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出版。\n作者:(宋)佚名 编者:曹彦伟",[23,24,25,26,220,115,114,28,221,222,29,30,223,35,31,61,66,96,38,7,65],"名画","雪","渔乐","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],12,{"id":228,"slug":229,"title":230,"dynasty":109,"author":231,"museum":148,"description":232,"tags":233,"thumbUrl":237,"material":99,"size":99,"collection":99,"collections":238,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":50},238831,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238831","董诰墨庄览胜图册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,136,27,115,29,28,63,32,234,235,64,7,236],"明月","亭","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d7fef818eeb28da85b6da5b97024a5.jpg",[],10,{"id":241,"slug":242,"title":243,"dynasty":109,"author":244,"museum":148,"description":245,"tags":246,"thumbUrl":250,"material":99,"size":99,"collection":99,"collections":251,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":50},234217,"shan-shui-juan-weng-song-nian-234217","山水卷","翁嵩年","翁嵩年（1647至1728），字康饴，号萝轩，钱塘（今杭州）人。康熙二十七年（一六八八）进士，仕为广东提学。以枯笔作林峦峯岫，气质古雅疏拙，画家习气，毫发不能犯其笔端。曾得青玉版十三行，旋进之内府。",[23,24,25,26,27,28,29,32,63,137,117,164,247,248,249,7],"小径","坡地","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e42ea5c559a1dba39efffa7bc3a5d.jpg",[],7,{"id":254,"slug":255,"title":256,"dynasty":109,"author":257,"museum":148,"description":258,"tags":259,"thumbUrl":262,"material":99,"size":99,"collection":99,"collections":263,"showCount":264,"zanCount":11,"manualWeight":11,"mainColor":50},230255,"shan-shui-ce-wang-su-230255","山水册","王愫","此作以淡赭轻染、花青敷缀，写就水滨冬景。江天色调清濛，岸旁柳芦枝叶疏柔，似含朔风之意，带着萧寒疏朗之态。近岸小舟系于枯木之下，篷顶暖意暗生；远江扁舟孤行，淡波载着舟影缓缓漾开，留白铺就空阔水天，晕开朦胧烟霭。\n题诗笔意清隽，和画面柔澹氛围相融。整幅无繁复皴擦，以简淡笔墨托出萧散空寂的意境，将冬日水畔的闲逸清和藏于浅淡设色之中，尽显文人画天真简淡的意趣，观之便如临幽寂江天，俗尘尽涤。",[24,25,136,27,115,30,260,94,261,31,96,7,75,28],"柳树","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591750a149d747d9b88fc296549bdcf.jpg",[],6,{"id":266,"slug":267,"title":268,"dynasty":109,"author":205,"museum":148,"description":269,"tags":270,"thumbUrl":276,"material":277,"size":278,"collection":99,"collections":279,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":280},281591,"dan-mai-you-xia-cai-fan-chuan-tu-bian-ping-yi-ming-281591","丹麦釉下彩帆船图扁瓶","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[271,272,273,274,275,7],"陶瓷","釉下彩","帆船","扁瓶","海景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c238d6ea4f3bae5921410e217c4b9e1.jpg","未知","Xcm*Xcm",[],"37474F",{"id":282,"slug":283,"title":284,"dynasty":204,"author":205,"museum":148,"description":285,"tags":286,"thumbUrl":289,"material":99,"size":99,"collection":99,"collections":290,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":104},225326,"fu-shi-hui-74-yi-ming-225326","浮世绘74","这幅以春樱湖山为景，石青铺就浩渺水天，柔粉樱花漫覆青绿丘峦，冷暖交织晕开清和春日。木桥山道串起村舍屋宇，山上游人比肩、岸边客聚成群，漾波舟船载着踏青之人，将江户时节的赏樱盛景铺陈眼前。明快雅致的配色晕染出松弛温婉的和风意趣，全景构图兼具开阔氛围感与细节鲜活度，把市井游春的闲逸日常融在湖樱盛景中，将春日舒展明媚的生机定格成诗意悠长的风物画卷。",[208,115,287,29,35,31,73,137,32,66,288,117,7],"木刻","岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd158e996809e261a9f0f984c1658ae84.jpg",[],{"id":292,"slug":293,"title":294,"dynasty":109,"author":295,"museum":148,"description":296,"tags":297,"thumbUrl":298,"material":99,"size":99,"collection":99,"collections":299,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},238754,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238754","画弘历拟古诗意图册","董邦达","此作诗画合璧，左文右图尽显文人雅趣。远山以淡墨晕染，朦胧如黛，铺陈出江天寥廓的空寂。近岸以细腻皴法写山石草木，苍润秀雅，野意盎然。水面之上两艘渔舟轻漾，舟中人物神态松弛，或低语或抬手，将江上行旅的悠然野趣具象呈现。\n\n笔墨清润柔和，留白烘托出山水间的空寂禅意，搭配左侧行书题诗，诗画相映，将寄情山水的文人心怀融于尺幅之间，平和悠远，把江乡闲游的恬澹况味娓娓道来。",[24,27,29,136,28,31,30,66,34,32,64,63,179,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcfe32360689195263600ec19b3582d.jpg",[],{"id":301,"slug":302,"title":303,"dynasty":109,"author":205,"museum":304,"description":305,"tags":306,"thumbUrl":308,"material":98,"size":99,"collection":99,"collections":309,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":104},215949,"di-jian-tu-shuo-cai-hui-ben-56-yi-ming-215949","帝鉴图说彩绘本-56","法国国家图书馆","江河为轴，铺展出水陆交融的生动画卷。水面帆影点点，彩饰船只静泊或缓行，舱内人影绰绰，似在闲谈眺望；岸边山峦起伏，草木蓊郁，亭台依水而立，柳丝轻拂下人群聚集，神态闲逸。色彩清雅鲜活，青绿山峦、赭黄岸坡与朱红船饰交织，晕染古雅质感。画面动静相宜，既有水乡的悠然静谧，又有舟楫往来的生活气息，仿佛能听见江风掠帆的轻响，窥见古代江畔日常图景，尽显人文与自然的和谐之美，引人沉醉于这份跨越时空的恬淡鲜活。",[24,115,114,136,66,210,29,73,273,32,307,121,7,119],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b0db53c1577621f6d6df0944493b9a3.jpg",[],{"id":311,"slug":312,"title":313,"dynasty":109,"author":314,"museum":148,"description":315,"tags":316,"thumbUrl":320,"material":321,"size":99,"collection":99,"collections":322,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":50},215082,"tui-bei-tu-ce-29-jiao-bing-zhen-215082","推背图册-29","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之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