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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[58,23,25,81,82,62,60,7,166,84],"植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a86222d0db22e107ac26316d3450be.jpg","纸本设色","150cmx40cm",[],187,{"id":173,"slug":174,"title":125,"dynasty":53,"author":175,"museum":20,"description":176,"tags":177,"thumbUrl":179,"material":65,"size":180,"collection":43,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":71},219434,"ba-jiao-mei-ren-tu-fei-dan-xu-219434","费丹旭","图为一名女子坐在巨大的芭蕉叶下的石凳上，手握横琴，右手解开绳索。",[23,25,24,59,27,130,7,178,84],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F834ca7c705f9fff58342e9eb1411e042.jpg","纵104.5横34.1厘米",[43],169,{"id":184,"slug":185,"title":186,"dynasty":53,"author":76,"museum":110,"description":187,"tags":188,"thumbUrl":190,"material":191,"size":192,"collection":101,"collections":193,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":71},288299,"ba-jiao-zhu-shi-tu-zhu-da-288299","芭蕉竹石图","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 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作者善于观察人物并且捕捉生活细节的能力。此幅在构图上巧妙地将玲珑剔透的湖石正立于画心中部，以其自身的完整性起到了镇住画面的作用，聚拢了交叠张扬的芭蕉叶及分散的人物，避免了画面因景物繁杂而出现轻浮感。此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。在笔法上，作者注重物象间的对比互衬关系。人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。",[98,23,80,646,647,24,25,648,27,649,7,650,389,651,652,653],"册页","宋代","精细","儿童","石头","地面","击球","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5800a0bb27581102b47456c505bec926.jpg","纵25厘米，横24.5厘米",[],28,{"id":659,"slug":660,"title":661,"dynasty":53,"author":434,"museum":435,"description":436,"tags":662,"thumbUrl":664,"material":442,"size":443,"collection":101,"collections":665,"showCount":657,"zanCount":11,"manualWeight":11,"mainColor":71},223050,"hong-lou-meng-175-sun-wen-223050","红楼梦175",[58,23,24,25,27,438,499,28,7,29,279,130,35,663],"红楼梦场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5ff13497a1a86049600d88216fe2ad.jpg",[],{"id":667,"slug":668,"title":669,"dynasty":18,"author":19,"museum":127,"description":670,"tags":671,"thumbUrl":681,"material":65,"size":682,"collection":378,"collections":683,"showCount":657,"zanCount":11,"manualWeight":11,"mainColor":71},222205,"jiao-yin-jie-xia-zhou-chou-ying-222205","蕉阴结夏轴","图中山石林立，蕉丰硕。秀竹劲，丛草稀。两位高士对坐相。一抚琴，一聆听。作品追宋法，人物造型准确。神情刻画栩栩如生，加之情景交融，画面文人同生活气息流。村庄突现萧疏简返之气，亦现作者师元人画风而别开生面之趣",[58,23,80,59,24,25,27,7,178,84,204,28,672,673,232,674,675,676,677,653,678,679,680],"夏日场景","弹拨乐器","山石皴法","植物写生","人物互动","设色淡雅","传统山水元素","草木景观","器物陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b091a6fd7758ede327c5d564e95b22.jpg","纵279.1厘米，横99厘米",[378,45],{"id":685,"slug":686,"title":687,"dynasty":18,"author":19,"museum":110,"description":688,"tags":689,"thumbUrl":690,"material":41,"size":101,"collection":101,"collections":691,"showCount":657,"zanCount":11,"manualWeight":11,"mainColor":48},216270,"er-shi-si-xiao-tu-22-chou-ying-216270","二十四孝图-22","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[23,80,25,24,26,27,438,61,7,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1cb5e8e85cc64280fee746fd49e6162.jpg",[],{"id":693,"slug":694,"title":695,"dynasty":53,"author":484,"museum":110,"description":696,"tags":697,"thumbUrl":698,"material":101,"size":101,"collection":101,"collections":699,"showCount":700,"zanCount":11,"manualWeight":11,"mainColor":71},235223,"li-shan-ba-jiao-zhu-shi-tu-zhou-yi-ming-235223","李鱓芭蕉竹石图轴","阔笔泼墨写芭蕉，浓淡墨色晕染出叶片舒张之姿，苍润朴拙尽显天然意趣。