,"title":4037,"dynasty":506,"author":3785,"museum":2360,"description":4038,"tags":4039,"thumbUrl":4042,"material":694,"size":4043,"collection":6,"collections":4044,"showCount":4045,"zanCount":535,"manualWeight":535,"mainColor":713},"zhong-shan-chu-you-tu-juan-gong-kai-221449","中山出游图卷","《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面",[511,512,514,833,653,544,4040,549,4041,578],"鬼怪","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8280b5c0f8df796c30604681cc79ff9.jpg","纵32.8厘米，横169.5厘米",[6,631,532],59,{"id":358,"slug":4047,"title":4048,"dynasty":506,"author":1107,"museum":2360,"description":4049,"tags":4050,"thumbUrl":4052,"material":528,"size":4053,"collection":6,"collections":4054,"showCount":4045,"zanCount":1041,"manualWeight":535,"mainColor":536},"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","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。",[511,593,512,513,514,833,653,516,544,518,523,524,705,547,706,834,809,4051,721,596,871],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 x 521.5 cm",[6,531,565],{"id":359,"slug":4056,"title":4057,"dynasty":506,"author":1631,"museum":610,"description":4058,"tags":4059,"thumbUrl":4060,"material":672,"size":4061,"collection":6,"collections":4062,"showCount":4045,"zanCount":1117,"manualWeight":535,"mainColor":536},"kai-tai-tu-zhou-su-han-chen-221354","开泰图轴","画中的孩童欢乐地骑在一只大羊背上，身边围绕着各色大小造型不一、矫健欢腾的小羊，神气十足。据了解，北宋时期的日常生活中，羊并非骑乘的动物，但画中白羊被配上如神骏宝象般的鞍辔，散发着非同一般的宫廷贵气。群羊在草地中或饮，或食，或奔走，或徜徉，悠然自得的环绕在童子身边。画面背后还以长松梅花做背景，点有一双喜鹊，意取“喜上眉梢”。童子神采飞扬，群羊热闹欢腾，整幅画面充满了一派富丽祥和之气。那白胖小子丰润柔软的模样跃然于纸上，栩栩如生，令人心生爱怜。",[511,593,512,513,594,516,517,544,845,3247,795,767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0dcb740080929d847e81c2fd0a8fd4.jpg","纵106厘米，横52厘米",[6,531,532],{"id":360,"slug":4064,"title":4065,"dynasty":506,"author":882,"museum":610,"description":4066,"tags":4067,"thumbUrl":4068,"material":600,"size":4069,"collection":6,"collections":4070,"showCount":4045,"zanCount":535,"manualWeight":535,"mainColor":713},"da-jiang-fu-yu-tu-li-tang-218968","大江浮玉图","图片显示的是一条大河，波涛汹涌，两艘河船一起停泊在附近的码头上。有一些岛屿升入河中，几块巨石与主山遥相呼应，而森林树木、寺庙和漂浮的人物被描绘得非常详细。其笔法与郭熙的《早春》相似，结构与徽宗的《溪山秋色》相似。它可能是郭熙在宣和、绍兴年间（1119-1162）制作的。",[511,512,513,653,518,614,616,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54993d0fc188603ac72284d8609e6fb4.jpg","20.8x22.2",[6,631],{"id":361,"slug":4072,"title":4073,"dynasty":506,"author":1070,"museum":718,"description":4074,"tags":4075,"thumbUrl":4076,"material":4077,"size":4078,"collection":6,"collections":4079,"showCount":4080,"zanCount":1117,"manualWeight":535,"mainColor":536},"shuang-que-tu-li-di-221589","双雀图","景德二年（1005年），状元及第，出任徐州通判。历任著作郎、直史馆、三司盐铁判官、海州监税、右司谏、知郓州、起居舍人、吏部员外郎、三司盐铁副使、知制诰、秘书监、等职，在地方政绩卓著，在中央参与军国要务，出入内外，两度担任同平章事（宰相），以太子太傅致仕。\n庆历七年（1047年），李迪去世，享年七十七岁，追赠司空兼侍中，谥号“文定”，宋仁宗亲题其碑首为“遗直之碑”。《全宋诗》录其诗，《全宋文》录有其文。",[511,512,513,979,516,517,640,873,596,1049,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe559fda312675455de696e9c73c23466.jpg","设色绢本","35x34",[6,602,532],58,{"id":362,"slug":4082,"title":4083,"dynasty":506,"author":3676,"museum":610,"description":4084,"tags":4085,"thumbUrl":4089,"material":849,"size":4090,"collection":6,"collections":4091,"showCount":4092,"zanCount":535,"manualWeight":535,"mainColor":854},"xue-xi-yu-fu-tu-xu-dao-ning-289867","雪溪渔父图","许道宁 北宋画家。生卒年不详，约970年-1052年。活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅山水，师法李成，初于汴京（今河南开封）端门前卖药，以画吸引顾客，渐为人所知。多写林木、野水、秋江、雪景、寒林、渔浦等，并点缀行旅、野渡、捕鱼等人物，行笔简快，峰峦峭拔，林木劲硬，人称能得李成之气。宋朝人张士逊曾写诗称赞说：“李成谢世范宽死，唯有长安许道宁。”黄庭坚激赏他醉后所作的画。在《答王道济寺丞观许道宁山水图》诗中写道：“往逢醉许在长安，蛮溪大砚磨松烟。忽呼绢素翻砚水，久不下笔或经年。异时踏门闯白首，巾冠欹斜更索酒。举杯意气欲翻盆，倒卧虚樽即八九。醉拾枯笔墨淋浪，势若山崩不停手。数尺江山万里遥。满堂风物冷萧萧。”生动地展示了许道宁醉中作画的神情举止，见出他画技的高超。",[512,1197,653,614,1198,518,1005,992,4086,4087,1049,1392,4088],"渔舍","溪岸","冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7037404c7f9e8aaac7306673c66fb64.jpg","169x110",[6],57,{"id":363,"slug":4094,"title":1650,"dynasty":506,"author":868,"museum":1651,"description":4095,"tags":4096,"thumbUrl":4099,"material":4100,"size":4101,"collection":6,"collections":4102,"showCount":4092,"zanCount":535,"manualWeight":535,"mainColor":713},"shan-shui-tu-ma-yuan-221666","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[511,593,512,653,979,614,4097,518,1005,616,895,4098,544],"斧劈皴","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25749570680d4776f70b7c2eecee4f5.jpg","绢本 淡设色","25.5X25.7",[6,631,565],{"id":364,"slug":4104,"title":4105,"dynasty":506,"author":2706,"museum":764,"description":4106,"tags":4107,"thumbUrl":4108,"material":628,"size":4109,"collection":6,"collections":4110,"showCount":4092,"zanCount":1041,"manualWeight":535,"mainColor":536},"jin-ma-tu-chen-ju-zhong-221512","进马图","陈居中(生卒年不详)，南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年(1207年)为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。\n虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。\n这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[511,593,512,513,517,516,549,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6e4e525e0769c2739e54550a170481.jpg","21×32",[6,602,532],{"id":365,"slug":4112,"title":4113,"dynasty":506,"author":2101,"museum":2457,"description":4114,"tags":4115,"thumbUrl":4117,"material":849,"size":4118,"collection":6,"collections":4119,"showCount":4092,"zanCount":1117,"manualWeight":535,"mainColor":536},"ju-yuan-tu-yi-yuan-ji-219168","聚猿图","此卷绘秋冬之季群猿攀援、饮涧、嬉戏之情形。所绘大小、老幼、黑白群猿三十余只，亦是一数量不菲的群猿聚居图。岩壑间群猿或坐或走、或仰或卧，或倒挂或直立，作者将群猿日常习居的情形淋漓尽致地表现出来。该图笔力富有弹性，突出其运动感。",[511,1572,512,513,514,653,518,845,2547,614,517,523,656,619,4116,2304],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b78cc151c53a8bbbe047d09cfe527b.jpg","纵41.3厘米，横146厘米",[6,565],{"id":366,"slug":4121,"title":4122,"dynasty":506,"author":637,"museum":764,"description":4123,"tags":4124,"thumbUrl":4125,"material":600,"size":4126,"collection":6,"collections":4127,"showCount":4092,"zanCount":1117,"manualWeight":535,"mainColor":1042},"pan-yuan-tu-yi-ming-218562","攀猿图","一只猴子爬上一棵树，一只手放在树上，另一只手尽量往下伸，几乎要够到下面的果实，但还是无法做到。猴子是用刺毛法画的，只用墨水勾画了手、脚和脸，轮廓准确、自然、生动，渲染得很好，显示了猴子的运动，与树上茂密的覆盖物形成了鲜明的对比。",[511,512,513,593,517,516,2547,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e173bdb3b32b390e92cbd82379d4ad.jpg","21x22",[6],{"id":367,"slug":4129,"title":4130,"dynasty":506,"author":637,"museum":718,"description":4131,"tags":4132,"thumbUrl":4136,"material":672,"size":4137,"collection":6,"collections":4138,"showCount":4139,"zanCount":535,"manualWeight":535,"mainColor":536},"fang-zhou-fang-xi-ying-tu-yi-ming-223354","仿周昉戏婴图","周昉《戏婴图》已失传，本卷为宋人摹本，技法设色均有周昉风骨。图绘五个女子与七个幼孩嬉戏、为幼孩洗浴、穿衣的生活场景。中国古代人物画，有“婴戏图”这一种类。“婴”字，作“孩童”解。以小孩的生活、游戏为描绘对象，表现孩童的天真、稚拙、活泼、可爱，画面生动、有趣，寄托了人们对于美好生活--“多子多福”的向往，所以历来很受大众的欢迎，在唐、宋时期无论题材还是技法都已相当成熟。如宋苏汉臣的《秋庭戏婴图》可谓杰作。",[511,512,593,517,516,544,575,4133,3841,1634,4134,4135,628],"婴儿","服饰","孩童嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b11b8ef4628a62aa0c11093093e5b0.jpg","纵30.5厘米，横111.8厘米",[6],56,{"id":368,"slug":4141,"title":4142,"dynasty":506,"author":2654,"museum":976,"description":1810,"tags":4143,"thumbUrl":4144,"material":4145,"size":4146,"collection":6,"collections":4147,"showCount":4139,"zanCount":1041,"manualWeight":535,"mainColor":536},"an-chun-tu-li-an-zhong-221585","鹌鹑图",[511,593,512,513,517,516,640,2657,690,909],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0a7a66cc5c8697ff42ab6e379a7cb63.jpg","设色绢","52x68",[6,602,532],{"id":369,"slug":4149,"title":4150,"dynasty":506,"author":3595,"museum":572,"description":4151,"tags":4152,"thumbUrl":4153,"material":628,"size":4154,"collection":6,"collections":4155,"showCount":4139,"zanCount":1041,"manualWeight":535,"mainColor":536},"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“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。",[511,593,512,513,514,833,516,834,642,722,544,545,547,546,706,873,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[6,631,532],{"id":370,"slug":4157,"title":4158,"dynasty":506,"author":4159,"museum":508,"description":4160,"tags":4161,"thumbUrl":4162,"material":528,"size":4163,"collection":6,"collections":4164,"showCount":4139,"zanCount":535,"manualWeight":535,"mainColor":536},"jiang-shan-fang-mu-tu-juan-qi-xu-221436","江山放牧图卷","祁序","本幅无款，上有清高宗弘历御题五律诗一首。前隔水有金章宗完颜璟瘦金体书题签：“祁序江山放牧图”。清梁清标书签：“北宋祁序江山放牧图蕉林珍藏”。鉴藏印有金章宗“内殿珍玩”、“明昌”、“明昌宝玩”、“御府宝绘”；清耿昭忠“耿昭忠信公氏一字在良别号长白山长收藏书画印记”，梁清标“蕉林”、“观其大略”以及乾隆、嘉庆、宣统诸帝之玺。\n此图为平远式构图，取景开阔。图绘初春时节，牧童们在湖泽坡岸间牧牛的情景，是典型的宋代风俗小品画。作品表现了各种情态的牛，或低头饮水，或昂首举目，或扭身顾盼，或侧身前行，皆神态生动，富有情趣，显示出作者娴熟的笔墨技法和准确的造型能力。图中点景的树木具有宋人李唐刻画粗简的遗风，树干以粗线条勾勒轮廓，润墨皴擦，显现出苍健之态、虬曲之美；树叶用笔致细腻的夹叶法表现，中锋行笔，线条圆润工整，展现出树木丰润华滋之美。堤岸坡石的表现别具匠心，以曲折弯转的墨线勾边，再以石绿色晕染坡面，亮丽的色彩不仅丰富了画面的色调，也为全幅增添了万物复苏的春之气息。作者将悠闲惬意的牛与风和日丽的环境有机地融为一体，画面中洋溢着浓郁的乡土风情。\n此幅是祁序流存至今的唯一一件作品，原藏清宫内府，宣统年间为溥仪运出宫，存于长春的小白楼内，后为周觉民获得。1983年9月由周觉民之妻李倩玉捐献给故宫博物院。\n著录于清内府《石渠宝笈初编》。",[511,593,512,513,514,653,614,518,550,544,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7be5f835fcaeb89d01f42e584182ea.jpg","纵47.3厘米，横115.6厘米",[6],{"id":371,"slug":4166,"title":4167,"dynasty":506,"author":3606,"museum":764,"description":4168,"tags":4169,"thumbUrl":4170,"material":516,"size":4171,"collection":6,"collections":4172,"showCount":4139,"zanCount":535,"manualWeight":535,"mainColor":536},"shan-shui-tu-ye-yan-wen-gui-221424","山水图页","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[511,593,512,513,820,516,614,518,523,925,922,895,1665,656],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[6,631,565],{"id":372,"slug":4174,"title":4175,"dynasty":506,"author":817,"museum":610,"description":4176,"tags":4177,"thumbUrl":4178,"material":600,"size":4179,"collection":6,"collections":4180,"showCount":4139,"zanCount":535,"manualWeight":535,"mainColor":713},"hua-mu-zhen-qin-tu-lin-chun-219205","花木珍禽图","画面中花木扶疏，珍禽顾盼生姿，翎羽纹理细腻如织，每一片花瓣都似凝着晨露的清润。淡赭色的背景晕染出雅致的古意，草木的姿态舒展自然，禽鸟的动态鲜活传神——或低头理羽，或抬足欲行，仿佛能听见羽翼轻振的细碎声响。工笔勾勒的线条精准灵动，设色淡雅却见层次，将自然生灵的生机与宋人的清幽审美融于一方圆扇之中，尽显写生妙趣与雅致格调，似能让人嗅到花木的浅香，触到古绢上的温润时光。",[511,593,512,513,979,517,516,640,735,795,768,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e39a3b8400e6e4315756cb77ddc544.jpg","25.8x26.3cm",[6,602],{"id":373,"slug":4182,"title":4183,"dynasty":506,"author":637,"museum":764,"description":4184,"tags":4185,"thumbUrl":4186,"material":628,"size":4187,"collection":6,"collections":4188,"showCount":4139,"zanCount":1117,"manualWeight":535,"mainColor":536},"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[511,593,512,513,516,614,518,873,706,547,544,549,642,616,546,767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[6],{"id":374,"slug":4190,"title":4191,"dynasty":506,"author":637,"museum":508,"description":4192,"tags":4193,"thumbUrl":4197,"material":628,"size":4198,"collection":6,"collections":4199,"showCount":4200,"zanCount":535,"manualWeight":535,"mainColor":854},"qiu-shan-hong-shu-tu-zhou-yi-ming-223603","秋山红树图轴","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。",[511,512,593,513,594,516,518,4194,4195,617,546,547,4196,656,523,519,622,614],"红树","秋山","亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6349a3c7dd2d9bcdb8c6e7b79d431705.jpg","197.8x111.8",[6,631,565],55,{"id":375,"slug":4202,"title":4203,"dynasty":506,"author":3606,"museum":610,"description":4168,"tags":4204,"thumbUrl":4205,"material":861,"size":861,"collection":6,"collections":4206,"showCount":4200,"zanCount":1117,"manualWeight":535,"mainColor":536},"da-jiang-tu-yan-wen-gui-221421","大江图",[511,512,513,514,653,614,518,2154,922,545,546,523,616,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c21e1641668e9acb1a358f7b09ffe9f.jpg",[6,631,565],{"id":376,"slug":4208,"title":4209,"dynasty":506,"author":4210,"museum":508,"description":4211,"tags":4212,"thumbUrl":4215,"material":528,"size":4216,"collection":6,"collections":4217,"showCount":4200,"zanCount":535,"manualWeight":535,"mainColor":536},"lu-ting-mi-xue-tu-quan-juan-liang-shi-min-221419","芦汀密雪图全卷","梁师闵","此卷为梁师闵的传世孤品，描绘严冬时节的沙渚平川，坡石竹枝已尽为白雪覆盖，丛丛干枯的芦草在阴沉晦暗的背景下瑟瑟隐现。