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画中这一丛稻长得比一般的稻子高大，茎叶茂盛，稻穗饱满沉重，显现出丰收的预兆。在用笔上，除稻穗外，都用花青和赭石以没骨法染画而成。嘉禾顶立在画幅中央，构图非常单纯，主题强烈，有著简朴而新顷之感。 《八十七神仙卷》是我国美术史上极其罕见的经典传世之作，代表了中国古代白描绘画的最高水平，其艺术魅力堪与宋代张择端的《清明上河图》比肩，我国著名画家徐悲鸿认为此卷 “足可颉颃欧洲最高贵名作” 。它栉千年之风，沐五朝之雨，送给今人一份厚重的文化遗产，实在是艺术史上的一个伟大奇迹!\n该卷属于绢本白描人物画卷，长292厘米，画面主体有87位道教人物白描画像，其中有3位带有头光的主神、10名武将、7位男仙、67名金童玉女由画面右端向左端行进。画面没有任何文字。卷尾附有1948年重新装裱时的七段题跋，由前至后为：徐悲鸿跋之一、徐悲鸿跋之二、张大千跋、徐悲鸿跋之三、谢稚柳跋、朱光潜跋、艾克跋及冯至译义、徐悲鸿跋之四，加上题跋装裱全画总长超过10米。年湮世远的绢画，其绢丝已朽败至毫无韧性和筋骨了，往往一个轻巧的动作，甚至是众人的呼吸都有可能对它造成无法挽回的伤害。\n《八十七神仙卷》为一代画圣吴道子的冠世巨作，也是吴道子现世仅存的一部白描绢本。是至今存世屈指可数的中国古代重要艺术瑰宝，代表了中国唐代白描绘画的最高水平。\n因场面之宏大，人物比例结构之精确，神情之华妙，构图之宏伟壮丽，线条之圆润劲健，而被历代画家艺术家奉为圭臬。现保存在徐悲鸿纪念馆，并为镇馆之宝。",[23,24,25,26,27,7,28,29,30,31,32,33],"高清","国画","书画","长卷","宗教","人物","楼阁","祥云","飘带","仪仗","队列","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de302348f3ee25a5f65f77fe3cfccd0.jpg","绢本白描","30x290cm","人物画精选",[37],5500,51,0,"F48FB1",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":65,"material":66,"size":66,"collection":66,"collections":67,"showCount":68,"zanCount":69,"manualWeight":41,"mainColor":70},238127,"luo-shen-fu-tu-juan-song-mo-gu-kai-zhi-238127","洛神赋图卷（宋摹）","晋","顾恺之","藏地不详","此作以辞赋为魂，以丹青为骨，将人神相恋的缱绻与别离的怅惋缓缓铺展。以山石林木为天然段落，串联起相遇、慕恋、惜别全程。\n笔下洛神衣袂翩跹，凌波顾盼间尽是柔婉仙姿，曹植凝睇神伤，将求而不得的怅惘藏于眉目。线条如春蚕吐丝，清劲连绵；设色古雅沉静，晕染细腻雅致，虽经摹写，仍留存晋人飘逸高古的气韵，把辞赋里的浪漫诗意落于绢素，让纸上风月跨越岁月，将这段人神殊途的遗憾永远定格。",[24,25,26,52,53,7,54,55,56,57,28,58,59,60,61,62,63,64],"临摹","工笔","设色","印章","书法","行书","美人","孤舟","山水","流水","老树","亭","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc559154b02942ebb93772f3f28818bda.jpg","",[],3737,24,"795548",{"id":72,"slug":73,"title":74,"dynasty":75,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":82,"material":83,"size":84,"collection":85,"collections":86,"showCount":87,"zanCount":88,"manualWeight":41,"mainColor":89},216772,"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）","宋","佚名","北京故宫博物院","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,24,25,26,52,7,54,53,56,57,80,55,28,58,60,59,29,61,81],"篆书","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","绢本,设色","27.1x572.8","宋画精选",[85],1270,10,"BDBDBD",{"id":91,"slug":92,"title":93,"dynasty":94,"author":95,"museum":96,"description":97,"tags":98,"thumbUrl":109,"material":83,"size":110,"collection":111,"collections":112,"showCount":113,"zanCount":114,"manualWeight":41,"mainColor":70},216110,"yun-shou-ping-hua-guo-shu-cai-ce-ye-yun-shou-ping-216110","恽寿平花果蔬菜册页","清","恽寿平","天津博物馆","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[99,24,25,100,7,101,54,102,103,104,105,106,107,108],"名画","册","水墨","花鸟","蔬菜","花果","丝瓜","藤蔓","叶子","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ff8d0ecdcd63604674ff7f8ad8ac1b.jpg","26.1x19.9cm","花鸟画精选",[111],1136,6,{"id":116,"slug":117,"title":118,"dynasty":47,"author":48,"museum":77,"description":119,"tags":120,"thumbUrl":123,"material":124,"size":125,"collection":37,"collections":126,"showCount":128,"zanCount":129,"manualWeight":41,"mainColor":70},221042,"nv-shi-zhen-tu-quan-juan-gu-kai-zhi-221042","女史箴图全卷","《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。",[23,24,26,7,54,53,28,58,121,56,55,122,60],"衣帽","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e16c9ec9cf1b988dbcda811f3ae11a.jpg","纸本，墨笔","横601厘米，纵27.9厘米",[37,127],"设色画精选",944,15,{"id":131,"slug":132,"title":133,"dynasty":94,"author":134,"museum":135,"description":136,"tags":137,"thumbUrl":140,"material":141,"size":142,"collection":111,"collections":143,"showCount":144,"zanCount":114,"manualWeight":41,"mainColor":89},214687,"mei-hua-zhu-shi-tu-ce-wang-shi-shen-214687","梅花竹石图册","汪士慎","上海博物馆","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[24,25,100,101,7,138,122,139,55],"梅","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775e1c19a55ed4a95fa31138be1fa875.jpg","纸本,水墨","纵25 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厘米",[111],901,{"id":146,"slug":147,"title":148,"dynasty":149,"author":150,"museum":135,"description":151,"tags":152,"thumbUrl":158,"material":83,"size":66,"collection":111,"collections":159,"showCount":160,"zanCount":88,"manualWeight":41,"mainColor":70},219749,"chun-feng-jia-die-tu-chen-hong-shou-219749","春风蛱蝶图","明","陈洪绶","陈洪绶（1598-1652年），字章侯，号老莲，别号老迟、悔迟，浙江诸暨人。此图作于顺治八年（1651)，画赠老友戴茂齐。所绘山雀、竹枝、海棠、水仙、蛱蝶、怪石、梨花，设色妍丽，富有装饰意味。