修竹挺劲清瘦，细笔勾摹竿枝，竹叶错落灵动，与芭蕉形成刚柔相济的视觉反差。赭石点染顽石，浓墨缀苔，沉稳厚重托住画面重心，边角淡彩轻绘花草，添些许秀雅。\n\n两侧题跋笔意洒脱，书画相映，文气盎然。整幅以水墨为骨，略施淡彩，将写意风骨抒发尽致，朴野中见灵秀，笔墨间充盈疏放不羁的生机，尽显抒情达意的文人画特质。",[495,23,80,59,81,25,82,7,189,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba0e9d7db41fc40d9c44bd797f4f97e.jpg",[],27,{"id":702,"slug":703,"title":704,"dynasty":18,"author":705,"museum":127,"description":706,"tags":707,"thumbUrl":708,"material":442,"size":709,"collection":101,"collections":710,"showCount":700,"zanCount":139,"manualWeight":11,"mainColor":48},231588,"tao-gu-zeng-ci-tu-tang-yin-231588","陶穀赠词图","唐寅","唐寅（1470－1532），吴县人。字子畏、伯虎。号六如，自称江南风流子。非诗文书画，尤以画艺见长；初师周臣，继而研学李唐、北宋初年，陶谷（903－970）出使南唐，时南唐国力弱小，而陶谷性格傲慢，在南唐后主脸出言不逊。南唐臣风起而设下圈，派宫妓秦蒻兰扮作驿吏之女以诱之。本来盛气凌人的陶谷，见温婉美丽的秦蒻兰之后，不禁为之邪念萌动，曲意奉迎并并讨好，新庸之赠词，遂败慎独戒。是陶谷所赠，顿弄时得陶谷面红耳赤，狼狈至极。画中刻字，工谨详尽，陶谷拈须倚坐榻上，旁墨纸砚，前面燃着红烛。秦蒻兰束发高笔。髻绣襦罗巾，坐弹弹琵琶，情态味感，极引词的画面。 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丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[58,24,25,27,204,29,189,7,882,36,203,756,84,252,883,151,496],"怪石","书箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],{"id":887,"slug":888,"title":889,"dynasty":53,"author":434,"museum":435,"description":436,"tags":890,"thumbUrl":892,"material":442,"size":443,"collection":101,"collections":893,"showCount":875,"zanCount":11,"manualWeight":11,"mainColor":71},223044,"hong-lou-meng-169-sun-wen-223044","红楼梦169",[58,23,24,25,26,495,27,438,28,7,30,590,891],"重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb909f1c9bff1f55e71f375d4921777f1.jpg",[],{"id":895,"slug":896,"title":897,"dynasty":53,"author":574,"museum":110,"description":898,"tags":899,"thumbUrl":901,"material":191,"size":192,"collection":101,"collections":902,"showCount":903,"zanCount":11,"manualWeight":11,"mainColor":71},288139,"ting-zhong-yu-ba-jiao-tu-li-zhou-gai-qi-288139","庭中雨芭蕉图立轴","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[58,23,59,81,80,98,27,7,61,28,900,152,151],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497f08e6a1c9e24cec2c2bca45e5ab65.jpg",[],18,{"id":905,"slug":906,"title":907,"dynasty":18,"author":484,"museum":110,"description":908,"tags":909,"thumbUrl":910,"material":191,"size":192,"collection":101,"collections":911,"showCount":903,"zanCount":11,"manualWeight":11,"mainColor":48},238061,"zhang-hong-jiao-yin-wei-cha-shan-yi-ming-238061","张宏蕉荫味茶扇","此作以淡设色铺陈茶事雅集，右侧芭蕉阔叶扶苏，浓荫下摆开茶席，文士围坐清谈品茗，侍童捧器静立，将文人日常闲雅之态铺展眼前。细劲墨线勾勒人物衣纹，神态宛然灵动，芭蕉与坡石晕染秀润柔和，泥金扇底晕开古雅光泽。画面疏密相宜，左侧留白衬出清寂悠远的意境，将文人耽于茶趣、寄兴林泉的雅逸心境尽数藏于尺幅之间，笔墨隽秀平和，尽显小品画里茶事雅集的悠然意趣。",[738,23,80,81,231,25,27,7,84,29,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f866725105e3160e49352cadb13d358.jpg",[],{"id":913,"slug":914,"title":915,"dynasty":199,"author":484,"museum":110,"description":916,"tags":917,"thumbUrl":919,"material":101,"size":101,"collection":101,"collections":920,"showCount":903,"zanCount":11,"manualWeight":11,"mainColor":48},227924,"jiao-shi-ying-xi-tu-yi-ming-227924","蕉石婴戏图","这幅小品以庭院一隅铺展童趣，玲珑湖石矗立，芭蕉舒展浓荫，晕染出夏日庭院的清幽意韵。