清寂之中，一池湖水尚未封冻，两只鸂鶒（音xī chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[511,512,513,514,517,516,1845,991,705,596,4213,4214,518,642,834,722],"寒沙","江天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[6,631,565],{"id":377,"slug":4219,"title":4220,"dynasty":506,"author":1001,"museum":610,"description":4221,"tags":4222,"thumbUrl":4223,"material":600,"size":4224,"collection":6,"collections":4225,"showCount":4200,"zanCount":1117,"manualWeight":535,"mainColor":713},"bu-yu-tu-li-cheng-218933","捕鱼图","这幅画描绘了一条雪白的河流，岸边有古老的松树，一棵松树迎风而立，河里的渔民在放鱼网。这幅画以前被冠以李成的作品，但当你仔细观察这幅画的画风和两岸的抒情笔触，它更接近元代朱德润的画风。",[511,512,593,513,820,653,614,518,873,705,1164,1392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2112e287c6b86f47d3abcb4356f99.jpg","23.3x25",[6],{"id":378,"slug":4227,"title":4228,"dynasty":506,"author":637,"museum":610,"description":4229,"tags":4230,"thumbUrl":4231,"material":600,"size":4232,"collection":6,"collections":4233,"showCount":4200,"zanCount":535,"manualWeight":535,"mainColor":713},"xi-yang-gui-du-tu-yi-ming-218837","夕阳归犊图","这幅画描绘了两头大牛在夕阳下涉水过河的情景，还有一头小牛在恐惧和害怕中伸出前蹄。笔触简单，牛和人物都没有形态，不像是专业画家的作品，也不像是普通文人的俏皮笔触。",[511,512,979,516,518,517,2259,550,795,895,3511,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a03dda9ca27d426983bebcf6e6d089.jpg","22.4x22.4",[6,631],{"id":379,"slug":4235,"title":3877,"dynasty":506,"author":1365,"museum":1071,"description":4236,"tags":4237,"thumbUrl":4238,"material":694,"size":4239,"collection":6,"collections":4240,"showCount":4241,"zanCount":535,"manualWeight":535,"mainColor":713},"yuan-pu-gui-fan-tu-mu-xi-221503","《远浦归帆图》为《潇湘八景图》之一。“潇湘”这一意象在中国画中具有特殊的地位。“潇湘山水”的出现，或许是与宏大的帝国山水对立的，它具有更强烈的私人属性，属于性灵的山水篇章。潇湘山水并非是指今天的“潇湘洞庭”，而是泛指一种江湖的情调与雅趣。牧溪和尚以“潇湘”为旨，融禅理于画，可谓画中有禅，禅中有画。今读《远浦归帆图》，只为见本心。",[511,512,653,518,514,705,523,596,750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1af47130223d09239906eae4799cb.jpg","32.5*112.7CM",[6,631,565],54,{"id":380,"slug":4243,"title":4244,"dynasty":506,"author":1070,"museum":718,"description":4245,"tags":4246,"thumbUrl":4249,"material":628,"size":4250,"collection":6,"collections":4251,"showCount":4241,"zanCount":535,"manualWeight":535,"mainColor":536},"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[511,512,593,979,517,516,2585,3247,845,544,796,4247,4248],"山坡","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","24.1×24.8cm",[6,602,565],{"id":381,"slug":4253,"title":4254,"dynasty":506,"author":609,"museum":718,"description":2557,"tags":4255,"thumbUrl":4256,"material":672,"size":2560,"collection":6,"collections":4257,"showCount":4241,"zanCount":535,"manualWeight":535,"mainColor":536},"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷",[511,512,513,514,518,614,516,616,523,526,898,2050,619,1801,524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg",[6,631,565],{"id":382,"slug":4259,"title":4260,"dynasty":506,"author":4261,"museum":764,"description":4262,"tags":4263,"thumbUrl":4264,"material":628,"size":4265,"collection":6,"collections":4266,"showCount":4241,"zanCount":535,"manualWeight":535,"mainColor":713},"shi-yong-tu-quan-juan-zhang-xian-221322","十咏图全卷","张先","此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。\n南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。\n张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。\n这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。\n此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。\n1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”",[511,512,513,514,516,518,545,706,547,705,523,616,544,642,722,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43225b3fa18322ee72418abdc181ec0.jpg","画心纵52厘米，横125.4厘米",[6,631,565],{"id":383,"slug":4268,"title":4269,"dynasty":506,"author":637,"museum":610,"description":4270,"tags":4271,"thumbUrl":4274,"material":600,"size":4275,"collection":6,"collections":4276,"showCount":4241,"zanCount":535,"manualWeight":535,"mainColor":536},"lu-ting-shuang-ya-tu-yi-ming-220148","芦汀双鸭图","淡墨晕开秋水，似笼着薄雾寒烟，汀渚静卧，清寂悠然。右侧芦苇以双钩提笔绘就，细劲笔触勾出舒展茎叶，墨色分染衬出枯软肌理，仿有风过簌簌摇曳，野意横生。\n\n水面野鸭悠然徐行，浓墨点染头颈，浅墨晕开羽上斑纹，明暗相宜，灵动鲜活。寥寥数笔勾出鸭掌拨出的细微波痕，暗合水动之姿。\n\n整幅画作以简驭繁，舍去浓艳敷色，独以水墨铺陈郊野水滨之景，将秋日汀洲的幽寂闲趣藏于绢素，把自然生灵的安闲之态凝于笔端，尽显含蓄雅致的古典意韵。",[511,512,513,640,594,517,516,1845,4272,2042,4273],"鸭子","汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af9eabc519e95fbd973739de4ea50c.jpg","86.5x90.4",[6],{"id":384,"slug":4278,"title":4279,"dynasty":506,"author":3595,"museum":590,"description":4280,"tags":4281,"thumbUrl":4282,"material":600,"size":4283,"collection":6,"collections":4284,"showCount":4241,"zanCount":1041,"manualWeight":535,"mainColor":536},"chen-feng-tu-ma-he-zhi-219730","陈风图","陈国始封于西周初年，建都于今淮阳县，前后延续了500多年。该国以鸟为崇拜对象，简礼仪而重巫祠，其俗善歌舞，民风浪漫开放，这些都在《诗经·陈风》中得以体现。马和之创作的这组《陈风图》以浅显易懂的绘画语言解读了当时的文化与礼仪。《诗经》爱好者一定不能错过。马和之是南宋画家，为南宋宫廷画院中官品最高的画师，居御前画院十人之首。擅长人物、佛像、山水，其绘画风格与唐代吴道子相仿，人称“小吴生”。",[511,512,513,514,833,516,518,544,545,706,523,546,547,834,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459c29b66cb238c23aa756f3463369ea.jpg","纵26.8、横731.5厘米",[6],{"id":385,"slug":4286,"title":4287,"dynasty":506,"author":3595,"museum":610,"description":4288,"tags":4289,"thumbUrl":4290,"material":600,"size":4291,"collection":6,"collections":4292,"showCount":4241,"zanCount":535,"manualWeight":535,"mainColor":536},"jiang-sheng-cao-ge-tu-ma-he-zhi-218866","江声草阁图","画中有一座建在悬壁上的亭子，瀑布流入河中，一棵松树拔地而起，一个学者靠在栅栏上看一颗飞星。",[511,512,593,516,517,518,545,523,596,2293,656,2042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2c1ff15b6b9c4fa6376a24609f2ff0.jpg","23.3x24.6",[6],{"id":386,"slug":4294,"title":4295,"dynasty":506,"author":637,"museum":610,"description":4296,"tags":4297,"thumbUrl":4298,"material":1113,"size":4299,"collection":6,"collections":4300,"showCount":4241,"zanCount":535,"manualWeight":535,"mainColor":536},"shan-shui-xiao-jing-yi-ming-218836","山水小景","这幅画与米氏的《云雾山》不尽相同，因为它的裂纹较少，茄子状的点也少。这幅画并不完全相同，可能是来自大风堂张大千捐赠给台北故宫的一幅立轴画的上部。",[511,593,512,513,653,614,518,1410,658,523,656,895,896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125522e300339c83e5781612e33c5b72.jpg","13.2x26.2",[6],{"id":387,"slug":4302,"title":4303,"dynasty":506,"author":637,"museum":976,"description":4304,"tags":4305,"thumbUrl":4307,"material":600,"size":4308,"collection":6,"collections":4309,"showCount":4241,"zanCount":535,"manualWeight":535,"mainColor":536},"yuan-lu-tu-yi-ming-218619","猿鹭图","在画山的一棵老松树上，一只猴子右手抱着一只苍鹭，左手挥舞着，似乎在吓唬坐在树顶的另一只苍鹭，尽管树顶的苍鹭确实受到了惊吓，它张着尖嘴，翅膀微微张开，似乎准备逃走了。紧握着的游隼张开的嘴，似乎在呼救。",[511,593,512,513,979,516,517,642,2104,4306,885,1744,1049,873,596,845],"鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68a43a8dfe0798f567015c2597b7b30.jpg","23.3x23.8",[6],{"id":388,"slug":4311,"title":4312,"dynasty":506,"author":4313,"museum":976,"description":4314,"tags":4315,"thumbUrl":4316,"material":861,"size":861,"collection":6,"collections":4317,"showCount":4241,"zanCount":535,"manualWeight":535,"mainColor":4318},"sui-yang-wu-lao-tu-ti-ba-ce-jiang-can-202978","睢阳五老图题跋册","蒋璨","册页中人物身着宽袍官帽，神态从容内敛，线条勾勒简洁精准，衣袂褶皱处见笔力细腻。旁侧题跋墨色浓淡相宜，行笔流畅自然，文字与画像相映成趣，既留存人物风貌，更承载历代文人的评述感怀。纸本古朴质感与书画雅致气韵交融，仿佛窥见往昔文人雅集的从容心境，岁月痕迹在笔墨间流淌，尽显传统书画合璧的独特魅力。",[820,517,834,544,722,516,833,511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181806e01c0d82064ca8ee0a7b420c76.jpg",[6],"d5b99b",{"id":389,"slug":4320,"title":4321,"dynasty":506,"author":571,"museum":764,"description":4322,"tags":4323,"thumbUrl":4324,"material":628,"size":861,"collection":6,"collections":4325,"showCount":4326,"zanCount":535,"manualWeight":535,"mainColor":536},"shan-ying-tu-ye-zhao-ji-221321","山鹰图页","宋徽宗赵佶（1082年11月2日-1135年6月4日），号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[511,593,512,513,820,517,516,596,1005,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e2bf0c5effb80786fbb766f9d19af2.jpg",[6,602,532],53,{"id":390,"slug":4328,"title":4329,"dynasty":506,"author":1999,"museum":610,"description":2000,"tags":4330,"thumbUrl":4331,"material":672,"size":4332,"collection":6,"collections":4333,"showCount":4326,"zanCount":535,"manualWeight":535,"mainColor":536},"jin-men-ying-zhao-zhou-guo-zhong-shu-221296","金门应诏轴",[511,512,513,543,594,516,517,544,545,721,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85929dfecd1409924803dab3ee25f0.jpg","30x28",[6,531,532],{"id":391,"slug":4335,"title":4336,"dynasty":506,"author":637,"museum":610,"description":4337,"tags":4338,"thumbUrl":4341,"material":600,"size":4342,"collection":6,"collections":4343,"showCount":4326,"zanCount":535,"manualWeight":535,"mainColor":713},"wu-kuan-li-hua-qu-yu-yi-ming-220386","无款梨花鸲鹆","此作尽显宋代工笔花鸟精妙意趣，墨色绘就的鸲鹆立于花枝，羽色浓淡层叠晕染，将玄色羽毛的绒软光泽尽数勾勒，明黄爪眼提亮画面，灵动仿若正引吭啼鸣，瞬间的生机被定格尺幅之间。\n\n淡粉晕出梨花清透柔润，留白托出瓣边莹白，苍劲枝桠衬得禽鸟愈发神完气足。古旧绢面晕开岁月沉香，却未掩画师对自然的入微体察。笔意简淡清雅，以小见大，将春日枝间融融春意凝练其中，静中藏动，尽显宋人雅致审美的悠悠余韵。",[511,593,512,513,517,516,640,4339,4340,1625],"梨花","鸲鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25127c3e83af8c31239f09f1f2372412.jpg","25.3x29.8厘米",[6],{"id":392,"slug":4345,"title":4346,"dynasty":506,"author":3606,"museum":610,"description":4347,"tags":4348,"thumbUrl":4349,"material":600,"size":4350,"collection":631,"collections":4351,"showCount":4326,"zanCount":535,"manualWeight":535,"mainColor":713},"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[511,593,512,513,979,653,516,614,518,547,705,2949,523,1198,619,992,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[631,6],{"id":393,"slug":4353,"title":4354,"dynasty":506,"author":1107,"museum":764,"description":4355,"tags":4356,"thumbUrl":4357,"material":628,"size":861,"collection":6,"collections":4358,"showCount":4326,"zanCount":535,"manualWeight":535,"mainColor":713},"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-216911","万方职贡图全卷","万方职贡图全卷是宋朝时期由李公麟编写的一部职贡图书。这本书是在宋朝时期编写的，主要记录了宋朝时期各级官员的职贡规定以及他们的权力和职责。这本书是宋朝时期的一部重要史料，可以为我们了解宋朝时期的政治体制、官员制度以及官员的权力和职责提供重要的参考。",[511,593,512,513,514,833,544,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552a9310b7ab1d2dce73c8120542c88b.jpg",[6],{"id":394,"slug":4360,"title":4361,"dynasty":506,"author":4362,"museum":610,"description":4363,"tags":4364,"thumbUrl":4366,"material":820,"size":4367,"collection":6,"collections":4368,"showCount":4369,"zanCount":1117,"manualWeight":535,"mainColor":713},"xie-sheng-ying-su-ai-xuan-221262","写生罂粟","艾宣","五色的蜀葵、纯白的栀子和红艳石榴花，要比罂粟花常见得多。