卷末有作者自题，据此可知：是年秋天，画家曾以一金购得文徵明画一幅，戴茂齐喜之，遂赠之。后数日，友人丁秋平之子病重，陈氏借戴一金，赠以资汤药。孟冬，画家又作《博古叶子》一本赠戴，时家中乏米，借戴一金，故作此卷酬之。",[24,25,26,54,53,7,55,56,102,138,153,122,154,155,156,157],"兰","水仙","蝴蝶","鸟","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f9e4cf48118d09a7f3ae27d2908752.jpg",[111],712,{"id":162,"slug":163,"title":164,"dynasty":18,"author":19,"museum":49,"description":165,"tags":166,"thumbUrl":173,"material":174,"size":175,"collection":66,"collections":176,"showCount":177,"zanCount":178,"manualWeight":41,"mainColor":89},289941,"song-zi-tian-wang-tu-wu-dao-zi-289941","送子天王图","《送子天王图》（又名《天王送子图》、《释迦降生图》）是唐代吴道子根据佛典《瑞应本起经》创作纸本墨笔画，一说宋人摹本。该作现藏于日本大阪市立美术馆。\n全图分为三个部分：第一段描绘一位王者气度的天神端坐中间，两旁是手执笏板的文臣、捧着砚台的仙女，以及仗剑围蛇的武将力士面对一条由二神降伏的巨龙。第二段画的是一个踞坐在石头之上的四臂披发尊神，身后烈焰腾腾。神像形貌诡异，颇具气势，左右两边是手捧瓶炉法器的天女神人。第三段即《释迦牟尼降生图》，内容是印度净饭王的儿子出生的故事。从画面上，可以看到释迦牟尼降生时，他的父亲抱着他到寺庙朝谒见自在天神的情景。\n此图写异域故事，而画中的人、鬼神、兽等却完全加以中国化，当是佛教与中国本土变化至唐日趋融合之势所致。此图意象繁富，以释迦降生为中心，天地诸界情状历历在目，技艺高超，想象奇特，令人神驰目眩。该图着色较淡，近乎白描。",[23,99,24,26,7,167,168,27,169,170,171,172],"人物画","神话","天王","鬼怪","龙","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbca5673da27ce7e942f4cd3b8991436.jpg","未知","Xcm*Xcm",[],629,8,{"id":180,"slug":181,"title":182,"dynasty":75,"author":183,"museum":184,"description":185,"tags":186,"thumbUrl":189,"material":141,"size":190,"collection":37,"collections":191,"showCount":192,"zanCount":193,"manualWeight":41,"mainColor":89},214644,"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","李公麟","台北故宫博物院","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[23,24,25,26,7,60,29,187,61,63,81,28,188],"小桥","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","28.9x364.6",[37],600,3,{"id":195,"slug":196,"title":197,"dynasty":75,"author":198,"museum":184,"description":199,"tags":200,"thumbUrl":207,"material":83,"size":208,"collection":85,"collections":209,"showCount":210,"zanCount":114,"manualWeight":41,"mainColor":70},219699,"nian-cha-tu-liu-song-nian-219699","撵茶图","刘松年","《撵茶图》为工笔白描，描绘了宋代从磨茶到烹点的具体过程、用具和点茶场面。画中左前方一仆设坐在矮几上，正在转动碾磨磨茶，桌上有筛茶的茶罗、贮茶的茶盒等。另一人伫立桌边，提着汤瓶点茶(泡茶)，他左手边是煮水的炉、壶和茶巾，右手边是贮水瓮，桌上是茶筅、茶盏和盏托。一切显得十分安静整洁，专注有序。画面右侧有三人，一僧伏案执笔作书，传说此高僧就是中国历史上的“书圣”怀素。一人相对而坐，似在观赏，另一人坐其旁，正展卷欣赏。\n刘松年传世作品很多，仅涉及到茶事内容的就有《斗茶图》、《卢仝烹茶图卷》、《茗园赌市图》、《博古图》、《撵茶图》等多幅，对了解宋代茶事有很高的学术参考价值。《撵茶图》从一个侧面充分展示了贵族官宦之家讲究品茶的生动场面，是宋代茶叶品饮的真实写照。",[24,99,25,53,54,7,28,201,202,203,204,205,206],"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",[85,37],574,{"id":212,"slug":213,"title":214,"dynasty":75,"author":215,"museum":184,"description":216,"tags":217,"thumbUrl":219,"material":141,"size":220,"collection":111,"collections":221,"showCount":222,"zanCount":223,"manualWeight":41,"mainColor":89},215109,"sui-han-san-you-tu-zhao-meng-jian-215109","岁寒三友图","赵孟坚","莹净的纸面上，画家以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹著如星芒般的松针与墨影般的竹叶，将它们横斜置於画面中央。这三株折枝植物的组合，不但是一件写生佳作，同时画中岁寒三友－松、竹、梅的组合，又代表当时文人认为应该具备的节操与美德。",[23,24,25,101,7,138,122,218,55,102],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb649cf50efa4be46ecb8b6ea14056db.jpg","32.2×53.4cm",[111],572,11,{"id":225,"slug":226,"title":227,"dynasty":75,"author":183,"museum":228,"description":229,"tags":230,"thumbUrl":231,"material":141,"size":232,"collection":85,"collections":233,"showCount":234,"zanCount":11,"manualWeight":41,"mainColor":89},214884,"lian-she-tu-li-gong-lin-214884","莲社图","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。",[23,99,24,25,26,7,54,27,28,60,81,63,157,56,80,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[85],566,{"id":236,"slug":237,"title":238,"dynasty":239,"author":240,"museum":184,"description":241,"tags":242,"thumbUrl":245,"material":246,"size":66,"collection":247,"collections":248,"showCount":249,"zanCount":250,"manualWeight":41,"mainColor":89},218759,"zhu-shi-tu-ni-zan-218759","竹石图","元","倪瓒","简淡笔墨勾勒出一方清寂天地。嶙峋顽石以折带皴写就，骨力暗藏；几竿瘦竹用中锋挥毫，风神毕现。坡岸以淡墨扫出，不着繁饰却有山野之旷；竹叶疏密交织，寥寥数笔便见雅趣之浓。留白处似含虚寂之气，引观者神思悠远；笔墨间尽是淡远之怀，映画家澄净本心。无喧嚣之扰，无艳色之惑，简而不薄，疏而有致，于极简中藏深致，于清寂中见真趣。尽显文人画的空灵韵致，亦为超脱尘俗的精神气象凝于纸上。",[23,24,99,25,243,101,7,157,122,244,55],"立轴","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a185b2b68c761e19a18f984e0eb2ee.jpg","绢本,水墨","水墨画精选",[247],561,5,{"id":252,"slug":253,"title":254,"dynasty":239,"author":255,"museum":184,"description":256,"tags":257,"thumbUrl":258,"material":83,"size":259,"collection":37,"collections":260,"showCount":261,"zanCount":250,"manualWeight":41,"mainColor":70},214839,"yuan-ming-gui-qu-lai-ci-tu-zhao-meng-fu-214839","渊明归去来辞图","赵孟頫","现在的画没有标记，据说是赵孟𫖯的作品，不过画风不一样。