十余稚童散落各处，或两两私语、或结伴嬉闹，有的摹仿大人行礼作态，有的蹲坐把玩小物，一举一动皆憨态可掬，将孩童日常嬉游的模样鲜活呈现。设色淡雅柔和，衣纹线条细劲流畅，画师以精妙笔力将幼童的天真烂漫刻画得淋漓尽致，藏着平淡日常里的融融稚趣，尽显工致雅致的宋画意韵，把烟火日常里的童真定格成隽永的画面。",[58,98,23,80,738,25,24,27,7,61,133,918],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880c152bb4ecce6798ef847bc94f14c1.jpg",[],{"id":922,"slug":923,"title":924,"dynasty":53,"author":434,"museum":435,"description":436,"tags":925,"thumbUrl":928,"material":442,"size":443,"collection":101,"collections":929,"showCount":903,"zanCount":11,"manualWeight":11,"mainColor":71},223005,"hong-lou-meng-130-sun-wen-223005","红楼梦130",[58,23,24,25,244,218,817,27,130,438,133,926,7,499,517,134,26,927],"仙鹤","珍禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5977ba55925ddfb890fab98b4c30ea9.jpg",[],{"id":931,"slug":932,"title":933,"dynasty":53,"author":434,"museum":435,"description":436,"tags":934,"thumbUrl":939,"material":442,"size":443,"collection":101,"collections":940,"showCount":903,"zanCount":11,"manualWeight":11,"mainColor":71},222957,"hong-lou-meng-82-sun-wen-222957","红楼梦82",[58,24,25,935,438,936,30,621,27,7,440,439,29,115,937,496,498,499,938],"古典庭院","回廊","石景","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fd19bbb13d2890a1bae246659c20ee.jpg",[],{"id":942,"slug":943,"title":944,"dynasty":199,"author":215,"museum":127,"description":945,"tags":946,"thumbUrl":948,"material":442,"size":949,"collection":101,"collections":950,"showCount":903,"zanCount":11,"manualWeight":11,"mainColor":71},221546,"hua-luo-han-zhou-liu-song-nian-221546","画罗汉轴","本院藏画中，有三幅刘松年画罗汉，每幅都款署「开禧丁卯（1207）刘松年画」，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈",[58,98,23,80,59,338,24,25,27,26,7,947,310],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0035ad35ba239ec50313d885cbecae1d.jpg","纵117厘米横55.8厘米",[],{"id":952,"slug":953,"title":954,"dynasty":53,"author":434,"museum":435,"description":436,"tags":955,"thumbUrl":959,"material":442,"size":443,"collection":101,"col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porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[1174,1175,1176,62,1177,7],"陶瓷","笔筒","青花","麒麟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51d577eab1eb323fd7867f8c1826fb3f.jpg",[],{"id":1181,"slug":1182,"title":1183,"dynasty":53,"author":434,"museum":435,"description":436,"tags":1184,"thumbUrl":1188,"material":442,"size":443,"collection":101,"collections":1189,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},222972,"hong-lou-meng-97-sun-wen-222972","红楼梦97",[58,24,25,27,438,28,7,29,1185,30,1186,1187],"传统建筑","格子窗","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35fbf1e3eb0e0063a0004920dfada06.jpg",[],{"id":1191,"slug":1192,"title":1193,"dynasty":18,"author":1194,"museum":110,"description":1195,"tags":1196,"thumbUrl":1197,"material":24,"size":1198,"collection":101,"collections":1199,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":71},222044,"de-qu-zai-ren-ce-13-kai-4-wang-zhong-222044","得趣在人册13开4","汪中","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[58,23,25,24,27,7,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c20bbebf832986f26199f65c48151b1.jpg","30×27厘米",[],{"id":1201,"slug":1202,"title":1203,"dynasty":53,"author":1204,"museum":1205,"description":1206,"tags":1207,"thumbUrl":1208,"material