罂粟花艳丽的“五色”，使得人们常把它与蜀葵相提并论，二者的播种和花期也都相似。宋代罂粟主要是用于食用和药材，嫩苗堪比园蔬，罂粟籽则可作粥。在现存宋代画扇中，至少可以看到两幅《罂粟花图》，台北故宫博物院藏传艾宣《写生罂粟图》尤为精彩，画中还是一枝并蒂的罂粟，显现出祥瑞之意。这些画扇，也应是宋代宫廷画家的杰作。",[511,512,593,513,820,517,516,2627,640,4365,1084],"罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9fe1801c419e7cafc2c8afc755bdcc.jpg","43x75.7",[6,602,532],52,{"id":395,"slug":4371,"title":790,"dynasty":506,"author":637,"museum":610,"description":4372,"tags":4373,"thumbUrl":4381,"material":600,"size":4382,"collection":6,"collections":4383,"showCount":4369,"zanCount":535,"manualWeight":535,"mainColor":536},"mu-niu-tu-yi-ming-219014","小河两岸溪流纵横，在树荫下草木茂盛，是放牧的好地方。牛群由六头牛组成，其中三头牛在争吵后相互厮打。而另外两个牧童则坐在牛背上，静静地交谈。笔力强劲，墨色厚重，画面没有标记，日期较晚。",[511,512,513,653,516,517,514,550,845,4374,523,796,616,546,619,518,2337,614,4375,4376,1833,1478,1789,1501,4377,4378,4379,4380],"牧童","田园","野趣","幼兽","动态","静谧","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dd986111c132cf50382a2bc3bf6d21.jpg","68.2x140.3",[6],{"id":396,"slug":4385,"title":790,"dynasty":506,"author":637,"museum":2457,"description":4386,"tags":4387,"thumbUrl":4389,"material":600,"size":4390,"collection":6,"collections":4391,"showCount":4369,"zanCount":535,"manualWeight":535,"mainColor":536},"mu-niu-tu-yi-ming-219013","在池塘边的一棵柳树下，一头奶牛在舔她的小牛；不远处，一个牧童背靠着柳树睡觉，狭长的柳叶在风中飘动，温暖的阳光让春天的日子充满生机。这幅画是李唐和晏子平的遗作，他们都是著名的畜牧业画家，应该是大师级画家的作品。",[512,979,653,550,845,4374,1843,2586,4388],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa669771ee97905e8613b0c50bdb92e5a.jpg","24.7x25.6",[6],{"id":397,"slug":4393,"title":4394,"dynasty":506,"author":637,"museum":610,"description":4395,"tags":4396,"thumbUrl":4397,"material":600,"size":4398,"collection":6,"collections":4399,"showCount":4369,"zanCount":535,"manualWeight":535,"mainColor":713},"qiu-jiang-yu-ting-tu-yi-ming-218850","秋江渔艇图","画面上，秋日的两岸，渔舟唱晚，文人待渡，近岸松石，远山隐于云间，野桥飞泉，贵人和僮仆无比准备，可谓是 秋山如洗，清风如妆。近处的岩石很像李唐和刘松年的作品，而远处的山峰的笔法和环境则很像惠崇的作品。",[511,512,513,653,516,518,705,547,1392,873,614,1677,895,1164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3efef7fae05066bc6df419889f6c421.jpg","23.4x23.8",[6,631],{"id":398,"slug":4401,"title":4402,"dynasty":506,"author":637,"museum":610,"description":4403,"tags":4404,"thumbUrl":4405,"material":600,"size":4406,"collection":6,"collections":4407,"showCount":4408,"zanCount":1117,"manualWeight":535,"mainColor":536},"fu-gui-hua-li-tu-yi-ming-231057","富贵花狸图","枝桠遒劲舒展，牡丹素瓣柔润晕染，似凝露轻绽。花叶疏密错落，暗衬盛放雍容。花狸伏身软草间，墨白毛色过渡自然无痕，双目凝注身前游虫，警觉中带着憨柔慵懒，将灵动感藏于静息姿态。\n\n整幅设色古雅沉静，绢底旧调晕开澹澹古韵，工细写实中带着雅致意趣，将繁花雍容与狸奴野趣相映成趣，闲静画面里暗涌鲜活生机，于清淡古拙间晕开平和悠然的氛围感，尽显小景中的雅致禅意。",[511,512,593,594,517,516,640,683,3841,1380,737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8509dd73930dd4201e8b570bf5528f6.jpg","141x107.5",[6],51,{"id":399,"slug":4410,"title":4411,"dynasty":506,"author":1235,"museum":1071,"description":4412,"tags":4413,"thumbUrl":4415,"material":1803,"size":4416,"collection":6,"collections":4417,"showCount":4408,"zanCount":1117,"manualWeight":535,"mainColor":536},"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。",[511,512,517,516,543,4414,550,544,579],"农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a05840e2dc8620ab8a0852363b3faea.jpg","25.626.4cm",[6,531,565],{"id":400,"slug":4419,"title":4420,"dynasty":506,"author":1235,"museum":610,"description":4421,"tags":4422,"thumbUrl":4424,"material":708,"size":4425,"collection":6,"collections":4426,"showCount":4408,"zanCount":535,"manualWeight":535,"mainColor":536},"yue-ye-kan-chao-tu-li-song-221489","月夜看潮图","这幅「月夜看潮」图，所画即南宋时临安(今浙江杭州)中秋夜观海潮的情形。高悬的明月下，浪潮卷涌成一直线地奔驰而来;江畔华美的平台阁楼上，隐约可见有人穿梭、呼指着。整个画面没有拥塞的车水马龙、也没有激情喧闹的人海，取而代之的是远山江帆、月影银涛，一幕祥和而又没有纷扰的景致。",[511,512,516,543,518,545,705,1743,523,4423,642],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe131ee4ef3a1bf68a965799b0b4a1826.jpg","纵22.3厘米，横22厘米",[6,631,532],{"id":401,"slug":4428,"title":4429,"dynasty":506,"author":637,"museum":610,"description":4430,"tags":4431,"thumbUrl":4432,"material":600,"size":4433,"collection":6,"collections":4434,"showCount":4435,"zanCount":1041,"manualWeight":535,"mainColor":536},"hua-chun-fu-gui-tu-yi-ming-290994","华春富贵图","从图中技巧、内容看，当是一位宫廷画家高手。它是一件珍贵的插花古图。我们可从中窥见宋代宫廷插花之美。\n图以工笔彩绘，笔笔不苟。绘金漆宝相花纹金瓶，放置于嵌宝石漆架上，插以大朵重瓣朱红、粉、白牡丹，当是宋时照殿红等牡丹花名种；并以桃花（花瓣略尖，是桃花无疑）、木香枝条相衬。（左下角枝条似是取荷包牡丹相衬，但画得很模糊，未能确认），造型略为对称之形，而活泼灵动。牡丹六朵，分左右、前后、上中下，居于花型之中，相伴桃花、木香，暗示着五方空间，真是天地五方六合皆春色。含有贺岁朝新春之意，亦为富贵气象。今日牡丹插花之华贵丰韵，当亦应如是。",[512,593,513,594,516,517,640,683,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a6ec52fe441c112236cda157c0733d.jpg","144.5x49.8",[6],50,{"id":402,"slug":4437,"title":4438,"dynasty":506,"author":637,"museum":508,"description":4439,"tags":4440,"thumbUrl":4442,"material":3187,"size":4443,"collection":6,"collections":4444,"showCount":4435,"zanCount":1117,"manualWeight":535,"mainColor":536},"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。",[511,593,798,514,517,833,516,544,549,4441],"骑马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc607519eb1cdca03b10fb72d38b179c4.jpg","47x195",[6,531,532],{"id":403,"slug":4446,"title":4447,"dynasty":506,"author":4448,"museum":668,"description":4449,"tags":4450,"thumbUrl":4451,"material":628,"size":4452,"collection":6,"collections":4453,"showCount":4435,"zanCount":1117,"manualWeight":535,"mainColor":713},"xue-zhong-mei-zhu-tu-xu-yu-gong-221470","雪中梅竹图","徐禹功","雪中梅竹图卷，以前部南宋徐禹功《雪中梅竹图》卷为主体，徐卷后有杨补之“柳梢青”词十首，赵孟坚跋二则，元人张雨“柳梢青”和韵一首。此图画雪梅一枝横空而出，修竹三管，雪压枝头，笔法清逸洒丽，意境清幽朦胧，充满诗情画意。作者徐禹功画史无考，惟在卷后赵孟坚题跋中始知为画家扬无咎之及门弟子，又从书于竹节之名款“辛酉人”考之，当生于1141年（南宋绍兴十一年）。画上有清代乾隆皇帝及董邦达、梁诗正等人的题诗。",[511,512,513,514,653,833,722,834,642,767,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F825e67ae4c8c60235698f2c0399e5488.jpg","纵29.6 厘米，横122 厘米",[6,602],{"id":404,"slug":4455,"title":4456,"dynasty":506,"author":1057,"museum":508,"description":4457,"tags":4458,"thumbUrl":4459,"material":628,"size":4460,"collection":6,"collections":4461,"showCount":4435,"zanCount":535,"manualWeight":535,"mainColor":713},"ling-feng-bo-ge-tu-lu-zong-gui-221469","玲峰鹁鸽图","绘鹁鸽两羽，全身白色，只留尾巴黑色，一只立于湖石上，微张的尖嘴似与地面上的另一只打招呼；画面竹枝繁茂，花团锦簇，春光融融。鲁宗贵，南宋画家，工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。",[511,593,512,513,517,516,640,768,885,797,911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac548a4d2e561d376899c9dbecd6e64.jpg","28 × 52 cm",[6,602,532],{"id":405,"slug":4463,"title":4464,"dynasty":506,"author":1107,"museum":610,"description":4465,"tags":4466,"thumbUrl":4467,"material":4468,"size":4469,"collection":6,"collections":4470,"showCount":4435,"zanCount":535,"manualWeight":535,"mainColor":536},"long-mian-shan-tu-li-gong-lin-221408","龙眠山图","《龙眠山庄图》亦称《山庄图》，是宋代杰出画家李公麟的白描山水画。画面表现的是由建德馆至垂云片的龙眠山庄图景。自西而东凡数里，岩谔隐见，泉源相属，山行者路穷于此。《宣和画谱》称《山庄图》，可以配王维《辋川图》；《佩文斋书画谱》亦说《山庄图》用王维《辋川图》的画法：“而行笔细润，乃有超越之意”。苏轼为之记，苏辙为之赋诗，凡二十首。《山庄图》既出，便为世人所珍爱。《山庄图》不仅是一幅远离尘嚣的山村风俗画卷，更体现了山庄主人思想倾向和生活情致。苏轼在《题李伯时〈山庄图〉后》说，李公麟在龙眠山，并非留意一草一木，然而《山庄图》“其神与万物交，其智与百工通。”所以他称李公麟为“有道有艺”的画家。",[511,593,512,513,833,614,518,617,523,544,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb03915a38cf74d256514b6749816117.jpg","纸本水墨","纵28.9厘米，横364.6厘米",[6,631,565],{"id":406,"slug":4472,"title":4473,"dynasty":506,"author":637,"museum":610,"description":4474,"tags":4475,"thumbUrl":4477,"material":600,"size":4478,"collection":602,"collections":4479,"showCount":4435,"zanCount":1117,"manualWeight":535,"mainColor":536},"song-ren-sun-ji-tu-yi-ming-220443","宋人隼击图","秋桂飘香，芙蓉摇曳，原是祥和秋景，却呈现阵阵肃杀之气。但见巨鹰凌空俯冲，凌厉的目光，大有扑杀之势。于是雉鸡藏身石后，八哥、蜡嘴仓皇桃散，状甚惊恐。而它们在走避之余，尚注视着巨鹰动向的眼神，尤为生动传神。本幅细致写实，传为宋人所作，然就树干、芙蓉叶、芦苇等多处笔意观之，倒颇合明代吕纪一派画风。",[511,512,513,516,517,596,523,1469,656,4476],"鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97657f8d0e87c5567462cc2a0dbe89c9.jpg","本幅 154.8x101.5公分、全幅 114公分",[602,6],{"id":407,"slug":4481,"title":790,"dynasty":506,"author":637,"museum":764,"description":4482,"tags":4483,"thumbUrl":4484,"material":849,"size":861,"collection":6,"collections":4485,"showCount":4435,"zanCount":1117,"manualWeight":535,"mainColor":536},"mu-niu-tu-yi-ming-218663","墨色晕染间，郊野清趣缓缓铺展。两头水牛憨态可掬：一头低首缓步，似嗅草间露气；一头驮着牧童悠然前行，弯弯牛角衬得身形愈发敦实。侧旁幼童牵绳随行，稚态尽显。左侧林木疏朗，枯枝横斜，藤蔓垂挂如帘，与右侧孤树相映，添了几分野逸之韵。山石起伏处，草木隐现，一派自然清旷。整幅画以淡墨勾染，线条温润细腻，将田园间的闲适宁静凝于绢素。似能闻得牛蹄踏土的轻响，牧童随口哼出的短调，尽显宋人笔下的生活意趣与山水情怀，将平凡日常淬炼成诗意的画面。",[511,512,513,517,614,550,544,795,518,872,873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37756075c4b31aef394ddd6fd16cfcfe.jpg",[6],{"id":408,"slug":4487,"title":4488,"dynasty":506,"author":4489,"museum":976,"description":4490,"tags":4491,"thumbUrl":4493,"material":861,"size":861,"collection":6,"collections":4494,"showCount":4435,"zanCount":535,"manualWeight":535,"mainColor":4495},"ben-du-tu-juan-liang-tu-shan-202162","奔犊图卷","梁秃山","画面以简括笔墨勾勒奔牛动态，牛身墨色浓淡相间，肌肉张力隐现，四蹄腾空似奋力疾奔，尾梢甩动更添动感。旁侧小兽身形小巧，与壮牛形成对比，衬出牛之奔势。背景树木枝干疏朗，坡石以淡墨晕染，留白处尽显空濛，营造出野逸之境。整幅画作笔墨极简却意趣盎然，于瞬间动态中捕捉生命活力，尽显南宋文人画的写意精神与自然意趣。",[512,653,514,550,845,523,4492,614,511],"坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6883540eba2ef1d4626cdca1f141cd96.jpg",[6],"a0855e",{"id":409,"slug":4497,"title":4498,"dynasty":506,"author":2456,"museum":764,"description":4499,"tags":4500,"thumbUrl":4501,"material":516,"size":4502,"collection":6,"collections":4503,"showCount":4504,"zanCount":535,"manualWeight":535,"mainColor":536},"hao-shan-wu-shu-tu-juan-mi-you-ren-221486","好山无数图卷","全景以留白的云霭，穿梭于峰峦叠翠间，重山翠岭连绵不绝，自左而右、渐行空远。技法上以“米点”墨色铺陈山峦及树石，另以较为浅淡的墨色晕染沙渚岸边；工笔浓墨装点枝干、独桥及扁舟。画家铺陈山景的风格及技法，与其父米芾颇有相通之处，故《画继》中称其所作山水“点滴烟云，草草而成，而不失天真，其风气肖乃翁(芾)也”，故画史上有“大米”及“小米”之称。此幅充满诗意、适时应景的画题，可溯自其父米芾，甚而宋迪“萧湘八景”图。它旨在将游历山景的心境投射于画境中，透过米点皴染表现出来，诗画合一。",[511,593,512,513,514,653,614,722,642,518,1410,846,753,705,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[6,631,565],49,{"id":410,"slug":4506,"title":4507,"dynasty":506,"author":3676,"museum":764,"description":4508,"tags":4509,"thumbUrl":4510,"material":628,"size":4511,"collection":6,"collections":4512,"showCount":4504,"zanCount":1117,"manualWeight":535,"mainColor":536},"qiu-lin-tu-ye-xu-dao-ning-221417","秋林图页","此卷作平遠的構圖，山巒重疊向兩面展開，叢林間隱藏寺院和佛塔。近景作河流、坡岸，幾棵大樹，挺拔疏朗，有小道、橋樑通往遠處；二局士遠眺，有騎士與隨從似正遊覽歸來。表現了華北黃土地清曠的晚秋景色。其構圖與美圍納爾遜·艾京斯美術館藏《秋江漁艇圖》屬同一類型。樹法作“蟹爪法”，鹿角、坡石皴法亦屬李成一派。本圖無款，傳為許道寧作。\n圖中描寫的是華北平原秋天時的蕭寒荒涼景色，與平原中活動的人物。最令人深感趣味的是從圖卷末開始，山坡上植滿大片樹叢，樹葉開始凋零，景色由此向右上方延伸，到中景則出現小片樹叢，並隱約可見在林間的寺院和閣樓。這就點出了此畫的主題，在樹叢下有幾名清雅高士正朝着丘陵的方向欣賞大自然美景。秋高氣爽，一陣陣秋風從秋林中沙沙吹響，好一個平原秋色的蕭寒荒涼，這使高士們如此喜悦，領略大自然恩賜的詩一般的愜意。\n此畫構圖的軸線是順着道路漫延到卷末。作者重點佈置秋色的蕭條，四周同將枯竭的泉水，及背後莊嚴的山脈，使人感受到強烈的蕭條之氣。可是在樹叢下有幾名清雅高士採風賞景、談笑風生，頓使畫面意趣盎然、生氣充盈。圖中人物雖小，但能神形逼肖。此圖乍看似乎是李成寒林平原山水的模式。