这幅画表现的是陶渊明在两个仆人的陪同下，带着他的法杖回来，一个人拿着琴和卷轴，另一个人拿着酒坛。门前的五棵柳树清楚地表明，画中的人是五柳先生。人物的衣着是快速、流畅和有力的笔触。柳树的树干被仔细地描绘出来，线条清晰可见。这幅画还用淡墨给水和天空轻轻上色，但很明显，暮色已经退去，秋天的空气铺天盖地。",[23,24,25,26,7,54,28,62,60,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d284481c01c8ff3b02e261ebb31a78f.jpg","27x72.5",[37],533,{"id":263,"slug":264,"title":265,"dynasty":75,"author":76,"museum":266,"description":267,"tags":268,"thumbUrl":270,"material":83,"size":66,"collection":37,"collections":271,"showCount":272,"zanCount":273,"manualWeight":41,"mainColor":70},214860,"mo-gu-kai-zhi-luo-shen-fu-tu-di-er-juan-yi-ming-214860","摹顾恺之洛神赋图（第二卷）","辽宁省博物馆","摹顾恺之洛神赋图（第二卷）是宋朝佚名画家的一幅作品。这幅画描绘了洛神，她是中国神话中的一位美丽的仙女，被认为是花的化身。洛神赋图是一组描绘洛神的图画，可能是以绘画的形式来记录洛神的故事。这幅画的风格典雅，线条流畅，色彩明快，极富表现力。",[23,52,24,26,7,54,28,171,269,60,64],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e06b4414fc9a2b292ec17325cf42bd.jpg",[37],522,4,{"id":275,"slug":276,"title":277,"dynasty":239,"author":76,"museum":278,"description":279,"tags":280,"thumbUrl":282,"material":281,"size":283,"collection":66,"collections":284,"showCount":285,"zanCount":250,"manualWeight":41,"mainColor":70},221842,"yong-le-gong-bi-hua-san-qing-dian-bi-hua-chao-yuan-tu-yi-ming-221842","永乐宫壁画三清殿壁画朝元图","山西永乐宫","永乐宫在山西最南端的芮城县郊外，《朝元图》在永乐宫的三清殿（又名无极殿）内，是永乐宫壁画中的重点，画幅面积为403.34平方米，主尊人物高达3米，最低的也有2米，共绘人物近300身，距今近700多年，是留存下来的最精彩的元代壁画。永乐宫始建于元代全真教兴盛时期，宫殿内部的墙壁上，布满了精心绘制的壁画，其艺术价值之高，数量之多，实属世上罕见。\n该壁画泰定三年（1325年）由河南画家马君详、马七等人绘制而成，描绘了诸神朝拜元始天尊的故事。画面上共有人物 290个左右，以8个高3米的主像（南极、北极、东极、玉皇、勾陈、木公、后土、金母）为中心，其余人物按对称仪仗形式排列，以南墙的青龙、白虎星君为前导，分别画出天帝、王母等28 位主神。围绕主神，28宿、12宫辰等“天兵天将”在画面上徐徐展开。画中主像庄严肃穆，群像环立，形象丰满圆润，个个神采奕奕，无一雷同。他们之间有的对语，有的倾听，有的沉思，有的注视，神情姿态彼此呼应，成为有机的整体。整个画面，气势不凡，场面浩大。\n壁画中人物服饰冠戴华丽辉煌，衣纹多用吴道子“莼菜条”线条，用笔劲健而流畅，既含蓄又有力度，衣带飞舞飘逸，有如满墙风动，充分发挥了线条的高度表现力。用色方面，采用重彩勾填，色彩厚重而丰富，绚烂而协调，道具在背景上都富有装饰性，在冠戴、衣襟、薰炉等处沥粉贴金，绚烂夺目。",[23,281,27,53,54,28,7],"壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3db7198209c86d23475d84a3d7cee5.jpg","426×9468cm",[],484,{"id":287,"slug":288,"title":289,"dynasty":290,"author":76,"museum":291,"description":292,"tags":293,"thumbUrl":296,"material":297,"size":298,"collection":66,"collections":299,"showCount":300,"zanCount":88,"manualWeight":41,"mainColor":89},223346,"ren-wu-yu-long-bo-hua-yi-ming-223346","人物御龙帛画","周","湖南省博物馆","描绘墓主人乘龙升天的情景。此幅非衣帛画上端有竹轴，轴上有丝绳，为一幅可以垂直悬挂的幡，应是战国时期楚国墓葬中用于引魂升天的铭旌，属于非衣性质的战国晚期帛画。",[99,24,25,294,7,28,171,295],"帛画","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05743bae5cc6226f24ed9e35e6b3c675.jpg","绢本水墨淡设色","长37.5厘米、宽28厘米",[],473,{"id":302,"slug":303,"title":304,"dynasty":47,"author":48,"museum":77,"description":119,"tags":305,"thumbUrl":306,"material":124,"size":125,"collection":37,"collections":307,"showCount":308,"zanCount":114,"manualWeight":41,"mainColor":89},221041,"nv-shi-zhen-tu-juan-quan-juan-gu-kai-zhi-221041","女史箴图卷全卷",[23,24,25,26,7,53,28,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e325b86458ef996bbbc4b4e8cbd033.jpg",[37,247],458,{"id":310,"slug":311,"title":312,"dynasty":75,"author":183,"museum":49,"description":313,"tags":314,"thumbUrl":316,"material":66,"size":66,"collection":66,"collections":317,"showCount":318,"zanCount":319,"manualWeight":41,"mainColor":89},227579,"wu-ma-tu-dong-jing-cai-ben-li-gong-lin-227579","五马图（东京彩本）","年初，日本东京国立博物馆举办的“颜真卿：超越王羲之的名笔”特展中，一度被认为毁于二战战火的北宋名画——李公麟所作《五马图》赫然在列，轰动艺术界。\n\n《五马图卷》是李公麟最重要的传世名迹，简约而生动，是宋画高再现性与高表现性的完美结合；上有黄庭坚题跋，曾收藏于南宋内府与乾隆手中，对宋画欣赏与研究极具价值，近一个世纪以来，流传过程也甚为坎坷。",[23,99,24,25,26,7,54,28,315,56,55],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc311a3828303adc5d60f6643579ac2af.jpg",[],427,7,{"id":321,"slug":322,"title":323,"dynasty":290,"author":76,"museum":291,"description":324,"tags":325,"thumbUrl":328,"material":329,"size":330,"collection":66,"collections":331,"showCount":332,"zanCount":333,"manualWeight":41,"mainColor":70},223347,"ren-wu-long-feng-bo-hua-yi-ming-223347","人物龙凤帛画","表现的是龙凤引导墓主人的灵魂升天的情景。画中右下方有一位侧身而立的中年妇女，阔袖长裙，双手合十像在祈祷。妇人头顶上有一只腾空飞舞的风鸟，尾羽向上卷起。左侧是一条体态扭曲的龙，正向上升腾。画中所绘的龙的形象，因初发现时龙的左足破损，只见右侧足，而一度被认为是夔，该作品也曾定名为《夔凤人物图》。 [1] 该画是中国现存最古老的帛画。",[24,25,326,7,54,28,171,327],"布料","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875bb7f0c8c432a8d3b746c93c5ec5bd.jpg","绢本淡设色","纵31.2厘米，横23.2厘米",[],421,9,{"id":335,"slug":336,"title":337,"dynasty":149,"author":338,"museum":339,"description":340,"tags":341,"thumbUrl":342,"material":83,"size":343,"collection":37,"collections":344,"showCount":345,"zanCount":273,"manualWeight":41,"mainColor":70},218350,"ren-wu-gu-shi-ce-tang-yin-218350","人物故事册","唐寅","大英博物馆","这是一本关于人物故事的小册子，每幅画中的明代题款似乎是一个人的作品，所以可以肯定这是清人伪托唐伯虎的画作，但画作本身还是很出色的，如果能刻上他的原名，那将是一套很好的人物画。",[23,24,25,100,54,7,28,58,55,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f6934a53787d0888fc281c204938c0.jpg","32x40.5",[37],396,{"id":347,"slug":348,"title":349,"dynasty":75,"author":350,"museum":49,"description":351,"tags":352,"thumbUrl":353,"material":354,"size":355,"collection":37,"collections":356,"showCount":357,"zanCount":273,"manualWeight":41,"mainColor":70},221325,"chao-yuan-xian-zhang-tu-wu-zong-yuan-221325","朝元仙仗图","武宗元","《朝元仙仗图》为北宋宗教画家 所绘制的一幅绢本白描长卷， 曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。\n画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。\n《朝元仙仗图》描绘的是五方帝君中的东华帝君、南极大帝、扶桑大帝，前往朝谒“主持天界之祖”——元始天尊的队仗行列。\n《朝元仙仗图》中的行列应该是由八十八位神仙组成，但是图中缺了最后一位神仙。\n八十七位神仙共分为四种类型：三位帝君，八名武装神，十名男神仙，六十七名女仙，这些女仙中有玉女，也有金童，但都着女装。\n众仙神态从容衣带随风飘舞，徐徐行进于蜿蜒的廊桥之上。\n队列左端最前由仗剑披甲的天神开路，最右端以甲卒、金刚、神王、力士等殿后，气象雄威；后面是仙官、侍从和乐队，高举旗幡伞盖，手捧美食佳肴，吹奏丝竹管弦；三位帝君，华服盛装，头衬圆光，神态庄重，前后左右是金童玉女，画中各神仙身旁还有长方格，内写该神仙的尊号。\n个个神情娴淑恬淡，沉稳慈祥，俊美动人，衣履装束和发髻头饰，各尽其态；队伍最后又是文武仙官，衣饰容貌也都各有特色，画幅上面云雾飘渺，下方丛生莲花、香蒲，所有神仙列成长队，过桥穿路，浩浩荡荡而来，热闹又庄重，仿佛能听到众神仙衣衫窸窣、环佩相碰之声。\n武宗元的活动时期正值宋真宗赵桓在位（公元997年5月8日－122年月2日）。\n宋真宗崇奉道教，大兴土木建筑道院，在汴京（开封）所建“玉清昭应宫”，凡二千六百一十楹，制度十分宏丽，屋宇稍有不合程式的，就拆掉重盖，夜以继日，七年才完工。\n又作“会灵观”，规模略如玉清昭应宫，以首相王但为“昭应宫使”，次相王曾为“会灵观使”。\n全国各地纷纷盖道观、立官职，把年老退职侍从大臣都授予道教的官衔，给以俸禄。\n在统治者这样如醉如狂地提倡道教的运动中，产生了许多以画道释人物著名的壁画家，专为装饰宫观，《朝元仙仗图》便是武宗元在此时期为玉清昭应宫创作寺观壁画所绘制的小样。\n《朝元仙仗图》中的线条勾勒看起来奔放有力，实则从构图、人物安排、物象聚合到线条组织都显示出“平”和“匀”的特点。\n以主像东华天帝君为例，图中的颈部线条为三根大致平行的圆弧线，距离匀称、平均、平稳，与衣领的关系模糊不清。\n通天冠顶部的一组珠饰的七颗宝珠形象相同，似乎为同一形象之复制，平均分布且排成一条僵硬的直线，图中插入头发中以固定头冠的玉簪导没有传达出物体互为垂直面的意义，而是画成一个含糊的多边形。\n整体画面强调照应，又适当注意变化，先是对于复杂重叠的衣褶采用了“铁线描”的手法勾勒，画中线条严谨、简练、流畅，有的线长达几米。\n线条长垂流畅，飘飘欲举，如有风吹拂，生动地表达队列进行中的动感；而人物的面部和头发的线条又变得柔和，纤柔曼妙，如同游丝，与衣纹的铁线形成对比，既表现了不同质感，又使画面具有丰富的线条美。\n面部表情能用各种不同的线来表现，眉眼特别有神，皱眉肌的变化，以及眼与其他各部的关系处理得准确巧妙，从而使同样严肃的面孔上显示出各种不同的个性。\n该画作整体画面色彩单纯明朗，以石青石绿为主，衣冠宝盖大量运用沥粉贴金，总体色调既灿烂又沉厚。\n该画作中共绘制了身份、等级各不同的八十七位神仙，其中东华帝君、南极大帝头带冕冠，脑后衬以圆光，轮廓丰腴，气质雍容，在队伍中尤其显眼。\n而同为五方帝君之一的扶桑大帝整体则显得较为朴素，但神情庄严、不怒自威。\n护卫的武装神或披甲仗剑，或长袍执戟，有的表情淡漠直视前方，有的怒目圆睁环视四周，形象鲜明。\n而对于人物动态一致、倾向一致，服饰大致相似的仙官，则通过微小的转侧和顾盼加以区分，得到相互之间的呼应。\n整幅作品人物安排参差有致，神采飞动，人物神情各异，构图整齐而不呆板，组织繁复而不杂乱。\n该画作中所塑造的诸神，是现实世界各种英勇、强健、崇高、恢宏、安详、美丽、静淑等人类最美的外形和性格的体现。\n从中可以发现作者在人物塑造上的卓越才能，他通过每一个人物的衣饰动作和表情，表现出各人不同的内在品质。\n再加以仪仗、供品、烟云、花草等的气氛渲染，就构成一个庄严华丽的神仙境界——当时人类想象中的美好境界。\n在构图上作者善于从统一中求其变化，在处理繁复的画面时又能做到协调而不杂乱。\n准确而生动的用笔，富于节奏感的线条，随心所欲地把作者想要表达的美感表达了出来。\n这都是这幅作品的成功所在。\n《朝元仙仗图》称得上是线条运用达到登峰造极的代表作之一 ，这样的白描作品一直是历代人物画家学习的范本，无论是线条勾勒的技法，人物的造型特征，衣纹穿插的规律还是人物组织构图的方法，无处不值得人们在自己的创作中借鉴应用。\n远至宋代白描大家李公麟、元代的赵孟頫、明代的陈洪绶、清代的任伯年等，在他们的作品中都能找到《朝元仙仗图》的痕迹，流传至今的元代永乐宫壁画更是对《朝元仙仗图》的直接传承。\n当代人物画家更是把该图作为学习传统人物画的必修课，诸多优秀的工笔画家如李少文、何家英、高云、戴敦邦等的作品以及画家李伯安的作品巨幅长卷《 》在创作时也深受《朝元仙仗图》的启发，特别是众多人物排列行进的场面与《朝元仙仗图》更是如出一辙。\n两宋之际，《朝元仙仗图》归翟妆文收藏。\n翟汝文之后《朝元仙仗图》归张氏收藏，张氏名字的最后一字很难释读，故其事迹不可知。\n元代时期，《朝元仙仗图》归张君锡收藏。\n张君锡之后，《朝元仙仗图》转归杭人崔氏。\n明清时代《朝元仙仗图》数百年流藏于广东境内，曾藏于广东顺德卢氏。\n民国时期，《朝元仙仗图》流入市肆，为“颍川飞凫人”所得。\n不久之后，《朝元仙仗图》归广东收藏家罗原觉收藏，之后罗原觉将此画卖给李尚铭。\n李氏又将其抵押他人，后来于七七事件之前流往日本。\n建国之后，2世纪5年代《朝元仙仗图》被美国人候时泰买去，之后归王季迁收藏。\n25年，《朝元仙仗图》被王季迁后人托管于上海一家银行的保险箱，29年发现其真迹已被人掉包，至今下落不明。\n武宗元（公元994年—15年），初名宗道，字总之，河南白坡（今河南孟津）人，北宋时期画家。\n他家世业儒，以荫得太庙斋郎，官至虞曹外郎，宋真宗景德年间，建玉清昭应宫，征全国画师三千多人，选中者百余人，武宗元名列第一。\n中选百人分二部，宗元为左部之长。\n擅画道释人物，17岁时画洛阳北邙山上清宫壁画，被世人评为“惊绝”，也曾为开封、洛阳各寺观作大量壁画，史称他的作品“神彩活动如草书”。\n其作品中仅有《朝元仙仗图》流传后世。",[23,99,24,25,26,7,27,28,29,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7f35285bd62db636c782a85c5fb9d.jpg","绢本","纵44.3cm，横580cm",[37,247],395,{"id":359,"slug":360,"title":361,"dynasty":75,"author":362,"museum":49,"description":363,"tags":364,"thumbUrl":376,"material":66,"size":66,"collection":66,"collections":377,"showCount":378,"zanCount":193,"manualWeight":41,"mainColor":70},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","张择端","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,25,26,365,53,7,28,29,187,61,366,315,367,81,368,369,370,371,372,373,374,375],"界画","船","牛","街市","商铺","车","轿","河流","房屋","码头","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],368,{"id":380,"slug":381,"title":17,"dynasty":18,"author":19,"museum":49,"description":382,"tags":383,"thumbUrl":388,"material":174,"size":175,"collection":66,"collections":389,"showCount":390,"zanCount":193,"manualWeight":41,"mainColor":89},230784,"ba-shi-qi-shen-xian-juan-wu-dao-zi-230784","图中以道教故事为题材，描绘了以东华帝君、南极帝君、扶桑大帝为主的八十七位列队行进的神仙，画面纯以线条表现出八十七位神仙出行的宏大场景，形神刻画细致入微。