":65,"size":101,"collection":101,"collections":1209,"showCount":47,"zanCount":159,"manualWeight":11,"mainColor":71},214816,"shan-shui-hua-hui-tu-ce-4-gao-feng-han-214816","山水花卉图册-4","高凤翰","日本大阪市立美术馆","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[23,80,322,81,25,63,115,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d50ee97bcc7b6fea6f361adc52f1f3.jpg",[],{"id":1211,"slug":1212,"title":1213,"dynasty":18,"author":1214,"museum":110,"description":1215,"tags":1216,"thumbUrl":1218,"material":191,"size":192,"collection":101,"collections":1219,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":48},289792,"dou-an-chun-tu-zhu-zhan-ji-289792","斗鹌鹑图","朱瞻基","该幅无款署。图中所绘为明宣宗朱瞻基在御园观看斗鹌鹑的场景。画面上朱瞻基居中端坐，周围有宦官、侍从和童仆侍奉。方桌上置一圆形围挡，两名宦官正在斗弄圈中的鹌鹑，旁边的侍从捧着笼子，其中是备用的鹌鹑。",[23,25,24,27,28,527,7,528,1217],"休闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec02fea8018ec5530b89faa56bb0c0c.jpg",[],10,{"id":1222,"slug":1223,"title":1224,"dynasty":18,"author":484,"museum":110,"description":1172,"tags":1225,"thumbUrl":1226,"material":191,"size":192,"collection":101,"collections":1227,"showCount":1220,"zanCount":159,"manualWeight":11,"mainColor":1228},256367,"qing-hua-zhu-shi-ba-jiao-wen-yu-hu-chun-ping-yi-ming-256367","青花竹石芭蕉纹玉壶春瓶",[1174,1176,189,148,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3da1904c2474c18c86d44354c88d05.jpg",[],"37474F",{"id":1230,"slug":1231,"title":1232,"dynasty":53,"author":434,"museum":435,"description":436,"tags":1233,"thumbUrl":1234,"material":442,"size":443,"collection":101,"collections":1235,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":71},222906,"hong-lou-meng-31-sun-wen-222906","红楼梦31",[58,24,25,244,27,438,28,29,84,7,563,130,938,279,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7ad46eaf03b41f28f3bb2717498a2ac.jpg",[],{"id":1237,"slug":1238,"title":1239,"dynasty":18,"author":19,"museum":1240,"description":1241,"tags":1242,"thumbUrl":1243,"material":41,"size":1244,"collection":101,"collections":1245,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":48},219774,"lin-song-ren-hua-ce-6-chou-ying-219774","临宋人画册-6","上海博物馆","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[23,25,24,116,151,27,61,7,339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e050c9833328322db651cd7e96deda3.jpg","27.2x25.5厘米",[],{"id":1247,"slug":1248,"title":460,"dynasty":53,"author":76,"museum":1240,"description":1249,"tags":1250,"thumbUrl":1251,"material":101,"size":101,"collection":101,"collections":1252,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":1253},202723,"hua-hui-juan-zhu-da-202723","这幅花卉卷以大写意水墨为骨，笔墨凝练如铁线，墨色浓淡相生间尽显写意之妙。芭蕉叶阔笔泼写，姿态纵逸洒脱；山石以简括皴擦勾勒，朴拙中藏奇崛之态；花卉（如牡丹）寥寥数笔便形神兼备，神韵毕现。题跋书法与画面浑然交融，狂放行书衬出疏朗冷寂的意境，整体以物写心，借花木山石寄寓遗民孤高之慨，是八大水墨写意的经典之作。",[23,218,81,63,151,152,550,99,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5fd280316a5a4344e10846f92928278.jpg",[],"c9beb2",{"id":1255,"slug":1256,"title":1257,"dynasty":53,"author":1258,"museum":1240,"description":1259,"tags":1260,"thumbUrl":1264,"material":101,"size":101,"collection":378,"collections":1265,"showCount":1220,"zanCount":11,"manualWeight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厘米 横46.5 