從此圖中不僅能看到許道寧擅長的林木，平野山水，及斜面構圖模仿寒林龍形山脈等，更可以看出白唐、五代以來長安繪畫保守的傳統風格",[511,512,593,513,820,653,614,518,873,872,2980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265c7ee4e15765a1f3229516a46ee0b3.jpg","36× 30",[6,631,565],{"id":411,"slug":4514,"title":4515,"dynasty":506,"author":1107,"museum":1108,"description":4516,"tags":4517,"thumbUrl":4518,"material":600,"size":4519,"collection":6,"collections":4520,"showCount":4504,"zanCount":1117,"manualWeight":535,"mainColor":536},"yuan-ming-gui-yin-tu-li-gong-lin-220333","渊明归隐图","本画将《归去来兮辞》原文分为七段配以相应的绘本，完整描绘渊明归去来的一连串情节，画面热闹，用笔工整讲究，但与《归去来兮辞》中所描写的略有出入，倒有些像是辞官后富贵还乡的场景。",[511,512,514,833,516,722,834,642,544,518,706,705,596,523,547,546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68210320aa225634ebd2bcf13157b263.jpg","37.0x521.5",[6],{"id":412,"slug":4522,"title":4523,"dynasty":506,"author":4524,"museum":610,"description":4525,"tags":4526,"thumbUrl":4527,"material":600,"size":861,"collection":6,"collections":4528,"showCount":4504,"zanCount":535,"manualWeight":535,"mainColor":713},"song-xiu-yu-cun-tu-gao-ke-ming-218935","松岫渔村图","高克明","在画作中央的山坡上画着一栋村舍，它与右边的坡石由一座木桥连接，桥下的溪水流淌着，仿佛在鸣叫。桥上的一个男人正向村子走去，后面跟着一个孩子。坡岸上有房屋和树木，远处的山峰上也有树木；远处的山峰被涂上了鲜艳的色彩，还有蒸腾的雾气，这种场景类似于中国南方的晚春日落。这幅作品的构图是典型的边缘化，场景本身只占整个画面的一半，形成一条从远处山顶的树梢到倾斜的海岸的对角线。虽然这是一部小作品，但它具有巨大和深远的潜力。笔触低调，构图和主题一再显示出与马夏画派的亲和力。",[511,512,979,518,885,616,523,547,705,614,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a818024b4d6462ac770c4d1cfc69bc.jpg",[6],{"id":413,"slug":4530,"title":4531,"dynasty":506,"author":4532,"museum":4533,"description":4534,"tags":4535,"thumbUrl":4537,"material":516,"size":4538,"collection":6,"collections":4539,"showCount":4540,"zanCount":535,"manualWeight":535,"mainColor":536},"yue-xia-wu-que-tu-dai-wan-221360","月下五雀图","戴琓","昆仑堂美术馆","戴琓，北宋画家。生卒年不详。汴（今河南开封）人。宣和（1111-1125）年间在翰林，殊蒙恩宠。画史称其：工翎毛花竹，常入阁供奉，后因求者甚众，徽宗闻之，封其臂不令私画，故传世者鲜。\n传世作品有《月下五雀图》，现藏昆山市昆仑堂美术馆；《雪梅寒雀图》，美国弗利尔美术馆藏。",[511,512,517,516,628,640,1743,596,4536,1625,980,909],"雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7afabac0c506934e7bf8980bedff63.jpg","20.5cm×26cm",[6,602,532],48,{"id":414,"slug":4542,"title":4543,"dynasty":506,"author":3606,"museum":764,"description":4168,"tags":4544,"thumbUrl":4545,"material":628,"size":4546,"collection":6,"collections":4547,"showCount":4548,"zanCount":535,"manualWeight":535,"mainColor":536},"mo-tang-wang-you-cheng-jiang-gan-xue-ji-tu-juan-yan-wen-gui-221423","摹唐王右丞江干雪霁图卷",[511,593,512,513,514,576,518,614,547,873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F502e8ef62b5bf7a6eef655aaac89f06e.jpg","25.7x144cm",[6,631,565],47,{"id":415,"slug":4550,"title":4551,"dynasty":506,"author":1999,"museum":2789,"description":4552,"tags":4553,"thumbUrl":4555,"material":600,"size":4556,"collection":6,"collections":4557,"showCount":4548,"zanCount":535,"manualWeight":535,"mainColor":536},"liu-long-gu-che-guo-zhong-shu-220095","柳龙骨车","描绘我国传统的农具＂牛转翻车＂，写实地再现了龙骨车（翻车）的构造，为研究我国农业史、技术史提供了宝贵资料。此图收录于东京国立博物馆收藏的唐绘手鉴《笔耕园》中。\n翻车是一种古代中国劳动人民发明的用于排水灌溉的机械，也是世界上出现最早、使用最久的水车，因为其形状犹如“龙骨”，故又名“龙骨车”或“龙骨水车”。有时候也泛称为“水车”。\n用牛拽转的水车，称为“牛转翻车”，有的是借流水的力量推动，称为“水转翻车”。“牛转翻车”俗称“牛车”，是以牛为动力来拽动转盘，通过轮齿带动龙骨链刮水板，将水刮起的灌溉农具。",[511,506,512,513,543,516,2585,795,547,4554],"龙骨车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051b462fa439b75c775dabdb35d1a7d7.jpg","24.5×26.8",[6],{"id":416,"slug":4559,"title":4560,"dynasty":506,"author":868,"museum":4561,"description":4562,"tags":4563,"thumbUrl":4564,"material":2307,"size":4565,"collection":6,"collections":4566,"showCount":4548,"zanCount":535,"manualWeight":535,"mainColor":713},"shang-shan-si-hao-tu-ma-yuan-219697","商山四皓图","辛辛那提艺术博物馆","《商山四皓图》绘秦末汉初隐居于商山（今陕西省商洛市境内）的四位高士之超迈风神。画中绘冈峦起伏、老树横斜之景，四位高士或策杖而立，或对弈酣战，俊逸磊落。全卷以水墨绘成，山石用马远标志性的“大斧劈皴”，笔法流畅淋漓，苍劲有力。即便该作并非马远亲笔，就其珍贵的艺术性和历史价值，仍应为世人所重。",[511,512,513,1572,517,516,544,518,523,656],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4b037bb9f139acf9d6f48ab5a68345.jpg","纵33.0厘米 横307.3厘米",[6,531],{"id":417,"slug":4568,"title":4569,"dynasty":506,"author":637,"museum":610,"description":4570,"tags":4571,"thumbUrl":4572,"material":600,"size":4573,"collection":6,"collections":4574,"showCount":4548,"zanCount":535,"manualWeight":535,"mainColor":713},"kong-shan-guan-pu-tu-yi-ming-218852","空山观瀑图","画面上画的是悬崖上的松树，枝干粗壮，分叉有致，一位高僧坐在松树下的空位上，看着叮咚作响的泉水，俗话说得好。智者乐水。这幅画复制了李唐和夏圭的笔法，但笔法过分转折，可能是明代浙派画家的作品。",[511,512,513,593,653,614,518,617,885,656,1410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd35279e156a6ba9386da672ffb1e86.jpg","23.4x25.5",[6],{"id":418,"slug":4576,"title":4577,"dynasty":506,"author":1070,"museum":508,"description":4578,"tags":4579,"thumbUrl":4580,"material":672,"size":4581,"collection":6,"collections":4582,"showCount":4583,"zanCount":1029,"manualWeight":535,"mainColor":536},"su-wu-mu-yang-tu-li-di-221560","苏武牧羊图","李迪（生卒年不详），南宋画家，河阳（今河南孟州南）人。供职于孝宗、光宗、宁宗三朝画院。擅写生，花鸟、竹石、走兽皆精，亦作山水小景。大幅气象豪迈，小品精细入微，晚年犹能作纤入毫笔的刻画。存世作品有《雪树寒禽图》《枫鹰雉鸡图》《风雨归牧图》等。",[511,593,512,513,979,516,833,544,3247,845,795,1411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaa42b0901bb55ad17260f047b24a30.jpg","24.4x21.5厘米",[6,531,532],46,{"id":419,"slug":4585,"title":4586,"dynasty":506,"author":650,"museum":2360,"description":3932,"tags":4587,"thumbUrl":4588,"material":4589,"size":4590,"collection":6,"collections":4591,"showCount":4583,"zanCount":535,"manualWeight":535,"mainColor":713},"dai-du-tu-ye-guo-xi-221287","待渡图页",[511,512,513,820,653,516,518,1005,705,616,614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946bc8b1acd959ef038570ca597f5d99.jpg","册页绢本设色","26.1x30.4厘米",[6,631,565],{"id":420,"slug":4593,"title":4594,"dynasty":506,"author":637,"museum":610,"description":3896,"tags":4595,"thumbUrl":4596,"material":628,"size":3899,"collection":6,"collections":4597,"showCount":4583,"zanCount":535,"manualWeight":535,"mainColor":536},"bian-zhuang-zi-ci-hu-2-yi-ming-220235","卞庄子刺虎2",[593,512,513,517,516,544,2686,550,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de4be4d0d370b1a0cbb18f0c2f5cb7e.jpg",[6],{"id":421,"slug":4599,"title":4600,"dynasty":506,"author":2654,"museum":610,"description":4601,"tags":4602,"thumbUrl":4603,"material":600,"size":4604,"collection":6,"collections":4605,"showCount":4583,"zanCount":1117,"manualWeight":535,"mainColor":536},"xiang-bo-tu-li-an-zhong-219151","翔鹁图","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[511,593,512,513,594,517,516,640,596,1049,1380,735,2011,768],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[6,602,532],{"id":422,"slug":4607,"title":4608,"dynasty":506,"author":2101,"museum":610,"description":4609,"tags":4610,"thumbUrl":4612,"material":600,"size":4613,"collection":6,"collections":4614,"showCount":4583,"zanCount":535,"manualWeight":535,"mainColor":713},"qiao-ke-yuan-gua-tu-yi-yuan-ji-218948","乔柯猿挂图","图绘山野之中，两黑一白三只小猿猴在老柏树上嬉戏玩耍。形象生动，用笔细腻，应是从写生中得来。",[511,512,593,517,653,516,4611,3741,616,845,523],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c73ab950f34a4402a9ba1c8dd4002e.jpg","24.2x26.4",[6],{"id":423,"slug":4616,"title":4617,"dynasty":506,"author":637,"museum":610,"description":4618,"tags":4619,"thumbUrl":4620,"material":600,"size":4621,"collection":6,"collections":4622,"showCount":4583,"zanCount":535,"manualWeight":535,"mainColor":536},"an-he-tu-yi-ming-218692","安和图","在秋天的风景中，草和叶子变黄，野高粱的茎上长满了穗子。在茎叶下，五只鹌鹑在其中休息，而另外四只鸟则在上面栖息，为自己的羽毛做准备或啄食谷物。虽然这幅画没有作者的签名，但构图合理，所有物体都栩栩如生，所以它一定是出自艺术家之手。鹌鹑的造型与北宋崔訢的《七夕鹌鹑图》相似，而高粱则与明代陆机的《草花野禽图》相似，但《草花野禽图》的笔法显然更富变化，而这幅画则具有南宋的流畅细腻风格。它也被称为 安和，因为 鹑 和 安、和 和 和 是同音字，使它成为一部吉祥之作。",[511,512,513,593,517,516,640,1845,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8456b5937e15cbbc97e3c44852831d14.jpg","105.4x51.6",[6],{"id":424,"slug":4624,"title":4625,"dynasty":506,"author":2565,"museum":764,"description":4626,"tags":4627,"thumbUrl":4628,"material":628,"size":4629,"collection":6,"collections":4630,"showCount":4631,"zanCount":535,"manualWeight":535,"mainColor":536},"qiu-chi-xi-qiao-tu-zhao-ling-rang-221438","秋池溪桥图","趙令穰（生卒年不詳），字大年，北宋汴京（今河南開封）人，畫家。宋太祖趙匡胤五世孫。官至光州防禦使﹑崇信軍觀察留後，卒贈“開府儀同三司”，追封“榮國公”。其孫趙伯駒為宋代著名畫家，官至浙東兵馬鈐轄。趙令穰工畫山水、花果、翎毛，筆致秀麗，尤長金碧山水。遠師李思訓父子。代表作品《風雲期會圖》《春山圖》《阿閣圖》《後赤壁圖 》《文會圖》《鳥雀圖》等。留傳到現在的有《漢宮圖》《阿閣圖》《萬松金闕圖》等。",[511,512,513,518,516,614,873,596,547,546,872],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e08d87ef65ff90075f06a4322ff790b.jpg","27.9x34厘米",[6],45,{"id":425,"slug":4633,"title":4634,"dynasty":506,"author":637,"museum":610,"description":4635,"tags":4636,"thumbUrl":4638,"material":708,"size":4639,"collection":6,"collections":4640,"showCount":4641,"zanCount":535,"manualWeight":535,"mainColor":536},"zi-mu-ji-tu-yi-ming-223418","子母鸡图","此图绘一只母鸡引领着几只孵出不久的小鸡，在地上漫步啄食。母鸡雪白的羽毛蓬松亮丽，目光中充满着慈爱，小鸡则稚嫩怯弱，依偎在母亲的羽翼保护下。母鸡俯身与宝宝们对话，神情爱怜。此画虽无陪衬，却能以情动人。作品在技法处理上，母鸡以勾线、施毛渲染，而小鸡则以施毛勾出轮廓，全以渲染，两者对比，更显小鸡稚嫩，母鸡慈爱。更精妙的是作者在对母鸡眼睛的处理上，把留白的位置留在眼珠的最前面，使其俯身之姿更加强烈",[511,593,512,513,517,516,640,1177,4637,642,722],"小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d3bda73641850315ec173a9cfe7fc6.jpg","纵59.99cm 横32.83cm",[6],44,{"id":426,"slug":4643,"title":4644,"dynasty":506,"author":2018,"museum":610,"description":4645,"tags":4646,"thumbUrl":4647,"material":708,"size":4648,"collection":6,"collections":4649,"showCount":4641,"zanCount":535,"manualWeight":535,"mainColor":536},"guan-pu-tu-zhou-liang-kai-221613","观瀑图轴","图绘飞瀑从山涧中直泻而下，与山脚乱石激起层层浪花，瀑前枯树对立，竹石苔茵，瀑下平坦处一人捻髭立眺，三童子洗砚抱琴烹茶。",[511,593,512,513,594,653,614,544,872,873,617,616,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9939980581eebaa2e7edecbbd4fd44.jpg","135.9x64.1厘米",[6,631,532],{"id":427,"slug":4651,"title":4652,"dynasty":506,"author":637,"museum":610,"description":4653,"tags":4654,"thumbUrl":4656,"material":600,"size":4657,"collection":6,"collections":4658,"showCount":4641,"zanCount":535,"manualWeight":535,"mainColor":536},"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。",[511,512,513,594,516,517,614,544,1843,873,4655,578],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8dde6b37837daa0488ca428fd6cae5e.jpg","65.4x40.2cm",[6,531],{"id":428,"slug":4660,"title":4661,"dynasty":506,"author":637,"museum":610,"description":4662,"tags":4663,"thumbUrl":4665,"material":600,"size":4666,"collection":6,"collections":4667,"showCount":4641,"zanCount":535,"manualWeight":535,"mainColor":713},"qiu-tang-fu-yan-tu-yi-ming-219233","秋塘凫雁图","松枝如墨笔皴染，苍劲枝干斜倚塘边，松针细密如丝，织着秋的清寒。几只凫雁散落在岸石上：有的敛翅蜷身，似枕着午后秋光小憩；有的侧颈理羽，绒羽软意与石面凉硬相映成趣。塘水静如镜，淡褐水面漾着若有若无的烟霭，把远天晕成朦胧色块，连风都放缓了脚步。\n\n笔墨简淡却藏极致细腻：每根松针带秋的劲挺，每片羽翎裹塘边静气，连岸石纹理都浸着湿润凉意。这方圆景里，秋意非萧瑟，而是生灵与自然的温柔相拥——宋人把对天地万物的深情，凝在一笔一划、一禽一木的静谧中，让千年后的我们，仍能触到那份清旷与安然。",[511,593,512,516,517,979,4664,523,2586,753,797,2050],"凫雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512ca8a7e13d31ef689e673f06c54768.jpg","24.8x25.2cm",[6,602],{"id":429,"slug":4669,"title":4670,"dynasty":506,"author":2397,"museum":610,"description":4671,"tags":4672,"thumbUrl":4673,"material":600,"size":4674,"collection":6,"collections":4675,"showCount":4641,"zanCount":535,"manualWeight":535,"mainColor":713},"jie-ge-yi-chun-tu-wang-shen-218951","杰阁媐春图","这幅画描绘了一栋山坡建筑的一个角落，楼上有两个女人在看围栏，而一个女人在下层的走廊上走着，后面跟着一个女仆。身材高大而修长。