画面笔墨遒劲洒脱，根根线条都表现了无限的生命力，如行云流水，充满韵律感，代表了中国唐代白描绘画的最高水平。",[23,24,25,26,7,28,27,31,384,32,385,386,33,387],"云纹","发髻","服饰","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc1df0381ac5212e317d74c385d5f6fe.jpg",[],358,{"id":392,"slug":393,"title":394,"dynasty":75,"author":76,"museum":395,"description":396,"tags":397,"thumbUrl":398,"material":141,"size":399,"collection":37,"collections":400,"showCount":401,"zanCount":273,"manualWeight":41,"mainColor":89},214982,"dao-zi-mo-bao-ren-wu-bai-miao-hua-yi-ming-214982","道子墨宝人物白描画","美国克利夫兰艺术博物馆","《道子墨宝》原作是一套古代民间画工制作道教壁画的白描画稿。画稿分三部分，第一部分描绘的是诸神朝谒；第二部分是阴曹地府中审判“罪犯”的景象，既所谓的“地狱变相图”；第三部分为搜山图。画稿伪托唐代画圣吴道子作，但从画稿的内容和画中人物的服饰等细节可以断定它不可能是唐代的作品。这套册页原无题，多达五十开的册页，每幅原作右上部位都有用白粉写的简化字符编号，表示一至五十，显然是民间画师用的稿本。",[23,24,25,99,7,365,28,29,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe874f90d9aa8cd68cb8fc118529bd192.jpg","34.2*38.4",[37],332,{"id":403,"slug":404,"title":405,"dynasty":75,"author":76,"museum":77,"description":406,"tags":407,"thumbUrl":410,"material":101,"size":66,"collection":85,"collections":411,"showCount":412,"zanCount":11,"manualWeight":41,"mainColor":42},214846,"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。",[23,24,25,101,54,53,7,408,56,55,28,373,81,188,201,409],"皴法","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[85],322,{"id":414,"slug":415,"title":416,"dynasty":75,"author":183,"museum":184,"description":417,"tags":418,"thumbUrl":424,"material":141,"size":190,"collection":425,"collections":426,"showCount":427,"zanCount":11,"manualWeight":41,"mainColor":89},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,24,99,26,7,53,101,60,188,81,419,28,420,187,61,421,422,423],"瀑布","洞穴","竹林","溪流","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg","山水画精选",[425],318,{"id":429,"slug":430,"title":431,"dynasty":239,"author":240,"museum":184,"description":432,"tags":433,"thumbUrl":434,"material":141,"size":435,"collection":111,"collections":436,"showCount":437,"zanCount":438,"manualWeight":41,"mainColor":89},218666,"zhu-zhi-ni-zan-218666","竹枝","竹枝以中锋铁线勾勒，瘦劲如屈铁，竹叶疏疏落落，墨色清润中见骨力。枝干挺拔却不僵滞，叶片似含风微动，寥寥数笔便逸气横生。右侧题跋与竹影相映，书法萧散古雅，笔墨与文字浑然一体，尽显文人画“书画同源”之妙。画面留白空灵，古纸的淡褐底色衬得竹影愈发清寂，仿佛风过竹梢的轻响穿透纸面，窥见画家淡泊孤高的心境——不逐繁艳，独守疏朗，以极简之笔写尽竹之神韵与文人风骨。",[23,24,25,100,101,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ec0cb571fce64d130bde86f086a5564.jpg","55.1x31.8cm",[111],293,2,{"id":440,"slug":441,"title":442,"dynasty":18,"author":19,"museum":49,"description":443,"tags":444,"thumbUrl":446,"material":66,"size":447,"collection":37,"collections":448,"showCount":449,"zanCount":41,"manualWeight":41,"mainColor":70},221113,"guan-yin-pu-sa-xiang-wu-dao-zi-221113","观音菩萨像","吴道子（约680年—759年），又名道玄，唐代著名画家，画史尊称画圣。汉族，阳翟（今河南禹州）人。约生于公元680年（永隆元年） ，卒于公元758年（乾元元年）前后。少孤贫，年轻时即有画名。曾任兖州瑕丘（今山东滋阳）县尉，不久即辞职。后流落洛阳，从事壁画创作。开元年间以善画被召入宫廷，历任供奉、内教博士、宁王友。曾随张旭、贺知章学习书法，通过观赏公孙大娘舞剑，体会用笔之道。擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。",[24,25,7,27,28,445],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab452937c56ebab3c3994f7c7a8a10c.jpg","80x32cm",[37],281,{"id":451,"slug":452,"title":453,"dynasty":94,"author":134,"museum":49,"description":454,"tags":455,"thumbUrl":456,"material":457,"size":66,"collection":111,"collections":458,"showCount":459,"zanCount":250,"manualWeight":41,"mainColor":70},220147,"lan-zhu-tu-wang-shi-shen-220147","兰竹图","汪士慎工诗及八分书，画水仙、梅花清妙独绝。金农谓其画梅之妙，与高西唐（翔）异曲同工。汪士慎画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。西唐画疏枝半开蝉朵，用玉楼人口脂抹一点红，良缣精楮，各臻其微。汪士慎老而目瞽，为人画梅，或作八分书，工妙胜于未瞽时。