厘米",[],{"id":1363,"slug":1364,"title":1365,"dynasty":53,"author":1366,"museum":1240,"description":1367,"tags":1368,"thumbUrl":1369,"material":87,"size":1370,"collection":101,"collections":1371,"showCount":1318,"zanCount":11,"manualWeight":11,"mainColor":71},214697,"shan-shui-ce-11-gao-xiang-214697","山水册-11","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[23,80,322,81,231,279,7,27,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279a58f67fbdc04d6c515180d557871.jpg","纵23.9 厘米，横55.4 厘米",[],{"id":1373,"slug":1374,"title":1375,"dynasty":18,"author":547,"museum":110,"description":1376,"tags":1377,"thumbUrl":1380,"material":191,"size":192,"collection":101,"collections":1381,"showCount":1382,"zanCount":11,"manualWeight":11,"mainColor":71},290943,"fang-wang-meng-jiao-shi-zhou-qian-gu-290943","仿王蒙蕉石轴","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[23,59,81,7,634,1378,152,151,1379,550],"兰草","仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe450eec9049547b3a3355bca990d45e6.jpg",[],5,{"id":1384,"slug":1385,"title":1386,"dynasty":53,"author":484,"museum":110,"description":1387,"tags":1388,"thumbUrl":1389,"material":191,"size":192,"collection":101,"collections":1390,"showCount":1382,"zanCount":11,"manualWeight":11,"mainColor":71},270530,"zhu-gu-rui-jun-wang-shu-hua-ying-xi-tu-mian-zhe-shan-yi-ming-270530","竹股瑞郡王书画婴戏图面折扇","扇面以湖石框构庭院小景，芭蕉浓荫铺就雅致底色。仕女稚童错落排布，长者持卷安立，衣袂柔婉舒展，稚童嬉游绕侧，神态鲜活灵动，将天伦闲趣融于画面。\n\n笔墨兼工带写，皴擦勾勒出湖石苍润肌理，芭蕉阔叶晕染细腻柔润，于扇面方寸间铺展出清幽悠然的庭院日常，把旧时光里的温婉生机定格在咫尺纨素之上，尽显世俗烟火里的融融意趣。",[738,23,80,25,27,918,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553921fb7ab52a370c6c46a3113ac805.jpg",[],{"id":1392,"slug":1393,"title":1394,"dynasty":53,"author":484,"museum":110,"description":1395,"tags":1396,"thumbUrl":1398,"material":101,"size":101,"collection":101,"collections":1399,"showCount":1382,"zanCount":11,"manualWeight":11,"mainColor":71},239273,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239273","后祺指画花鸟册","此作用指为笔，水墨晕染芭蕉阔叶，浓淡干湿间尽显蕉叶向背层次，墨色苍润兼具，带着生拙朴厚的天然意趣，毫无毛笔雕琢的刻意感。旁侧新竹清瘦挺拔，枝叶舒展灵动，与芭蕉形成疏密开合的视觉对照。画面留白疏朗空灵，衬出幽寂闲适的林下意境。\n题诗呼应画境，将酒醒听蕉雨、伴鹤沐清风的隐逸闲思融于笔墨间，把夏日蕉竹的清雅禅意写尽，尽显文人水墨小品的雅致情致。",[23,80,322,1397,81,63,189,7,151],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d4b97e92557060500da92c8ac74527.jpg",[],{"id":1401,"slug":1402,"title":1403,"dynasty":18,"author":484,"museum":110,"description":1404,"tags":1405,"thumbUrl":1408,"material":101,"size":101,"collection":101,"collections":1409,"showCount":1382,"zanCount":11,"manualWeight":11,"mainColor":48},239147,"ming-ren-jiao-yin-yi-qi-tu-zhou-yi-ming-239147","明人蕉荫奕棋图轴","这幅小品以蕉林为屏，湖石映翠、幽篁点缀，铺就出一方清寂雅致的林下天地。\n\n两位雅士对坐弈棋，一人垂目凝思、指尖悬于枰上，似正斟酌落子；一人捻髯观局、神态悠然，将博弈间的松弛与专注刻画入微。衣袂线条柔畅古雅，晕染出文人宽袍缓带的闲适姿态。\n\n设色沉古淡雅，旧绢的赭石底色晕开岁月质感，芭蕉阔叶以浓绿分出阴阳向背，湖石苔点细腻鲜活，衬出园中小景的静谧生机。整作以小见大，将文人闲居雅集的意趣藏于方寸，尽显林下对弈的从容意韵，尽显旧时文人寄兴林泉、以棋为乐的风流雅致。",[23,59,25,24,27,7,189,148,1406,1407],"弈棋","棋桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba11d43c5f270595fe0ab58532a92e36.jpg",[],{"id":1411,"slug":1412,"title":1413,"dynasty":18,"author":484,"museum":110,"description":1414,"tags":1415,"thumbUrl":1419,"material":191,"size":192,"collection":101,"collections":1420,"showCount":1382,"zanCount":11,"manualWeight":11,"mainColor":1228},228697,"qing-ci-hua-hua-ba-jiao-hu-shi-zhi-hu-yi-ming-228697","青瓷划花芭蕉湖石执壶","