担架的使用和树木、山石的笔法与《景德镇四库全书》相似，疑为北宋作品，无题款，原署名王僧杰伊春。",[511,512,593,820,543,516,518,545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0c7f409af54da8ac9c4eeee02c02cd.jpg","22.5x21.7",[6],{"id":430,"slug":4677,"title":4678,"dynasty":506,"author":637,"museum":610,"description":4679,"tags":4680,"thumbUrl":4681,"material":600,"size":4682,"collection":6,"collections":4683,"showCount":4641,"zanCount":1117,"manualWeight":535,"mainColor":713},"lian-tang-shui-fu-tu-yi-ming-218858","莲塘睡凫图","画家不仅将鸭子讨人喜欢的柔美外表表现得淋漓尽致，还将鸭子的毛绒质感表现得淋漓尽致。",[511,512,593,513,820,640,517,781,4272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad944b5f7cf79d9baa44a2f50701f1b1.jpg","21.2x23.4",[6,532],{"id":431,"slug":4685,"title":4686,"dynasty":506,"author":4687,"museum":572,"description":4688,"tags":4689,"thumbUrl":4690,"material":516,"size":4691,"collection":6,"collections":4692,"showCount":4693,"zanCount":1041,"manualWeight":535,"mainColor":536},"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","张敦礼","《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。",[511,512,593,513,514,516,517,544,518,846,795,722,642,4134,3068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 × 716 cm",[6,531,565],43,{"id":432,"slug":4695,"title":4696,"dynasty":506,"author":1070,"museum":508,"description":4697,"tags":4698,"thumbUrl":4699,"material":528,"size":4700,"collection":6,"collections":4701,"showCount":4702,"zanCount":535,"manualWeight":535,"mainColor":713},"lie-quan-tu-li-di-221593","猎犬图","犬类作为专门的绘画题材最早出现在北宋《宣和画谱》中的“鸟兽”一门。宋代不乏画犬的专家，如宫廷画家李迪、李嵩、赵永年等。此图描绘的是宫廷御用猎犬，步伐矫健而闲雅。画风追求工整写实、细腻华丽而又形神兼备的宫廷审美趣味，是宋代院画的典型作品。",[511,593,512,513,517,516,845,2819,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8b356f522e268e5858d309346e863d8.jpg","纵26.5厘米，横26.9厘米",[6,602,532],42,{"id":433,"slug":4704,"title":4705,"dynasty":506,"author":3595,"museum":668,"description":4706,"tags":4707,"thumbUrl":4708,"material":528,"size":4709,"collection":6,"collections":4710,"showCount":4702,"zanCount":535,"manualWeight":535,"mainColor":536},"zhou-song-qing-miao-zhi-shen-tu-quan-juan-ma-he-zhi-221450","周颂清庙之什图全卷","马和之《诗经·周颂·清庙之什图卷》取材《诗经·周颂》的内容，其内容是西周初年周王朝祭祀宗庙的舞曲歌辞，用典重的词章歌颂祖先的功德并祈求降福子孙。全图绘《清庙之什》十篇诗意，字画各十段，每段画前有《周颂》全文。右书左图，各幅相间，依次为《清庙》、《维天之命》、《维清》、《烈文》、《天作》、《昊天有成命》、《我将》、《时迈》、《执竞》、《思文》。",[511,593,512,513,514,516,517,833,722,642,544,518,545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01c50754e74ad6bb6c4843682dac0cb.jpg","32.6*973cm",[6,631,565],{"id":434,"slug":4712,"title":4713,"dynasty":506,"author":4714,"museum":610,"description":4715,"tags":4716,"thumbUrl":4718,"material":4719,"size":4720,"collection":6,"collections":4721,"showCount":4702,"zanCount":535,"manualWeight":535,"mainColor":713},"yan-guan-gu-si-jia-shi-gu-221259","岩关古寺","贾师古","圖中夜幕將降，夕輝猶存，上半部完全空白，構圖學馬遠“一角”的形式。山石皴法，雜用短釘頭，長括鐵、小斧劈諸皴法，由於夕照偏西，山體黝黑，石塊畫得岐蹭堅凝。山端聳有幾棵羅漢青松和一批古杉，石骨披滿勁硬的山草，通幅上色，染以汁綠，山石的中央一段用赫石水亮出，遂覺森嚴氣氛中有了點媚柔態，這是作者創作部署獨具匠心處。",[511,593,512,513,820,517,516,614,518,656,885,4717,655,895],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd4bd45db684e8e12f58b035f0a870.jpg","絹本，設色","縱40.0×橫40.0公分",[6,631,565],{"id":435,"slug":4723,"title":4724,"dynasty":506,"author":637,"museum":610,"description":4725,"tags":4726,"thumbUrl":4731,"material":600,"size":4732,"collection":6,"collections":4733,"showCount":4734,"zanCount":1041,"manualWeight":535,"mainColor":536},"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[511,512,513,514,516,517,543,809,544,545,4727,518,523,927,4728,4729,616,4730,3543],"宫殿","台阶","旗帜","官员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[6],41,{"id":436,"slug":4736,"title":4737,"dynasty":506,"author":637,"museum":610,"description":4738,"tags":4739,"thumbUrl":4740,"material":600,"size":4741,"collection":6,"collections":4742,"showCount":4734,"zanCount":535,"manualWeight":535,"mainColor":713},"zong-yin-xi-jing-tu-yi-ming-218844","棕荫习静图","这幅画描绘了一个高丘在棕榈树荫下的石凳上睡觉，旁边有蝴蝶在飞舞。这幅画中的人物是用减笔描写的，棕榈树和石凳也是用笔描写的，石夔和梁楷应该是学过的，但笔画太逼真，太露骨。这幅画的标题可以是：庄周梦蝶。",[511,512,653,820,544,523,721,750,2337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98ad217fdf5f3633a9235875c1c6e2cb.jpg","21x21.1",[6],{"id":437,"slug":4744,"title":4745,"dynasty":506,"author":637,"museum":976,"description":4746,"tags":4747,"thumbUrl":4748,"material":861,"size":861,"collection":6,"collections":4749,"showCount":4734,"zanCount":535,"manualWeight":535,"mainColor":4750},"xi-shan-tu-juan-yi-ming-201746","溪山图卷","画面峰峦层叠，皴染结合的山石质感浑厚，如剑戟般刺破云雾。轻烟似纱缠绕峰谷，虚实相生间拓展空间纵深。山间林木葱茏，墨色浓淡交错尽显苍劲生机；溪畔屋舍隐现，与流水、舟楫相映，添了几分人间烟火气。远处水天相接，朦胧远山若隐若现，整体意境悠远静谧，尽显宋代山水画的雅致与深邃。",[512,518,514,653,614,526,616,1202,619,1502,1664,511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e50403cbfddbda8fae18d4254da81a2.jpg",[6],"82786f",{"id":438,"slug":4752,"title":4753,"dynasty":506,"author":1376,"museum":610,"description":4754,"tags":4755,"thumbUrl":4756,"material":600,"size":4757,"collection":6,"collections":4758,"showCount":4759,"zanCount":535,"manualWeight":535,"mainColor":536},"qiu-pu-rong-bin-tu-cui-bai-289351","秋浦蓉宾图","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鶺鴒腾跃，翡翠踞，两鸿雁振翅凌空，意在千里。",[511,512,640,517,516,596,689,783,2050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77dda06caf7a56f83b18a435258e2305.jpg","149.1x95.5",[6],40,{"id":439,"slug":4761,"title":4762,"dynasty":506,"author":1497,"museum":508,"description":4763,"tags":4764,"thumbUrl":4765,"material":4766,"size":4163,"collection":6,"collections":4767,"showCount":4759,"zanCount":535,"manualWeight":535,"mainColor":713},"chun-shan-tu-quan-juan-yan-su-221428","春山图(全卷)","燕肃(公元991—1040年)字穆之。祖籍青州益都(今山东青州)，后迁居于阳翟(今河南禹县)。真宗朝进士，官至龙阁直学士，礼部尚书，颇有政绩。巧思过人，有不少发明创造，是一位很有成就的科学家。工诗，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[511,512,513,514,653,516,518,546,547,1049,873,706,596,614,722,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg","纸本墨笔",[6,631,565],{"id":440,"slug":4769,"title":4770,"dynasty":506,"author":637,"museum":610,"description":4771,"tags":4772,"thumbUrl":4774,"material":600,"size":4775,"collection":6,"collections":4776,"showCount":4759,"zanCount":535,"manualWeight":535,"mainColor":536},"tong-shi-xiu-ling-zhou-yi-ming-221236","桐实修翎轴","画面留白空灵悠远，尽显极简造境之妙。禽鸟停驻桐枝，翎毛刻画细致入微，茸绒毕现，抬首凝伫间神态机警灵动，将野雀鲜活生姿定格绢素。\n\n桐叶与桐实以水墨晕染，墨色苍润层次分明，枯枝虬曲苍劲，古朴野逸。全画笔法兼具工细与写意，写实中饱含清雅诗意，将林下一隅的幽寂生趣尽致展现，尽显格物致知的审美意趣，淡墨轻岚间晕开沉静古雅的宋韵风神。",[511,512,593,594,640,517,516,768,1625,4773,642],"桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[6,631,565],{"id":441,"slug":4778,"title":4779,"dynasty":506,"author":650,"museum":718,"description":2352,"tags":4780,"thumbUrl":4781,"material":2077,"size":1338,"collection":6,"collections":4782,"showCount":4783,"zanCount":535,"manualWeight":535,"mainColor":713},"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷",[511,512,513,514,1197,653,516,614,517,722,834,642,518,795,705,546,547,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg",[6,631,565],39,{"id":442,"slug":4785,"title":4786,"dynasty":506,"author":637,"museum":610,"description":4787,"tags":4788,"thumbUrl":4789,"material":672,"size":4790,"collection":6,"collections":4791,"showCount":4783,"zanCount":535,"manualWeight":535,"mainColor":536},"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[511,512,513,594,640,516,517,3580,1604,781,2586],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","170x 167厘米",[6,602,532],{"id":443,"slug":4793,"title":4794,"dynasty":506,"author":637,"museum":610,"description":4795,"tags":4796,"thumbUrl":4798,"material":600,"size":4799,"collection":6,"collections":4800,"showCount":4783,"zanCount":535,"manualWeight":535,"mainColor":536},"wu-kuan-xing-lin-xi-chi-tu-yi-ming-220385","无款杏林鸂鶒图","上方行书“乐意”圆融雍容，点破画中真趣。下方小景绘江岸荒寒，枯木虬曲倚傍顽石，疏枝如篆，幽篁错落，晕染出冬日萧索野致。滩涂浅水间，一对鸂鶒相偎理羽，亲昵悠然，为清寂画面晕开温柔暖意。\n\n整幅以淡墨轻色铺陈，极简构图却藏天人妙趣，将林泉幽寂与禽鸟温情相融，用荒寒之境托举欣然乐意，尽显宋画以小景见天地的雅致审美，于冷澹笔墨里，晕染出宋人藏于山水间的幽微意趣，冷寂中暗淌脉脉生机。",[511,512,513,516,517,722,642,640,4797,2417,797,753,1744],"杏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38691268d61502131b8aa44711cc88f.jpg","37.3x49.8",[6],{"id":444,"slug":4802,"title":4803,"dynasty":506,"author":3785,"museum":1108,"description":3786,"tags":4804,"thumbUrl":4805,"material":1113,"size":3791,"collection":6,"collections":4806,"showCount":4783,"zanCount":535,"manualWeight":535,"mainColor":536},"jia-pai-tu-quan-juan-fen-juan-12-gong-kai-220089","笳拍图全卷-分卷12",[512,593,513,514,833,544,3788,549,3247,1099,578,4041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c86fb758c911901199210f2e7cb4fe9.jpg",[6],{"id":445,"slug":4808,"title":4809,"dynasty":506,"author":637,"museum":976,"description":4810,"tags":4811,"thumbUrl":4814,"material":628,"size":4815,"collection":6,"collections":4816,"showCount":4783,"zanCount":535,"manualWeight":535,"mainColor":536},"he-tang-an-le-tu-yi-ming-219731","荷塘按乐图","此图用近景鸟瞰的手法描绘皇亲贵戚在临湖台榭中饮宴奏乐的情景。殿阁仅画高柳环拥中的背面，殿前临水的月台上有两队吹笛的乐工，前面是开阔的湖面和点点钱荷。此图不作正面写景，而以描绘两队乐工的演奏使人联想在湖面上飘动的清越笛声和殿中人豪侈的饮宴，把南宋朝廷歌舞河山、穷奢极欲的生活含蓄地表达出来。图中楼阁台榭以界画笔法绘出，准确精细，颇合法度。湖边几株垂柳，更增添了几分幽静气氛。画面虽只绘一角景色，却能给人一种遐想无限的意境。",[512,593,543,516,544,545,781,2585,2951,1036,4812,4813],"饮酒","台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10479730a19e6b1aa7242930025e39b2.jpg","25.8x22.3cm",[6,631],{"id":446,"slug":4818,"title":2432,"dynasty":506,"author":882,"museum":610,"description":4819,"tags":4820,"thumbUrl":4821,"material":849,"size":4822,"collection":6,"collections":4823,"showCount":4824,"zanCount":535,"manualWeight":535,"mainColor":854},"hua-xue-jing-zhou-li-tang-290337","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[593,512,594,1197,653,614,1198,655,1502,1049,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209ee3197ccc570616f0231447ddfeca.jpg","197.2x107.1",[6],38,{"id":447,"slug":4826,"title":1213,"dynasty":1465,"author":637,"museum":508,"description":4827,"tags":4828,"thumbUrl":4829,"material":672,"size":4830,"collection":6,"collections":4831,"showCount":4824,"zanCount":535,"manualWeight":535,"mainColor":854},"qiu-shan-xing-lv-tu-yi-ming-223604","全图结构图清晰，便于查看。如果从下到上，根据景物的类型和排列方式和画家的描绘，将图片分成两组显示，三个部分在一个小概览中查看。画面会发现，这幅画气势磅礴，动感十足，透视感极深。首先，这幅画有一个从下面看的视角。创作者应该在这样的山脚下作画，在这样的山脚下作画，给观者一种真实的感觉。其次，这幅画的画面感不是很强，因为它也有深度感。如果你仔细观察，你会捕捉到无数小场景，包括天坑。例如，树木进入若隐若现的亭台、台阶、围栏等，给观者一种未来的无限视觉体验。\n一开始的山间小路，路​​上的行人等等，这些照片的全图空间把辫子拉得很好，在画面的空间和空间上进行了借鉴，让画面变得生动和对透气性的向往。你看到的是它带来的良好的中间立场。简练却又很写实，如尖山亭，是对亭子的细致刻画，笔触细腻，顶景近楼勾勒。三种节奏，给画面带来强烈的节奏感，这也是大师的心声。\n最真实的秋天很轻松。通过分析图片，不难发现，这幅《山间游记》与西方的素描是一样的。对象有近、大、远、小、近、近、细、统一。光源从哪里来。画底的山石，墨色深沉，体量大，影重。像山和树一样，墨色淡，整体不大，但也画了一个简单的介绍，而不是看风景的内在特征和魅力。例如，在风景部分，山的稍左侧和受光面部分较远，可能是朝阳的一面，所以墨色会低于光面，数字污渍会相对少一些。\n这样，在远景中，山体被许多朴素的松树压缩，使山体的一部分具有想象性和结构性，从而在画面中产生特定的整体统一感，真实而不冲动的视觉效果。仔细观察，你会发现，这些松树虽然是画出来的，但也能描绘出来。在统一中，各有特色，做到内涵丰富、厚度小、特殊性强，值得观者细细品味。\n还有一件事值得学习。中间作画的方法和水墨的轻快关系到景物的画和轻快。例如，岩石的长度被薄片覆盖，厚厚的大岩石被卷云薄片覆盖。树的种类为浅墨色，用较重的墨色挤压浅墨画，打开空间和树木之间的杂乱空间，避免树木之间的杂乱群落。凭借精湛的包装，观众拥有精致的视觉体验。\n如果用诗词介绍来形容整幅画，“枯藤老树昏鸦，小桥流水一家”。 “主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[511,512,513,653,516,614,518,655,616,523,1005,705,2050,1801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[6,631,565],{"id":448,"slug":4833,"title":4834,"dynasty":506,"author":637,"museum":508,"description":4835,"tags":4836,"thumbUrl":4837,"material":672,"size":4838,"collection":6,"collections":4839,"showCount":4840,"zanCount":535,"manualWeight":535,"mainColor":536},"shui-ge-feng-liang-tu-yi-ming-223532","水阁风凉图","绘古木掩映下一茅亭临江而建，远处山色空蒙，中为平川水田。