精篆刻，与张潜乙、金筋齐名",[23,24,25,243,101,7,153,122,157,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02b3c39e8909994e36da16ef7bad4da.jpg","纸本",[111],270,{"id":461,"slug":462,"title":463,"dynasty":75,"author":464,"museum":228,"description":465,"tags":466,"thumbUrl":467,"material":141,"size":468,"collection":37,"collections":469,"showCount":471,"zanCount":273,"manualWeight":41,"mainColor":89},216254,"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[23,99,24,25,26,7,101,28,373,81,60,315,55,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 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436.2",[37,470],"书法精选",267,{"id":473,"slug":474,"title":475,"dynasty":75,"author":183,"museum":49,"description":313,"tags":476,"thumbUrl":477,"material":66,"size":66,"collection":66,"collections":478,"showCount":479,"zanCount":193,"manualWeight":41,"mainColor":89},227580,"wu-ma-tu-li-gong-lin-227580","五马图",[23,24,99,25,26,7,54,28,315,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff861a45a3281680f50e29e58b525d252.jpg",[],259,{"id":481,"slug":482,"title":483,"dynasty":75,"author":484,"museum":184,"description":485,"tags":486,"thumbUrl":488,"material":83,"size":489,"collection":37,"collections":490,"showCount":491,"zanCount":11,"manualWeight":41,"mainColor":70},216926,"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","赵构","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[23,24,25,26,99,57,7,54,28,487,81,188,55,56],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[37],258,{"id":493,"slug":494,"title":495,"dynasty":149,"author":338,"museum":135,"description":496,"tags":497,"thumbUrl":498,"material":499,"size":66,"collection":37,"collections":500,"showCount":501,"zanCount":193,"manualWeight":41,"mainColor":89},219407,"qiu-feng-wan-shan-tu-tang-yin-219407","秋风纨扇图","图绘庭园一角，一女子手执纨扇，在坡前沉思徘徊。图中的仕女体态端庄，风姿婉约，秀发挽成高髻，饰以淡色鬓朵，越发衬托出发光乌亮。披帛和衣裙随风飘拂，巧妙地寓“秋”意于其中。从她眉宇间微露忧伤感的神色，和欲行又止的动态，表明她正陷入沉思之中：忧郁、怅惘，却又无可奈何！背景仅用细竹数枝、湖石一角来点缀，显得疏落空旷，令人联想到引申画外的僻静境界，平添几分萧瑟气象。整幅画的笔墨凝练明快，极其传神。",[24,25,243,7,101,54,28,58,122,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b5374ce013b2c7f9c2a6c4ac31ecab.jpg","纸本,设色",[37],255,{"id":503,"slug":504,"title":505,"dynasty":18,"author":19,"museum":506,"description":507,"tags":508,"thumbUrl":510,"material":66,"size":66,"collection":37,"collections":511,"showCount":512,"zanCount":41,"manualWeight":41,"mainColor":513},221111,"xian-shi-kong-zi-xing-jiao-xiang-wu-dao-zi-221111","先师孔子行教像","原作佚失","中国古代绘制的各种形式和风格的孔子像存世较多，但真正被广泛认可和接受的是现存于山东曲阜孔庙的石刻本《孔子行教像》，一般认为该石刻本原作为唐代著名画家吴道子所绘，但原作早已不幸遗失。",[99,24,25,7,28,509,56],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ebcef1acb329791e1db6fadd10e7165.jpg",[37],246,"37474F",{"id":515,"slug":516,"title":517,"dynasty":75,"author":518,"museum":184,"description":519,"tags":520,"thumbUrl":521,"material":246,"size":522,"collection":37,"collections":523,"showCount":524,"zanCount":41,"manualWeight":41,"mainColor":70},219606,"cheng-long-tu-ma-yuan-219606","乘龙图","马远","本幅画中人物为一老者，其鼻长，面相上谓为老龙相，此与马远时之皇帝宁宗，其面相之特征亦为老龙像。故宫所藏〈宁宗像〉，亦足证名此项面貌特征。按《庄子•天地》篇：「千岁厌世，去而上仙，彼乘白云，至于帝乡。」又《史记•封禅书》：「黄帝采首山铜，铸鼎于荆山下；鼎既成，有龙垂胡髯下迎黄帝，黄帝上骑，群臣后宫从上者七十余人，龙乃上去；余小臣不得上，乃悉持峦龙髯，龙髯拔坠，堕黄帝之弓，百官始仰望，黄帝既上天，乃抱其弓与胡髯号。」故后世皇帝死升天，上天乘龙。皇帝死曰「宾天」，宋代皇室信仰道教，作此图画是可从此道理连想。",[23,24,25,243,7,28,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da643835190212f952accdd55118302.jpg","本幅 108.1x52.6公分、全幅 54公分",[37],243,{"id":526,"slug":527,"title":528,"dynasty":75,"author":529,"museum":77,"description":530,"tags":531,"thumbUrl":537,"material":538,"size":539,"collection":66,"collections":540,"showCount":541,"zanCount":250,"manualWeight":41,"mainColor":70},221491,"huo-lang-tu-quan-juan-li-song-221491","货郎图全卷","李嵩","古吴轩出版社主编的《李嵩货郎图》是《历代名画宣纸高清大图》系列之一，采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负地弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。\n画家借助货郎这一题材表现了南宋市井生活的一个侧面，是民俗学家不可多得的珍贵史料。",[23,99,24,25,26,53,7,54,28,532,533,534,206,81,535,536,55],"孩童","妇女","货担","动物","狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff486169f4887c2ad43e56c3c00718926.jpg","绢本，设色","纵25.5厘米，横70.4厘米",[],242,{"id":543,"slug":544,"title":545,"dynasty":75,"author":183,"museum":546,"description":547,"tags":548,"thumbUrl":550,"material":246,"size":66,"collection":85,"collections":551,"showCount":552,"zanCount":11,"manualWeight":41,"mainColor":70},218087,"luo-han-tu-ce-li-gong-lin-218087","罗汉图册","私人收藏","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。",[23,24,25,100,7,101,27,28,157,549,62,188],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996a50a41201f534c8eeb5c5cf014b71.jpg",[85,37],217,{"id":554,"slug":555,"title":556,"dynasty":94,"author":557,"museum":49,"description":558,"tags":559,"thumbUrl":560,"material":499,"size":561,"collection":37,"collections":562,"showCount":563,"zanCount":438,"manualWeight":41,"mainColor":89},214670,"zhong-kui-tu-huang-shen-214670","钟馗图","黄慎","这幅画描绘的是钟馗在吃石榴，而一个小孩子和他一起玩。