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[292,1416,1417,1174,1418,7,247],"青瓷","划花","执壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6346b0042236483a6e9adcfb9dd912.jpg",[],{"id":1422,"slug":1423,"title":1224,"dynasty":53,"author":484,"museum":110,"description":1172,"tags":1424,"thumbUrl":1427,"material":191,"size":192,"collection":101,"collections":1428,"showCount":1429,"zanCount":11,"manualWeight":11,"mainColor":48},259931,"qing-hua-zhu-shi-ba-jiao-wen-yu-hu-chun-ping-yi-ming-259931",[1174,1425,1426,189,148,7],"青花瓷","玉壶春瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60a07d228980ca5193983595f522e605.jpg",[],4,{"id":1431,"slug":1432,"title":1224,"dynasty":53,"author":484,"museum":110,"description":1172,"tags":1433,"thumbUrl":1434,"material":191,"size":192,"collection":101,"collections":1435,"showCount":1429,"zanCount":11,"manualWeight":11,"mainColor":71},259929,"qing-hua-zhu-shi-ba-jiao-wen-yu-hu-chun-ping-yi-ming-259929",[1174,1425,1426,189,148,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77b11d322fc4bf508743a9eb0490312f.jpg",[],{"id":1437,"slug":1438,"title":1439,"dynasty":18,"author":1440,"museum":110,"description":1441,"tags":1442,"thumbUrl":1443,"material":101,"size":101,"collection":101,"collections":1444,"showCount":1429,"zanCount":11,"manualWeight":11,"mainColor":71},233302,"shi-zhu-zhai-pu-ce-hu-ri-cong-233302","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[23,81,25,61,7,151,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d670ca4fe5bcf366d78b46d268769a7.jpg",[],{"id":1446,"slug":1447,"title":1448,"dynasty":53,"author":484,"museum":55,"description":1449,"tags":1450,"thumbUrl":1455,"material":25,"size":101,"collection":101,"collections":1456,"showCount":1429,"zanCount":11,"manualWeight":11,"mainColor":71},217309,"gu-xiu-wu-shi-san-can-tu-ce-3-yi-ming-217309","顾绣·五十三参图册-3","针丝作笔，彩线为墨，将禅意与童趣绣入绢素。左侧朱衣老者趺坐石矶，衣袂流转如流云，眉宇间藏着静定；童子执物趋前，步履轻快。右侧文士宽袍博带，持扇倚石，蕉叶舒展如伞，月华轻笼似纱；孩童匍匐戏鸭，憨态跃然。山石皴理、草木脉络皆以细针密线勾勒，笔墨意趣与丝绣肌理交织。淡彩晕染间，禅门参访的庄严与生活的温软相融，每处针脚藏着匠心，似低语古老故事，让观者于方寸间见天地、品幽情。山石的苍劲、草木的柔婉，皆化作丝缕间的生动，禅意隐于细节，童趣流于针端，尽显顾绣“绣画合一”的雅致神韵。",[1451,322,25,24,27,1452,310,84,7,1453,1454,151,339],"顾绣","老者","明月","栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e0be7f82e46304bc019bc9ae78f732.jpg",[],{"id":1458,"slug":1459,"title":1460,"dynasty":53,"author":1461,"museum":1240,"description":1462,"tags":1463,"thumbUrl":1464,"material":101,"size":101,"collection":101,"collections":1465,"showCount":1429,"zanCount":11,"manualWeight":11,"mainColor":1466},202654,"ba-jiao-mei-zhu-tu-zhou-zhang-xiong-202654","芭蕉梅竹图轴","张熊","画面以芭蕉为主体，阔大叶片用浓墨泼洒，笔触雄浑却藏细腻脉络；梅枝疏斜横逸，花蕊点点含春，竹枝亭亭玉立，与嶙峋湖石相倚。坡岸草色葱茏，水墨晕染间见清趣。笔墨简劲洒脱，水墨淋漓中透着雅致，将芭蕉的苍劲、梅的傲骨、竹的虚心融于一卷，尽显文人画的清逸风骨，传递出悠然淡泊的襟怀。",[23,81,63,363,189,7,61,59,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F124b3c2830653cf0f5659470cf16b1d2.jpg",[],"c3ae8b",{"id":1468,"slug":1469,"title":1470,"dynasty":53,"author":484,"museum":110,"description":1471,"tags":1472,"thumbUrl":1474,"material":191,"size":192,"collection":101,"collections":1475,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":71},269902,"zhu-ke-ba-jiao-zhu-shi-tu-bi-tong-yi-ming-269902","竹刻芭蕉竹石图笔筒","笔筒： 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