宁外巨石错落，泉水奔流，亭内置一方桌，一折衣长者袖手停立桌前，仆人执扇侍立一侧。",[511,512,513,518,516,614,545,795,616,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37929b949c027168c6a1aef447280eae.jpg","22.5x21.1厘米",[6,631,565],37,{"id":449,"slug":4842,"title":4843,"dynasty":506,"author":1376,"museum":718,"description":4844,"tags":4845,"thumbUrl":4846,"material":4847,"size":4848,"collection":6,"collections":4849,"showCount":4840,"zanCount":535,"manualWeight":535,"mainColor":1042},"sha-zhu-fu-chu-tu-cui-bai-221446","沙渚凫雏图","崔白（1004-1088），中國北宋畫家，字子西，活躍於宋神宗前後，濠州（今安徽鳳陽）人。崔白是開始發揮寫生精神的畫家，其無前人的畫稿可臨摹或參考，但其依靠超越前人的觀察研究及描繪能力，探索花木鳥獸的生意，擺脫花鳥屬裝飾圖案的遺影，開創新的發展方向。其擅花竹、翎毛，亦長於佛道壁畫，畫佛道鬼神、山水、人物亦精妙絕倫，尤長於寫生。所畫鵝、蟬、雀堪稱三絕，手法細緻，形象真實，生動傳神，富於逸情野趣。一改百餘年墨守成規的花鳥畫風（指「黃筌畫派」），成為北宋畫壇的革新主將，數百年來頗受畫壇尊崇。",[511,593,512,513,640,516,517,910,1049,1604,1625],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86470bd0b6cb5ed33a9003d7bca038ca.jpg","册页，绢本","31.4cm×25.7cm",[6,602,532],{"id":450,"slug":4851,"title":4852,"dynasty":506,"author":947,"museum":610,"description":4853,"tags":4854,"thumbUrl":4857,"material":600,"size":4858,"collection":6,"collections":4859,"showCount":4860,"zanCount":535,"manualWeight":535,"mainColor":536},"tang-wu-xue-shi-tu-liu-song-nian-287640","唐五学士图","图中人物的头形轮廓线显出轻重、缓疾之别，很能传达出人物的年龄特征。再有衣纹处理也很老到、简洁、明确，毫不拖泥带水，一撇一勾都交代得一清二楚，这些都足见刘松年绘画艺术的功力。《图绘宝鉴》卷四讲他“帅张敦礼，工画人物山水，神气精妙，名过于师”。",[512,593,513,544,516,517,885,4855,4856],"亭阁","雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff255d9c9acafdadea239abac7ee4f1f7.jpg","174.7x106.6",[6],36,{"id":451,"slug":4862,"title":4863,"dynasty":506,"author":637,"museum":610,"description":4864,"tags":4865,"thumbUrl":4868,"material":600,"size":4869,"collection":6,"collections":4870,"showCount":4860,"zanCount":535,"manualWeight":535,"mainColor":713},"shen-shu-mao-tang-tu-yi-ming-218888","深树茅堂图","浓荫匝地，苍树如幄，茅堂隐于深翠间，似被林岚轻裹。堂内几榻疏朗，有人凭窗闲坐，或观叶动，或听风吟，意态萧然忘尘。笔墨细处见神：树石的皴染层叠生幽，茅舍的勾勒简净含韵，人物姿态虽小却活脱，尽显宋人对闲居之趣的精微捕捉。无艳色张扬，仅以墨色浓淡铺陈山林静谧，每一处线条皆藏着对自然的敬畏与对隐逸的向往，将宋画小品的雅致含蓄，凝作一方可居可游的林下清境，引人静赏其间悠然。",[511,512,979,653,516,518,795,4866,1644,4867,614],"茅堂","深树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99bf3482e94900427162b996b767bc75.jpg","24.1x23.5",[6],{"id":452,"slug":4872,"title":4873,"dynasty":506,"author":637,"museum":610,"description":4874,"tags":4875,"thumbUrl":4877,"material":600,"size":4878,"collection":6,"collections":4879,"showCount":4860,"zanCount":535,"manualWeight":535,"mainColor":713},"lv-rong-mu-di-tu-yi-ming-218853","绿茸牧羝图","画中有一群肥羊在草地上玩耍，两棵柳树枝叶茂盛，在风中摇曳，一个牧羊少年站在树枝上用赶羊棍逗弄小鸟，让人觉得是一个快乐的年。这幅画画得很密，但羊群太厚了，以至于它们显示变现。",[511,512,516,517,628,3247,796,795,4876,845],"牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329bebc3a227441ca972027caf511e53.jpg","22.6x23.8",[6,532],{"id":453,"slug":4881,"title":4882,"dynasty":506,"author":637,"museum":610,"description":4883,"tags":4884,"thumbUrl":4886,"material":600,"size":4887,"collection":6,"collections":4888,"showCount":4860,"zanCount":535,"manualWeight":535,"mainColor":713},"song-yin-fang-dao-tu-yi-ming-218842","松荫访道图","这幅画描绘了一位国王和一位王子向一位僧人请教冥想的情景，并将人物放在一条阴松溪的岸边，溪上有一座石桥，暗示渡口可以到达彼岸。这幅画与刘松年的画派相似，是山水画中人物团扇的典范。",[511,512,516,517,614,1582,1035,544,616,523,4885],"地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fd283639ef962c56bc157245007996.jpg","22.5x24.8",[6],{"id":454,"slug":4890,"title":4891,"dynasty":506,"author":4892,"museum":610,"description":4893,"tags":4894,"thumbUrl":4899,"material":628,"size":4900,"collection":6,"collections":4901,"showCount":4902,"zanCount":535,"manualWeight":535,"mainColor":536},"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","萧照","此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[511,512,593,594,518,516,545,705,547,4895,4896,3456,1786,557,4897,4898,614],"浅滩","远渚","烟岚","径路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","纵179.3cm，横112.7cm",[6,631,532],35,{"id":455,"slug":4904,"title":4905,"dynasty":506,"author":4906,"museum":610,"description":4907,"tags":4908,"thumbUrl":4909,"material":3294,"size":4910,"collection":6,"collections":4911,"showCount":4902,"zanCount":535,"manualWeight":535,"mainColor":713},"dao-yi-juan-mou-yi-221258","捣衣卷","牟益","牟益（1178-？），四川人。活動於理宗、度宗兩朝，工畫人物，兼善古文與篆書。 〈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。",[593,512,513,514,833,544,578,642,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52f0b5c8e369f08c112946b110d3131.jpg","纵27.1厘米，横266.4厘米",[6,531,532],{"id":456,"slug":4913,"title":4914,"dynasty":506,"author":637,"museum":610,"description":4915,"tags":4916,"thumbUrl":4919,"material":600,"size":4920,"collection":6,"collections":4921,"showCount":4902,"zanCount":535,"manualWeight":535,"mainColor":713},"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。",[511,512,513,820,516,834,544,1411,795,1095,2480,1097,4917,4918],"对坐论诗","石棚槐阴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc777cd7db29c9ac0aa735d106cb662bb.jpg","纵25.4横27.2厘米",[6,531],{"id":457,"slug":4923,"title":4924,"dynasty":506,"author":637,"museum":976,"description":4925,"tags":4926,"thumbUrl":4927,"material":861,"size":861,"collection":6,"collections":4928,"showCount":4902,"zanCount":1088,"manualWeight":535,"mainColor":4929},"ge-le-tu-juan-yi-ming-201548","歌乐图卷","画卷铺陈宋代闲适宴乐之景，庭院间虬枝缀花之木与青竹、怪石相映，景致清雅。男子持乐器奏乐，红衣女子或凝神倾听、或轻执器物互动，孩童稚态可掬，众人神情姿态生动传神。画作以工笔见长，线条细腻流畅，衣纹勾勒精准，设色典雅沉稳，将宴乐场景的悠然氛围尽显无遗，体现宋代绘画的精致匠心与艺术韵味。",[517,516,544,1036,927,721,1049,575,1634,767,511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f7c94786ca092c3352478aabf9437e.jpg",[6],"745f47",{"id":458,"slug":4931,"title":4932,"dynasty":506,"author":637,"museum":764,"description":4933,"tags":4934,"thumbUrl":4935,"material":528,"size":4936,"collection":6,"collections":4937,"showCount":4938,"zanCount":535,"manualWeight":535,"mainColor":536},"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[511,512,513,1197,516,517,614,1035,545,616,523,547,895,526,925,1786,1202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[6,631,565],34,{"id":459,"slug":4940,"title":4941,"dynasty":506,"author":2654,"museum":508,"description":4942,"tags":4943,"thumbUrl":4945,"material":528,"size":4946,"collection":6,"collections":4947,"showCount":4938,"zanCount":535,"manualWeight":535,"mainColor":536},"bu-chu-tu-ye-li-an-zhong-221583","哺雏图页","图中寒冬中二枝芦苇业已枯败，杆上有三只鸟儿栖息，其中鸟父母嘴里叨着虫子向中间小的鸟儿走来，喂食它们的孩儿。图上芦苇叶子描画精细，正翻面和缺口自然显现；鸟儿的眼神专注，将父母对子女无私的爱自然流露出来。",[511,593,512,513,820,517,516,640,721,768,4944],"雏鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8da06ac16d1aa8ac5e037145a98372f.jpg","22.8*24cm",[6,602,532],{"id":460,"slug":4949,"title":4950,"dynasty":506,"author":2323,"museum":508,"description":4951,"tags":4952,"thumbUrl":4953,"material":628,"size":4954,"collection":6,"collections":4955,"showCount":4938,"zanCount":1117,"manualWeight":535,"mainColor":713},"xue-mei-tu-juan-quan-juan-yang-wu-jiu-221467","雪梅图卷全卷","《雪梅图》是宋代扬无咎创作的绢本水墨画，现为 收藏。\n此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。\n作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。\n为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。\n此图为长卷，描绘雪天绽廾的梅花：墨笔画一枝凌空偃仰恣纵的野梅，图巾仪截取梅花树的一部分，重写枝十，淡点梅花-枝干有取有舍，疏密得官，苍劲挺拔，穿插有致-夹杂着儿簇竹口十，雪竹从画幅的左上角向右下方斜伸、疏竹枝叶及梅枝花办』：半爪残雪，借天色烘出一片清光傲寒之气洋溢画外。\n本幅钤“草玄之裔”、“补之”“逃禅”朱文印三方。\n本幅南宋曾觌题诗： 笔端造化出天巧，写出江南雪压枝。\n谁道春归无觅处．横斜全似越溪时。\n题记“扬补之得墨梅三昧，山谷道人叹日：‘如嫩寒清晓行孤山篱落间，但欠香耳。\n’则笔端春色之妙，此言尽矣。\n海野老农”。\n钤“子子孙孙其永宝用”朱文。\n鉴藏印有：“崇信军节度使之印”朱文。\n吴廷二方，高士奇五方，清乾隆、嘉庆、宣统内府藏印十方。\n引首有清乾隆御书“孤山香雪”行书4字，又在前隔水题诗一首。\n后隔水有清高士奇跋、印。\n纸尾有元止止道人、顾德璋、唐幼明、李升，明吴勤、李澄之、吴宽跋，清高士奇十跋。\n诸家印鉴及吴延鉴藏印共三十九方。\n扬无咎擅画梅、竹、松、石等，也能画人物，师李公麟。\n但他目前只有墨梅作品传世，“四梅花图”与“雪梅图”均藏故宫博物院。\n扬无咎为画梅，曾在庭院中植梅树，“大如数间屋，苍皮藓斑，繁花如簇”，他时时观察、写照，并得出“交枝而花繁累累，分梢而萼蕊疏疏”的理论。\n他画梅花，用细笔墨线圈出花瓣，更见梅花“疏影横斜”的风致。\n据传宋徽宗看到他画的梅花，曾笑道扬无咎画的是乡村中的梅花，扬无咎便自署画梅为“奉敕村梅”。\n除擅画外，扬无咎亦工书，学欧阳询，很有心得。\n工诗词，著有《逃禅词》。\n此图全幅以淡墨烘小，浓墨写枝，细笔勾花，用以表现“万花敢向雪中廾’’的意境-全图川笔劲逸，画法与《四梅花卷》用笔稍有不同，布景舒朗清新-背景从上至下，从左到右，均以淡墨铺染，与枝干重下孑一侧的画法相结合，从而烘托出枝卜L的积雪，同时也映衬小朵朵梅花鲜明灿烂，一雪茫茫，花枝俏丽，呈现十无尽的叫：意．山于作者非常讲究人格修养及笔墨素养，所以，他画的梅花高标清韵，正是他高沾情操的写照：此卷墨色野梅，能作成疏影横斜之态，义间以竹口卜披拂，义皆宁以形状，不施一粉而雪景澹然。\n画面』二展示的不仪是梅花姿态，而是一种“嫩寒清晓，行孤山篱落间”的梅花境界。\n从此画可窥见作者对雪中梅花“高洁”品格的喜爱和作这幅画寸的内心情感。\n全图用笔简逸，与《四梅花图》卷的用笔又有变化，布景舒朗清新，很富有杭州孤山篱落间那种“疏影横斜”，“暗香浮动”的诗意。\n梁济海 经《中国古代书画图目》十九、《 》上册、《中国美术全集·绘画编》4、《宋扬无咎雪梅图》、《艺苑掇英》1979年第1期、《故宫博物院藏文物珍品全集·晋唐两宋绘画·花鸟走兽卷》、《故宫博物院藏品大系·绘画编》2等影印；《石渠宝笈·初编》、《 》卷十四、《江村销夏录》卷三、《江村书画目》、《故宫已陕书画目》、《国宝沉浮录》、《中国古代书画目录》第二册著录。\n扬无咎(197～1169年)，字补之，号逃禅老人、清夷长者，清江(今属江西)人，寓居南昌。\n自称为东汉文学家扬雄之后，故其姓氏从“手”而不从“木”。\n南宋高宗时因不满秦桧专权，累征不起，一生没有做官，是一位藐视权贵的画家。\n他工诗词，擅书画。\n其书学欧阳询，画师华光仲仁。\n伸仁偶于月夜见窗间梅影，创为墨梅。\n扬无咎继承其法，所作梅花多取材于山间水滨、疏枝冷蕊、清寒野逸，一反院画之“宫梅”格调，故被戏称为“村梅”，开创了墨梅新派，对当时和后世均有较大影响。\n著有《逃禅词》一卷。",[511,593,512,513,514,653,834,767,991,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988218e54f77fb99d01fef5567a2244.jpg","27x64.",[6,602],{"id":461,"slug":4957,"title":4958,"dynasty":506,"author":4959,"museum":764,"description":4960,"tags":4961,"thumbUrl":4962,"material":628,"size":4963,"collection":6,"collections":4964,"showCount":4938,"zanCount":1117,"manualWeight":535,"mainColor":536},"xi-cheng-tu-juan-qiao-zhong-chang-221366","西成图卷","乔仲常","(公元12世紀)河中(今山西永濟)人，生卒年不詳。工雜畫，尤擅人物道釋故事畫，師法李公麟。靖康之變(1126)，金人圍城中思歸，一日作《河中圖》贈邵澤民侍郎。南宋·鄧椿《畫繼》卷四，著錄其畫跡有《龍宮散齋圖》《山居羅漢圖》《淵明聽松風圖》《李白捉月圖》《玄真子西塞山圖》《列子御風圖》等，然至今罕見。\n傳世作品有《赤壁圖》卷，紙本，墨筆，描繪蘇軾《後赤壁賦》中情節，並分段書寫賦文。山水人物筆法近李公麟，但不為成法所囿，用筆簡率生拙，氣韻野逸。卷後有宣和五年(1123)八月七日趙德麟題跋，還有武聖可和趙巖題跋，清乾隆皇帝御書引首“尺幅江山”四字，曾入清乾隆內府，乾隆為畫題簽，《石渠寶笈初編》著錄，現藏美國納爾遜·艾特金斯美術館。",[511,512,513,514,516,517,544,550,549,642,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d484bb6e65e23609df02830938b7a.jpg","21.3x82",[6,531,532],{"id":462,"slug":4966,"title":4967,"dynasty":506,"author":637,"museum":610,"description":4968,"tags":4969,"thumbUrl":4971,"material":600,"size":4972,"collection":6,"collections":4973,"showCount":4938,"zanCount":535,"manualWeight":535,"mainColor":713},"xiao-shi-sheng-luan-tu-yi-ming-218860","萧史乘鸾图","这幅画是根据秦国公的女儿鲁豫的传说创作的。作者巧妙地利用扇面的圆形框架，将人物、建筑和凤凰围成一圈，在中间留出空隙，以扩大画作的意义。",[511,512,516,517,820,544,575,4970,4813,523,526],"鸾鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780e13d780ec8d0ca13d6d3282b6afad.jpg","22.8x23厘米",[6],{"id":463,"slug":4975,"title":4976,"dynasty":506,"author":1235,"museum":508,"description":4977,"tags":4978,"thumbUrl":4980,"material":528,"size":4981,"collection":6,"collections":4982,"showCount":4983,"zanCount":535,"manualWeight":535,"mainColor":713},"qian-tang-guan-chao-tu-li-song-289326","钱塘观潮图","此卷描给钱塘张潮时的壮阔景象。蒸腾鼓荡的海湖以排山倒海之势自江口流入，而江中弄潮的舟船正依次排开、逆水而上。两岸民居、城池，远山历历在目，笔法简括。 该画作用隐喻的手法表达了作者的爱国思想。",[511,593,512,514,513,653,516,518,2800,705,4979,834,722],"观潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95da389683c26734fef1f069628021d9.jpg","纵17.4厘米，横83厘米",[6],33,{"id":464,"slug":4985,"title":4986,"dynasty":506,"author":1107,"museum":610,"description":4987,"tags":4988,"thumbUrl":4989,"material":4990,"size":4991,"collection":6,"collections":4992,"showCount":4983,"zanCount":1117,"manualWeight":535,"mainColor":713},"shan-yin-hui-zhan-tu-juan-li-gong-lin-221356","山阴会战图卷","李公麟（1049～1106），北宋廬州府舒城縣人（今安徽舒城人），宋代傑出畫家。字伯時,號龍眠居士，(1049-1106)享年五十七歲。熙寧三年(公元1070年)進士。李龍眠即李公麟，字伯時，安徽舒城人，因桐城郊外有一龍眠山，李公麟曾長居於山下，所以又自號龍眠居士或龍眠山人。\n出身名門大族，家藏古器名畫法書甚多，自幼知識淵博，好古善鑑，多識奇字，自夏商以來鐘鼎尊彝皆能考訂世次，辨別款識。