这是黄慎委托的一幅吉祥画",[23,24,25,243,101,7,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6631ced5ea11c63e64cba3d283250e.jpg","149x110",[37],214,{"id":565,"slug":566,"title":567,"dynasty":75,"author":76,"museum":568,"description":569,"tags":570,"thumbUrl":573,"material":83,"size":574,"collection":37,"collections":575,"showCount":576,"zanCount":193,"manualWeight":41,"mainColor":70},218476,"shui-yue-guan-yin-xiang-yi-ming-218476","水月观音像","奈良国立博物馆","观世音菩萨的雕像带着佛光，呈圆圈状，坐在一块立在水中的怪石上，旁边有一个插着柳枝的花瓶，静静地注视着左边下面水中反射的月亮。在背景中，从上面的悬崖可以看到一个瀑布。白色的慈悲女神与在曼陀罗的莲花部分看到的不一样。这幅图中的白衣观音似乎是在南宋时期的禅林中创作的，就像中国宋元时期和日本镰仓时期之后的情况一样。",[24,25,243,27,28,7,54,571,157,572],"明月","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b6ed05393745747280c984d98e7da9f.jpg","88x36.7",[37],213,{"id":578,"slug":579,"title":580,"dynasty":18,"author":581,"museum":582,"description":583,"tags":584,"thumbUrl":586,"material":54,"size":66,"collection":37,"collections":587,"showCount":588,"zanCount":438,"manualWeight":41,"mainColor":70},219167,"fu-sheng-shou-jing-tu-wang-wei-219167","伏生授经图","王维","日本大阪市立美术馆","图中的伏生席地而坐，手持书卷，形象清矍苍老，似正在认真讲授。其神情专注而和蔼。从画中清晰可见伏生额头的皱纹与身体上极为松弛的皮肤，非常生动而且真实的描绘出了当时伏生的身体状况。通过画面中对伏生神态的描绘，可以想象，年老的伏生讲授《尚书》时的吃力。此图线描手法高超，敷色清雅。",[23,24,25,28,53,7,54,55,585,121],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8701c647bf80d991a6ae005e685af840.jpg",[37],210,{"id":590,"slug":591,"title":592,"dynasty":149,"author":593,"museum":184,"description":594,"tags":595,"thumbUrl":596,"material":141,"size":597,"collection":37,"collections":598,"showCount":599,"zanCount":438,"manualWeight":41,"mainColor":89},214252,"luo-han-tu-li-yu-214252","罗汉图","李遹","罗汉图是明代画家李遹的一幅代表作。这幅画作描绘了罗汉的神圣形象。\n\n罗汉是佛教中的神，被认为是佛教徒的保护神。在这幅画作中，李遹巧妙地捕捉了罗汉的神圣形象。他用浓墨重彩的画法，勾勒出了罗汉的宏伟身形。他还用细腻的线条勾勒出了罗汉的面容，让人感受到了罗汉的慈祥和仁慈。\n\n此外，李遹在这幅画作中还描绘了罗汉周围的景色。他用色彩丰富的画法，描绘了罗汉周围的山川和河流。这些景色与罗汉的神圣形象形成了鲜明的对比，让人感受到了自然与神的和谐统一。\n\n总之，罗汉图是一幅精美的画作，描绘了罗汉的神圣形象。它让我们感受到了明代画家李遹对佛教的崇敬之情，也让我们感受到了明代文化的魅力。\n\n在这幅画作中，李遹运用了丰富的色彩和细腻的线条，将罗汉的神圣形象展现得淋漓尽致。他还用精美的画法描绘了罗汉周围的景色，让人感受到了自然与神的和谐统一。\n\n罗汉图是明代文化中的经典之作，也是李遹的代表作之一。它不仅展现了李遹的艺术才华，也是一幅能够唤起人们对佛教的崇敬之情的画作。",[23,24,25,27,7,101,28,171,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120eeb39e103b48205756344a5362f0a.jpg","56.6x32.6",[37],209,{"id":601,"slug":602,"title":603,"dynasty":239,"author":255,"museum":184,"description":604,"tags":605,"thumbUrl":606,"material":457,"size":607,"collection":470,"collections":608,"showCount":609,"zanCount":438,"manualWeight":41,"mainColor":89},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[23,99,24,25,26,57,7,101,54,28,60,59,61,571,157,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[470],207,{"id":611,"slug":612,"title":613,"dynasty":614,"author":76,"museum":615,"description":616,"tags":617,"thumbUrl":621,"material":141,"size":66,"collection":247,"collections":622,"showCount":623,"zanCount":41,"manualWeight":41,"mainColor":70},218498,"fu-hu-luo-han-tu-yi-ming-218498","伏虎罗汉图","隋","纳尔逊·阿特金森艺术博物馆","松枝苍劲如铁，虬干盘曲间洒落清寂。罗汉衣袂简淡，手持念珠，眉目舒展，静定之气溢于笔端。猛虎伏身于侧，斑纹墨线勾勒得古朴生动，却无往日凶戾，似被禅意悄然驯服，尾梢轻卷，与罗汉相望成趣。画面以淡墨晕染，线条洗练，每一笔皆藏古雅之韵。禅者的澄明与猛兽的温顺在此交融，于简素构图中铺展一方物我相忘的天地，仿佛能闻松风低语，见禅心照彻，尽显传统水墨中“以静制动”的妙趣与哲思。",[24,25,101,7,27,28,618,619,62,188,620,55],"虎","兽","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6874aa5c9ffd1e8999c79d811f94fa79.jpg",[247],203,{"id":625,"slug":626,"title":627,"dynasty":75,"author":183,"museum":339,"description":628,"tags":629,"thumbUrl":630,"material":141,"size":631,"collection":37,"collections":632,"showCount":5,"zanCount":438,"manualWeight":41,"mainColor":89},218627,"hua-yan-jing-bian-tu-li-gong-lin-218627","华严经变图","华严的意思是：华 是比喻达到一切功德圆满的果位，所以，佛陀时代的深层意义的果位被 严 所装饰，那么就叫佛陀华严。经 是可以解释的教学。华严经》是佛陀成佛后第二天在菩提树下由文殊菩萨、普贤菩萨和其他高级菩萨宣讲的佛陀内在真理的教义。