長於詩文，行楷書有晉人風。與王安石、蘇軾、米芾、黃庭堅為至交，系駙馬王詵之座上客。熙寧三年（1070）中進士，為中書門下省刪定官，後官至朝奉郎。元符三年（1100）病痹告老，居家鄉桐城龍眠山，號龍眠居士。一生勤奮，作畫無數，人物、史實、釋道、士女、山水、鞍馬、走獸、花鳥無所不能，無所不精。人物、道釋深得吳道子旨趣，運筆如行雲流水，造型正確，神態飛動；山水氣韻清秀，得王維正傳；着色山水追李思訓心法；畫馬過韓幹。能集諸家之長，得其大成，師法自然，大膽創新，自成一家，被後代敬為第一大手筆、百代宗師。",[511,593,512,513,514,833,653,544,549,4729,655,3561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca6087e9bb8a0ab5fd706b1ea01ef813.jpg","绢本，水墨淡设色","26.6x764",[6],{"id":465,"slug":4994,"title":4995,"dynasty":506,"author":957,"museum":764,"description":4996,"tags":4997,"thumbUrl":4998,"material":3490,"size":4999,"collection":6,"collections":5000,"showCount":5001,"zanCount":1041,"manualWeight":535,"mainColor":536},"niao-tu-zhao-chang-288288","鸟图","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[512,517,516,640,721,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc98ef3fc15f317b0f1cc98d344e19622.jpg","Xcm*Xcm",[6,602,532],32,{"id":466,"slug":5003,"title":5004,"dynasty":1465,"author":637,"museum":508,"description":5005,"tags":5006,"thumbUrl":5007,"material":1124,"size":5008,"collection":6,"collections":5009,"showCount":5001,"zanCount":535,"manualWeight":535,"mainColor":854},"jiang-shan-lou-ge-tu-zhou-yi-ming-223534","江山楼阁图轴","元代建筑画在继承两宋院体已臻成熟的工整精细的造型手段之基础上，借助元代所盛行的水墨画技法及北宋李公麟一路的白描技法，把建筑画逐步推向纯界画的境界。此幅虽仍将殿宇楼阁融入山重水复的自然景致中，但作者着力刻画的是建筑本体，山水配景已不复重要，楼宇的描绘细入微芒，建筑画状物精微的写实性达到了极致。",[511,512,513,593,594,543,614,516,518,545,616,523,2042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdadd7deefa1971227219d82aff1e53a.jpg","纵162厘米，横92.5厘米",[6,631,565],{"id":467,"slug":5011,"title":5012,"dynasty":1465,"author":5013,"museum":508,"description":5014,"tags":5015,"thumbUrl":5016,"material":1563,"size":5017,"collection":6,"collections":5018,"showCount":5001,"zanCount":535,"manualWeight":535,"mainColor":536},"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","高克恭","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[511,512,1197,594,614,516,1410,846,795,1502,546,547,596,1949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纵138.1厘米，横58.5厘米",[6,631,532],{"id":468,"slug":5020,"title":5021,"dynasty":506,"author":3595,"museum":508,"description":5022,"tags":5023,"thumbUrl":5024,"material":528,"size":5025,"collection":6,"collections":5026,"showCount":5001,"zanCount":535,"manualWeight":535,"mainColor":536},"bin-feng-tu-juan-quan-juan-ma-he-zhi-221453","豳风图卷全卷","作者根据《诗经·国风》之《豳风》诗意而作。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，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。\n张丑《清河书画舫》、卞永誉《式古堂书画汇考》、吴升《大观录》、《石渠宝笈·续编》、《石渠随笔》等书著录。",[511,512,513,514,833,516,544,518,873,642,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e13d25db108e203ad6d928b942d2a2.jpg","纵25.7厘米，横55.7厘米",[6,631,565],{"id":469,"slug":5028,"title":5029,"dynasty":506,"author":4524,"museum":610,"description":5030,"tags":5031,"thumbUrl":5033,"material":694,"size":5034,"collection":6,"collections":5035,"showCount":5001,"zanCount":535,"manualWeight":535,"mainColor":713},"bao-shan-shi-jing-ce-gao-ke-ming-221284","包山十景册","高克明，生卒年不洋，宋化絳州（今山西新絳） 人，主要活動時期在太宗，仁宗二朝，為當時著名的山水畫家。 高克明的山水畫創作，大多是從實地觀察獲得素材，復經自己深思熟慮、苦心經營中得來，並不專師於一家，卻能注意採擷諸家之美，參成一藝之精，自為體格，頗有創新的味道。",[593,512,513,820,516,614,834,518,1843,5032,2490,523],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","30.2x31.8厘米",[6,631,565],{"id":470,"slug":5037,"title":5038,"dynasty":1465,"author":637,"museum":508,"description":5039,"tags":5040,"thumbUrl":5041,"material":628,"size":5042,"collection":6,"collections":5043,"showCount":5044,"zanCount":535,"manualWeight":535,"mainColor":536},"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[511,512,594,653,614,516,518,2697,1005,617,616,619,524,618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[6],31,{"id":471,"slug":5046,"title":5047,"dynasty":506,"author":637,"museum":610,"description":5048,"tags":5049,"thumbUrl":5051,"material":600,"size":5052,"collection":6,"collections":5053,"showCount":5054,"zanCount":535,"manualWeight":535,"mainColor":536},"song-yue-tu-zhou-yi-ming-289747","松月图轴","此画以古松为骨，虬干扭转斜出，鳞皴苍劲，松针攒簇如黛，垂丝摇曳间尽见古拙风姿。近岸坡石上，高士席地闲坐，侍童默立身侧，似共赴松间夜话，静揽山月清辉。远景山峦以淡墨晕染，林庐隐在烟岚之中，溪桥轻架水岸，虚实相映间晕开空濛夜色。\n\n笔墨简逸苍劲，干湿浓淡层次分明，将松间幽寂的清旷之境铺陈开来，把林泉高致的隐逸襟怀藏于水墨留白中，观之如踏入松月夜境，浸沉在清远淡宕的古雅意趣里。",[512,653,594,518,885,544,1502,1743,5050],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2c182bc3c9569195506d170a7daf1a.jpg","129.8x74",[6],30,{"id":472,"slug":5056,"title":5057,"dynasty":506,"author":4892,"museum":764,"description":5058,"tags":5059,"thumbUrl":5062,"material":516,"size":5063,"collection":6,"collections":5064,"showCount":5054,"zanCount":535,"manualWeight":535,"mainColor":713},"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[511,593,512,513,798,1197,516,614,518,523,5060,544,619,656,895,5061],"红叶","林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[6,631,532],{"id":473,"slug":5066,"title":1650,"dynasty":506,"author":2654,"museum":792,"description":1810,"tags":5067,"thumbUrl":5069,"material":2077,"size":5070,"collection":6,"collections":5071,"showCount":5054,"zanCount":535,"manualWeight":535,"mainColor":713},"shan-shui-tu-li-an-zhong-221584",[511,512,593,513,518,653,614,873,872,523,5068,5032],"孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e78d2ab5af18f329bc9f582365afc.jpg","33x34",[6,631,565],{"id":474,"slug":5073,"title":5074,"dynasty":506,"author":637,"museum":764,"description":5075,"tags":5076,"thumbUrl":5078,"material":3490,"size":4999,"collection":6,"collections":5079,"showCount":773,"zanCount":535,"manualWeight":535,"mainColor":536},"ku-shu-qu-yu-tu-yi-ming-289117","枯树鸜鹆图","此作工致清雅，将深秋野趣凝于尺幅间。墨鸜鹆伫立枯枝之上，乌羽晕染细腻柔润，光泽宛然，白瞳点漆灵动有神，顶间绒簇微扬，利爪紧扣枝桠，静穆中暗含振翅欲飞的机警生气。\n\n旁侧枯木残叶萧疏，淡墨晕染出秋意萧索，叶片脉络隐现，笔墨清简雅致，衬出林间空寂氛围。构图虚实相生，以禽鸟为视觉重心，留白烘托出幽远意境，尽得清隽含蓄之美，将荒寒秋日里的鲜活野趣，定格成静雅悠然的传世韵致。",[593,512,979,517,640,1005,596,5077,642],"鸜鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395f8f55e8cca3e74fe9b859b7c20795.jpg",[6],{"id":475,"slug":5081,"title":5082,"dynasty":506,"author":637,"museum":764,"description":5083,"tags":5084,"thumbUrl":5085,"material":861,"size":861,"collection":6,"collections":5086,"showCount":773,"zanCount":535,"manualWeight":535,"mainColor":536},"xiao-yi-zhuan-lan-ting-tu-juan-yi-ming-223639","萧翼赚兰亭图卷","画面以淡彩铺陈会面场景，踞坐交椅的老僧神情淡然沉静，端坐访客敛容凝神，二人对谈间似藏暗涌。两侧侍童垂首恭立，衬出静谧肃穆的氛围。\n\n笔线细劲圆转，妥帖勾勒衣褶起伏，将不同衣物质感细细区分，设色简雅清淡，赭石晕染与墨色勾勒相融，古雅沉静。画家捕捉神态入微，老僧的从容自持、访客的内敛机警皆跃然绢上。连交椅的榫卯结构都精细描摹，尽显写实功底。构图疏密相宜，以人物互动牵起叙事张力，尽显雅致写实的风韵，暗合画面之下暗藏的机锋故事底色。",[511,512,593,514,517,516,544,1099],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e77b0a5b2d7c045dc29fe2b86e9abbc.jpg",[6],{"id":476,"slug":5088,"title":5089,"dynasty":506,"author":3595,"museum":508,"description":5090,"tags":5091,"thumbUrl":5092,"material":528,"size":5093,"collection":6,"collections":5094,"showCount":773,"zanCount":535,"manualWeight":535,"mainColor":536},"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-tu-juan-quan-juan-ma-he-zhi-221627","诗经·小雅·节南山之什图卷全卷","马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教",[512,513,514,833,516,518,544,523,706,722,834,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555b229615a13e54be0497c1481073c.jpg","纵26.2厘米，横857.6厘米",[6,631,532],{"id":477,"slug":5096,"title":5097,"dynasty":506,"author":637,"museum":610,"description":5098,"tags":5099,"thumbUrl":5102,"material":600,"size":5103,"collection":6,"collections":5104,"showCount":5105,"zanCount":535,"manualWeight":535,"mainColor":536},"tao-zhu-shuang-fu-tu-zhou-yi-ming-290759","桃竹双凫图轴","此作用笔兼具工致与写意之妙，古朴底色晕染出澹然春暮氛围。右侧虬曲桃枝缀满素白花苞，柔梢栖立幽禽，与劲挺青竹交错掩映，花瓣簌簌飘落，铺撒于浅草滩涂，坡石以淡墨晕皴，苍润朴拙。\n\n水面双凫姿态悠然，顾盼相随，羽毛绒羽层次细腻鲜活，粼粼水纹隐现其间。整体画面恬淡安宁，将水岸春景的幽寂野趣尽收卷中，于细微处尽显写生功力，暗合寄情林泉、观物察美的雅致意趣。",[512,640,517,516,1543,721,5100,596,1049,5101],"凫","落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce05a7202359b07a2ba9cecc54873d7.jpg","163.3x103.1",[6],27,{"id":478,"slug":5107,"title":5108,"dynasty":506,"author":637,"museum":610,"description":5109,"tags":5110,"thumbUrl":5111,"material":600,"size":5112,"collection":6,"collections":5113,"showCount":5114,"zanCount":535,"manualWeight":535,"mainColor":536},"yu-fu-tu-zhou-yi-ming-290760","渔父图轴","开阔无涯的江面，烟雾弥漫，寒气逼人。芦苇环绕汀渚，野雁几只点缀其间，另则凌空与游于江上者相呼应，为冷寂的江面凭添生意。",[593,512,594,653,516,518,544,596,547,1845,1392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98865113a54a85a68a35f61ab7db94e.jpg","105.4x53.5",[6],26,{"id":479,"slug":5116,"title":5117,"dynasty":506,"author":3606,"museum":718,"description":5118,"tags":5119,"thumbUrl":5121,"material":628,"size":5122,"collection":6,"collections":5123,"showCount":5114,"zanCount":1117,"manualWeight":535,"mainColor":713},"qiu-shan-xiao-si-tu-yan-wen-gui-221425","秋山萧寺图","作品开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[511,593,512,513,514,653,516,614,518,4195,5120,523,616,526,655,872,873,1501,547,706],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[6,631,565],{"id":480,"slug":5125,"title":5126,"dynasty":506,"author":637,"museum":508,"description":5127,"tags":5128,"thumbUrl":5130,"material":528,"size":5131,"collection":6,"collections":5132,"showCount":605,"zanCount":535,"manualWeight":535,"mainColor":536},"qiu-lin-fang-du-tu-zhou-yi-ming-223605","秋林放犊图轴","画面描绘了一个男孩在岸边与平坡之间的秋林中给牛溪喂食的场景。 牛肥壮，孩子调皮。",[511,593,512,594,516,517,2980,523,5129,3511,642],"牛犊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c9fbfac81e21e219709419b2fe821c.jpg","96.3＊53.2cm",[6,631,565],{"id":481,"slug":5134,"title":5135,"dynasty":506,"author":637,"museum":610,"description":5136,"tags":5137,"thumbUrl":5138,"material":600,"size":861,"collection":6,"collections":5139,"showCount":605,"zanCount":535,"manualWeight":535,"mainColor":536},"sha-yuan-fang-mu-tu-yi-ming-220388","莎原放牧图","收集中....",[511,512,653,516,550,845,1380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22188db02b9ab7fe1635f882a8d17db8.jpg",[6],{"id":482,"slug":5141,"title":5142,"dynasty":506,"author":637,"museum":508,"description":5143,"tags":5144,"thumbUrl":5145,"material":628,"size":5146,"collection":6,"collections":5147,"showCount":585,"zanCount":535,"manualWeight":535,"mainColor":536},"zheng-ren-xiao-fa-tu-yi-ming-223470","征人晓发图","此为南宋民间风俗画。 茂密的山林中，树木葱郁，远处的树荫下有三间小屋。 农夫在他身后嬉戏，一头驴子站在角落里，扭头看主人忙碌。 远郊一家三口客栈的生活即将浮出水面，形象刻画。",[511,512,593,517,516,543,544,549,524,795,616,871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf409b97531dc0d89d051eddaf8a0f4d.jpg","51x68",[6],{"id":483,"slug":5149,"title":5150,"dynasty":506,"author":637,"museum":610,"description":5151,"tags":5152,"thumbUrl":5157,"material":600,"size":5158,"collection":6,"collections":5159,"showCount":5160,"zanCount":535,"manualWeight":535,"mainColor":536},"qiu-he-ye-fu-tu-zhou-yi-ming-290373","秋荷野凫图轴","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[512,5153,594,517,516,783,5154,5155,5156],"花鸟画","残荷","野凫","水禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74672854a98fdeedde87db4a9976ebd.jpg","79.4x46.4",[6],22,{"id":484,"slug":5162,"title":5163,"dynasty":506,"author":637,"museum":610,"description":5164,"tags":5165,"thumbUrl":5167,"material":600,"size":5168,"collection":6,"collections":5169,"showCount":5160,"zanCount":535,"manualWeight":535,"mainColor":536},"cui-zhu-ling-mao-tu-yi-ming-231054","翠竹翎毛图","《宋人翠竹翎毛图轴》是宋代画作，作者佚名，采用南唐后主李煜金错刀的手法，是一幅花鸟图轴，表达了宋代绘画所谓“写生”的精义。此画幅对生态有着深刻的观察和了解，是一幅形神皆兼的写实作品；在构图上以近景为主，各景物均匀地分布在画面中，具有前后的空间感。这幅画的笔墨质朴，除了部分细枝外，都以先钩轮廓线再填染颜色的“双钩填彩法”画成，行笔有很多起伏提顿的地方，其中以坡石和竹叶的轮廓线最为明显。而竹叶部份，采用特别的颤动式的线条，整体用笔方面，起伏变化较明显，偏向于南宋的风格。",[511,593,512,513,517,516,640,5166,721,596,1049],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551ae374ee32752aeb4c0996f85ae3d1.jpg","185×109.9厘米",[6],{"id":485,"slug":5171,"title":5172,"dynasty":506,"author":637,"museum":610,"description":5173,"tags":5174,"thumbUrl":5176,"material":600,"size":4869,"collection":6,"collections":5177,"showCount":917,"zanCount":535,"manualWeight":535,"mainColor":713},"qiu-shan-gu-du-tu-yi-ming-218848","秋山古渡图","这幅画描绘了一连串的山脉，右边的巨石高耸入云，岩石下隐约可见几间小屋，一只狗跑来迎接它的主人，而隐士一定是从峡谷中搜索回来的。这幅画是郭熙的研究，充满了兴趣。",[511,593,512,513,979,518,614,653,4195,5175,547,705,616,523],"古渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b2090c0a9578d59578b77ac40979c0.jpg",[6],{"id":486,"slug":5179,"title":5180,"dynasty":506,"author":637,"museum":610,"description":5181,"tags":5182,"thumbUrl":5185,"material":3490,"size":5186,"collection":6,"collections":5187,"showCount":758,"zanCount":535,"manualWeight":535,"mainColor":536},"gong-zhao-na-liang-tu-yi-ming-287646","宫沼纳凉图","此作晕染着深宫夏景的松弛意趣，仕女斜坐朱漆榻上，执扇闲憩，眉目温婉静和。随侍侍女撑着素面团扇，一旁案头冰盆镇暑，悄藏消夏的精巧心思。背景垂柳轻遮，池间粉白芙蕖亭亭绽露，朱红栏干衬着古雅褐底，把纳凉的幽谧日常铺陈开来。笔触工细柔丽，设色沉静雅致，将慢度暑时的安然闲淡藏进每处细节，尽显写实雅致的隽永韵味。",[593,512,513,594,516,544,575,783,517,5183,5184],"宫苑","纳凉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d902d357ef15261ebcdcd371757b5.jpg","82.4x44.3",[6],{"id":487,"slug":5189,"title":5190,"dynasty":506,"author":637,"museum":610,"description":5191,"tags":5192,"thumbUrl":5193,"material":600,"size":5194,"collection":6,"collections":5195,"showCount":712,"zanCount":535,"manualWeight":535,"mainColor":536},"guan-mei-tu-zhou-yi-ming-290686","观梅图轴","此图描绘山石中,微露屋檐的一角,一位士人依凭著栏杆,观赏雪中寒梅",[512,593,594,543,653,544,545,518,767,1035,2949,1198,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc7fa2e59132c477924c220213ce4f6.jpg","109.6x53.6",[6],{"id":488,"slug":5197,"title":5198,"dynasty":506,"author":5199,"museum":610,"description":5200,"tags":5201,"thumbUrl":5202,"material":600,"size":5203,"collection":6,"collections":5204,"showCount":712,"zanCount":535,"manualWeight":535,"mainColor":536},"si-le-tu-zhou-yan-ci-ping-290332","四乐图轴","阎次平","《四乐图》是意欲写“渔、樵、耕、读”四乐。但图中唯不见有樵乐也，此图中有山岩嶙峋，必有溪水蓄成池塘，溪水盈盈，水中有鱼，渔夫作业，其一乐也。两山相间中望见平原村落，必有耕田在其间，耕者有田，这是农者乐也。在山前树后的池塘中，有一块土丘地，筑有屋宇水阁，临溪水阁，环境幽雅，空气清新，阁中有童子在朗朗读书，又为读者乐也。可在画面上见到渔夫摇橹张网捕鱼，农夫牵着耕牛在塘堤上行走去田间，也能见到水阁童子在堂中就渎，但却见不到樵者的行踪。一是樵夫要上山砍柴，由于岩石方硬齐整，无山路可走；二是大树参天，绿树成荫，不是樵夫乐业的对象。因此，渭图中唯樵者不见表现，在画面上是山绿水盈，树木成林，风调雨顺，谷物满仓，百业兴旺，自然景色的优美，想必樵者的一乐，也许就在其中了。",[593,512,513,594,518,614,545,523,547,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d0a7fa1db99cdbb630adb392c8e5a8.jpg","192.6x97.2",[6],{"id":489,"slug":5206,"title":5207,"dynasty":506,"author":637,"museum":610,"description":5208,"tags":5209,"thumbUrl":5210,"material":849,"size":5211,"collection":6,"collections":5212,"showCount":712,"zanCount":535,"manualWeight":535,"mainColor":536},"zhu-shi-jiu-zi-tu-yi-ming-287559","竹石鸠子图","以淡墨晕染坡石，苍朴温润尽显古拙意态。双钩绘竹，枝叶纵横偃仰，挺劲清疏间流露萧散之致。画面动静相生，空中禽鸟振翅俯掠，翎羽细节写实，灵动之态跃然绢上；石畔鸠子闲静安栖，意态悠然。\n\n整幅以水墨写就，笔意简括却形神兼备，将郊野林间的幽寂清趣定格，以极简构图铺陈出平和冲淡的林下意境，尽显对自然生趣的细致体察与雅致的文人审美意涵。",[512,640,721,596,1411,653,517,594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc64792b547c4182b2df7bf8f427e6105.jpg","166x93.9",[6],{"id":490,"slug":5214,"title":5215,"dynasty":506,"author":5216,"museum":764,"description":5217,"tags":5218,"thumbUrl":5219,"material":3490,"size":5220,"collection":6,"collections":5221,"showCount":827,"zanCount":535,"manualWeight":535,"mainColor":536},"xi-yang-tu-zhou-guo-si-290295","戏羊图轴","郭思","元丰五年（一o八二）进士。善杂画，尤工画马。",[512,594,516,517,544,845,3247,767,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F097f7c1290da1f93caef73245b7ddd7d.jpg","198x102.9",[6],{"id":491,"slug":5223,"title":5224,"dynasty":506,"author":637,"museum":610,"description":5225,"tags":5226,"thumbUrl":5228,"material":849,"size":5229,"collection":6,"collections":5230,"showCount":727,"zanCount":535,"manualWeight":535,"mainColor":536},"dou-he-fei-quan-zhou-yi-ming-290773","陡壑飞泉轴","以奇崛构图绘一山涧悬崖旁嶙峋的奇石、松枝、流瀑，画面主体位置为两棵重墨勾勒而成姿态生动的松树，背景衬以淡墨挥洒而成、水气淋漓的瀑布，干湿浓淡交融中传达出一种空谷幽泉所特有的宁静氛围",[512,593,594,518,653,614,616,1786,5227,547,4611,706],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0908aaa9682157e972aa17ccd080b28.jpg","252.7x82.1",[6],{"id":492,"slug":5232,"title":5233,"dynasty":506,"author":637,"museum":610,"description":5234,"tags":5235,"thumbUrl":5236,"material":849,"size":5237,"collection":6,"collections":5238,"showCount":727,"zanCount":535,"manualWeight":535,"mainColor":536},"xi-shan-chu-xue-zhou-yi-ming-290766","溪山初雪轴","写雪后山岭清冷寒寂之景。深谷大山，古木怪石，山路蜿蜒，溪流潺潺，屋宇坐落在山脚下，行人行进于小桥上。画面气韵殊胜，笔墨高古，山路盘旋，水泉插天，宫殿出没，林木萧瑟，构图严谨而多变，作者延续了北宋山水画可居可游的构图方式，把人与山川紧密地融合在一起，打破了冬日山川的荒凉之感。",[512,518,594,1198,614,616,1005,546,547,545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c32ff595d114902698a69c188d47bc.jpg","181.9x101.9",[6],{"id":493,"slug":5240,"title":5241,"dynasty":506,"author":637,"museum":610,"description":5242,"tags":5243,"thumbUrl":5245,"material":861,"size":5246,"collection":6,"collections":5247,"showCount":727,"zanCount":1117,"manualWeight":535,"mainColor":713},"qing-xi-wan-mu-tu-yi-ming-231083","清溪晚牧图","画面铺陈出悠然的乡野暮色，清溪浅流舒缓漫过滩涂。一头水牛浸在水中，半隐于苇草间，抬首斜睨，慵懒消暑；另一头负着戴斗笠的牧童，踏水登上岸坡，牧童持杆闲坐，不见丝毫匆忙。侧畔老树盘根虬曲，坡岸蒹葭随风轻摆，两只水鸟振翅掠过天际，为静谧图景添上灵动生机。\n\n笔墨清润秀雅，以淡墨晕染出水色空濛的氛围感，将晚牧时分的松弛乡趣娓娓道来，把日常放牧的寻常景致，晕染成了意韵悠长的诗意画卷，尽显乡野间的自在野趣。",[593,512,513,798,516,517,653,550,4374,596,547,523,1845,616,4375,5244,518,910],"牧歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e794353e50d88ea22a19584279e31.jpg","75.6x44.3",[6],{"id":494,"slug":5249,"title":5250,"dynasty":506,"author":637,"museum":610,"description":5251,"tags":5252,"thumbUrl":5255,"material":849,"size":5256,"collection":6,"collections":5257,"showCount":633,"zanCount":535,"manualWeight":535,"mainColor":536},"xue-zhan-niu-che-tu-yi-ming-290986","雪栈牛车图","寒天积雪，林木萧索，远方丘陵起伏，牛车行旅络绎不绝，往返於雪径上；庄院内牛骡或卧或息，檐前二人握手倾谈旅况。画家以叙述性的手法，详实地掌握了严冬季节，郊野行旅的活动景况。 幅中坡石皆用斧劈法侧斜横皴，用笔凝重，墨色浓郁，画法齐整严谨。以笔墨论，或是出於南宋后期受李唐风格影响者所作。",[512,1197,653,1198,5253,550,871,655,1005,524,5254,616],"牛车","石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca962091e2a05f32ff6737bcf33face7.jpg","164.2x104.1",[6],{"id":495,"slug":5259,"title":5260,"dynasty":506,"author":637,"museum":508,"description":5261,"tags":5262,"thumbUrl":5263,"material":861,"size":5264,"collection":6,"collections":5265,"showCount":633,"zanCount":535,"manualWeight":535,"mainColor":536},"qiu-lin-guan-quan-tu-yi-ming-223606","秋林观泉图","此作用苍劲皴笔写危崖怪石，虬木盘绕崖侧，繁密秋叶如织，晕染出萧疏秋意。中景秋水蜿蜒，激流穿石，波痕细劲灵动，带着幽涧清泠之气。右侧平岸林阴如盖，两位幽人相对闲坐，于泉石间清谈对晤，似在静听流泉松风。整幅以淡墨铺陈山野清旷，将林泉幽寂与雅集闲恬融为一体，尽显林下高逸的隐逸意趣，笔墨间藏着沉静的文人风骨，把山居雅兴的诗意，晕染在这一卷秋林烟水之中。",[511,512,593,514,653,614,518,523,547,656,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f83250b26eab6c95e8b76a94f3eeaf.jpg","纵24.7厘米,横112.3厘米",[6],{"id":496,"slug":5267,"title":5268,"dynasty":506,"author":637,"museum":976,"description":5269,"tags":5270,"thumbUrl":5271,"material":861,"size":861,"collection":6,"collections":5272,"showCount":633,"zanCount":535,"manualWeight":535,"mainColor":5273},"wan-jing-tu-zhou-yi-ming-201626","晚景图轴","暮色四合，山峦隐于淡墨晕染的雾霭间，若有若无。近岸老树盘根，枝干遒劲如铁，与嶙峋孤石相依；山石以简劲皴法写就，纹理古拙，墨色浓淡交织出苍莽质感。中景山丘错落，松枝挺拔，远峰融于昏黄底色，似裹着夕阳余温。画面静谧苍茫，极简笔墨里藏着宋人山水的含蓄韵致，每一处线条都浸着岁月的沉静。",[512,518,614,2259,1049,593,511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb22e196c3f81f2a3bf035663fe353ff.jpg",[6],"3c322a",{"id":497,"slug":5275,"title":5276,"dynasty":506,"author":637,"museum":610,"description":5277,"tags":5278,"thumbUrl":5281,"material":600,"size":5282,"collection":6,"collections":5283,"showCount":864,"zanCount":535,"manualWeight":535,"mainColor":536},"pu-zao-tu-zhou-yi-ming-290714","扑枣图轴","院角的枣树结实纍纍，小孩群来攀扯，枝桠不停晃动，粒粒枣子摇落满地，有的牵起衣角，有的捧著盤子拾取，又玩又吃，一片兴高采烈之情，跃然於绢素之上。",[512,594,516,517,544,1634,5279,5280],"枣树","嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc999d22cfb314412e32a5f45d10cab.jpg","138.6x101.6",[6],{"id":498,"slug":5285,"title":5286,"dynasty":506,"author":637,"museum":508,"description":5287,"tags":5288,"thumbUrl":5289,"material":528,"size":5290,"collection":6,"collections":5291,"showCount":864,"zanCount":535,"manualWeight":535,"mainColor":713},"ceng-lou-chun-tiao-tu-ye-yi-ming-223453","层楼春眺图页","此图崇楼纯以细笔勾勒，玲珑空透，远山春意烂漫，却在明丽中带有淡淡的清寂。层楼上一妇人携侍女凭栏远眺碧波中的归帆，虽然描绘的主体是没有生命的建筑物，但整幅画面却分明透露出一丝“春怨”的气息，表现出南宋楼阁画家在借物言情方面的高超技艺。",[511,512,513,979,543,516,518,545,523,925,834,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf1d7841e69e6edab7521ad57407fbd3.jpg","纵23.7cm，横26.4",[6],{"id":499,"slug":5293,"title":5294,"dynasty":506,"author":637,"museum":610,"description":5295,"tags":5296,"thumbUrl":5298,"material":600,"size":5299,"collection":6,"collections":5300,"showCount":742,"zanCount":535,"manualWeight":535,"mainColor":536},"hua-zhu-ling-mao-zhou-yi-ming-287644","花竹翎毛轴","此作尽显院体花鸟的清雅意趣。枯木缀着柔枝新花，淡彩晕染出花瓣枝叶的明暗向背，于沉暗绢底愈显秀润。两只禽鸟振翅穿林，翩然姿态打破花木静穆，坡石下幽竹斜曳、野卉丛生，几只禽鸟敛羽安栖，一动一静相映成趣。\n\n整作构图疏密有致，上部繁枝与留白虚实相济，刻画入微却毫无匠气。画师以细腻笔致摹写生灵情态，将春日林野间的清宁生机凝于尺幅，尽显格物的极致追求，内敛沉静的古典雅韵满溢绢素。",[512,593,594,640,517,516,735,721,596,5297],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a730f93f844033cc5ff43faa7d94971.jpg","165.8x99.7",[6],{"id":500,"slug":5302,"title":5303,"dynasty":506,"author":637,"museum":764,"description":5304,"tags":5305,"thumbUrl":5306,"material":861,"size":861,"collection":6,"collections":5307,"showCount":878,"zanCount":535,"manualWeight":535,"mainColor":713},"yu-lou-chun-si-tu-yi-ming-227570","玉楼春思图","此图画水殿楼阁、渔舟、古松和江亭，本幅无名款，清代梁清标题签为王诜之作，然而将此作与王氏传世作品对照，并无多少相同之处。\n\n惟据图上小楷书“鱼游春水”一阕，词意与画意吻合，从书法风格考察，可能为宋高宗赵构以后宫廷常见的书体，故推测此画系同时代所绘，是宋代画院的佳作。画上钤有“宣统御览之宝”等收藏印章。\n\n是图为团扇，构图为左右相对形式。中为辽阔的江面，左部近景作水殿楼阁回廊萦绕，堤上柳荫浓郁，一仕女面江扶栏遐思。隔江云山起伏，意境深远。\n画上题《鱼游春水》词，词意与画意相吻合。\n\n此作曾为清初梁清标收入《唐宋元集绘册》中，梁氏鉴定为王诜作品。就画作的构图与画法来看与王氏画风是有距离的，南宋风格明显。\n\n另外《鱼游春水》一词原是刻于绍兴古碑碑阴之上的佚名词作，北宋政和时为宫人抄入宫中填曲传唱，政和中期以后才流入到民间。死于元祐四年（公元1089年）的王诜不可能以此题作画。故而梁清标的鉴定有误，书与画应属南宋画院的书画佳作。清《石渠宝笈重编》著录。",[511,593,512,513,722,834,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9dcbc748bfb2945570382841dfc1ac9.jpg",[6],{"id":501,"slug":5309,"title":5310,"dynasty":506,"author":3595,"museum":976,"description":5311,"tags":5312,"thumbUrl":5313,"material":861,"size":861,"collection":6,"collections":5314,"showCount":1117,"zanCount":535,"manualWeight":535,"mainColor":5315},"zhou-song-shi-pian-tu-juan-ma-he-zhi-201261","周颂十篇图卷","《周颂十篇图卷》以诗画交织的长卷形式，将《诗经·周颂》的礼乐篇章化为可视的典雅图景。画家以灵动婉转的兰叶描（白描一脉）勾勒人物与景物，线条如兰叶舒展，兼具柔劲之美。画面中，祭祀的庄穆、宴乐的和融错落呈现，亭台掩映于葱郁林木间，人物神态鲜活自然，设色淡雅温润，尽显南宋文人画的清逸韵致。诗与画相映成趣，既是对经典的生动诠释，也凝聚着古代礼乐文化的精神内核，堪称诗画合璧的艺术珍品。",[514,833,516,544,706,517,513,511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f4055e9b63dc77045d7c719f4a798a6.jpg",[6],"8e7756",1777535917175]