按照《华严经》画的七八或七九会，被称为华严变奏曲，是这幅画的主题。",[23,99,24,25,26,27,7,28,171,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0192474c5d3ca959fdaab930f638a005.jpg","34.6x1244",[37],{"id":634,"slug":635,"title":636,"dynasty":18,"author":19,"museum":20,"description":21,"tags":637,"thumbUrl":638,"material":35,"size":36,"collection":66,"collections":639,"showCount":640,"zanCount":193,"manualWeight":41,"mainColor":89},223368,"ba-shi-qi-shen-xian-juan-hua-xin-wu-dao-zi-223368","八十七神仙卷画芯",[23,24,99,25,26,7,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36123b58a75f5a7d01e9b779c4e2af7b.jpg",[],200,{"id":642,"slug":643,"title":644,"dynasty":645,"author":76,"museum":49,"description":646,"tags":647,"thumbUrl":656,"material":499,"size":66,"collection":37,"collections":657,"showCount":640,"zanCount":273,"manualWeight":41,"mainColor":89},215033,"ri-ben-jie-tou-sheng-huo-tu-juan-yi-ming-215033","日本· 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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。",[23,24,26,53,54,7,28,58,60,269,171,64,81,188,29,315,673],"云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 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列女仁智图卷","《列女仁智图》卷，绢本，墨笔淡着色，纵25.8厘米，横417.8厘米。\n《列女仁智图》卷旧传东晋顾恺之作，此为南宋人摹本。\n汉成帝沉湎于酒色，宠信赵飞燕姐妹，朝政大权旁落于外戚手中，危及刘氏政权。楚元王四世孙光禄大夫刘向（前77－前6年）针对这一情况，采摘自古以来诗书上所记载的贤妃、贞妇、宠姬等资料，编辑成《列女传》一书呈送汉成帝，希望他从中吸取经验教训，以维护刘氏政权。全书按妇女的封建行为道德准则和给国家带来的治、乱后果，分为母仪、贤明、仁智、贞顺、节义、辩通、孽嬖七卷，此即其中“仁智卷”部分。\n仁智卷共收集15个列女故事。此卷为残本，其中“楚武邓曼”、“许穆夫人”、“曹僖氏妻”、“孙叔敖母”、“晋伯宗妻”、“灵公夫人”、“晋羊叔姬”7个故事保存完整。“齐灵仲子”、“晋范氏母”、“鲁漆室女”3个故事只存一半，其余5个故事则全丢失，又错将“鲁漆室女”之右半与“晋范氏母”之左半拼接在一起，使人误以为是一个故事。\n此卷多处保存了汉代的衣冠制度，如男子头戴进贤冠，身着曲线大袖袍，腰结绶带并配挂长剑；女子梳着垂髾髻，身着深衣，特别是眉毛涂以朱色，是模仿赵昭仪的新妆，这些都表现了特定时期的风俗和时尚。又蘧伯玉所乘坐的马车称“轺车”，亦为汉代形制，描绘得非常细致而无错误，这些都可以从大量出土的汉代画像石、砖和壁画中找到与之相应的图象。\n在北魏司马金龙墓出土的漆屏风画《列女古贤图》中，表现卫灵公与夫人夜坐闻马车声的一段，与此卷所表现的同一内容相比较，无论是构图布局还是人物的姿态手势都非常近似，可以证实其与《列女仁智图》同出自一个古本。而在传摩过程中，后者更为忠实于古本原作。\n据《汉书》记载，刘向在向汉成帝呈送《列女传》的同时，还呈送了《列女颂图》，并画为屏风。汉成帝的班婕妤失宠后，在她的诗中曾谈到在宫内看到《列女图》，并以此来鉴戒自己。这些都载在班固所著的《汉书》中。东汉时代的画像石、砖中，有不少表现列女故事的题材。画史并载蔡邕曾创作有《小列女图》。这一时期《列女图》的大量出现，既是出于宫廷政治斗争的需要，同时也是为了在社会上广泛推行妇女的道德教育，借以维护封建秩序。\n根据《列女仁智图》中保存有较多的汉代风俗，以及其构图形式的古朴，推测此卷的原本应当出自于东汉时代，而祖本则为刘向所创。剔除后世在反复传摹中所附加的痕迹，仍然能透视二千年前汉代宫廷绘画的艺术光辉。其人物线条粗犷流畅，造型准确。特别是对妇女的描绘，体态轻盈，婀娜多姿，尤为绝妙。构图布局则与汉画像石一脉相承。《列女传》及《列女仁智图》在宋代有多本，此是被保留下来的惟一的一本，尤为珍贵。",[23,99,24,25,26,7,52,28,315,370,55,56,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60eb1ec8833db63938ad3a1ecbc21f2e.jpg",[],175,{"id":749,"slug":750,"title":751,"dynasty":75,"author":752,"museum":77,"description":753,"tags":754,"thumbUrl":756,"material":457,"size":757,"collection":470,"collections":758,"showCount":747,"zanCount":41,"manualWeight":41,"mainColor":89},221310,"zhi-ping-tie-su-shi-221310","治平帖","苏轼","释文：\n轼启：久别思念不忘，远想体中佳胜，法眷各无恙。佛阁必已成就，焚修不易。数年念经，度得几人徒弟。应师仍在思蒙住院，如何？略望示及。石头桥、堋头两处坟茔，必烦照管。程六小心否，惟频与提举是要。非久求蜀中一郡归去，相见未间，惟保爱之，不宣。轼手启上。治平史院主、徐大师二大士侍者。八月十八日。\n卷末有赵孟頫、文徵明、王穉登题跋。鉴藏印有“商丘宋荦审定真迹”、“吴江张基德载图书”二方。本卷引首有明人所画苏轼像及释东皋妙声所书《东坡先生像赞》。\n此帖是苏轼书写的信札，内容主要是委托乡僧照管坟茔之事。根据帖后赵孟頫、文徵明、王穉登三人之跋可知，此帖当是苏轼于北宋熙宁年间在京师时所作，时年约30余岁。该帖笔法精细，字体遒媚，与苏轼早年书法特征吻合，正如赵孟頫所称“字划风流韵胜”。\n《平生壮观》卷二、《装余偶记》卷二、《盛京书画录》第二册著录。",[23,99,24,25,26,57,7,28,55,755],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9babc75fc8a45145c2cd4c01861509d.jpg","纵29.2厘米，横45.2厘米",[470],{"id":760,"slug":761,"title":762,"dynasty":75,"author":76,"museum":228,"description":78,"tags":763,"thumbUrl":766,"material":83,"size":767,"collection":37,"collections":768,"showCount":747,"zanCount":41,"manualWeight":41,"mainColor":89},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图",[23,24,25,26,52,54,7,53,28,58,60,59,29,81,764,188,765,64],"云气","异兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[37],{"id":770,"slug":771,"title":772,"dynasty":75,"author":183,"museum":773,"description":774,"tags":775,"thumbUrl":776,"material":777,"size":778,"collection":85,"collections":779,"showCount":780,"zanCount":438,"manualWeight":41,"mainColor":70},221409,"wei-mo-ju-shi-xiang-li-gong-lin-221409","维摩居士像","日本京都国立博物馆","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。",[23,99,24,25,243,27,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53504efddd52e59c86dadee4e5abf751.jpg","绢本水墨","纵91 2厘米，横51 4厘米",[85,37,247],170,{"id":782,"slug":783,"title":784,"dynasty":149,"author":338,"museum":694,"description":785,"tags":786,"thumbUrl":788,"material":141,"size":789,"collection":37,"collections":790,"showCount":780,"zanCount":333,"manualWeight":41,"mainColor":89},219700,"jiao-ye-shui-nv-tu-tang-yin-219700","蕉叶睡女图","唐寅是明中叶时期重要的人物画家，他多才多艺，不仅擅长画人物画，在文学、山水、花鸟，书法都有卓越的成就。唐寅，字子畏，另字伯虎，晚号六如居士，1470年出生于苏州，卒于1524年，与祝允明、文徵明、徐祯卿并称“吴中四才子”。\n明代仕女画的人物造型在经过魏晋时期的秀骨清像，隋唐的丰肥腴丽，宋元的端庄矜持后，逐渐变为明艳清瘦、削肩狭背。而唐寅作为“明四家”之一，他的仕女画师承唐代传统，飘洒高雅，人物造型优美，细巧秀逸，成为明代仕女画的典型代表。\n唐寅仕女画独特的艺术风格在中国美术史上有一定的地位，其绘画的风格对后世人物画的发展与创作有着重要影响，在各种拍卖会上也经常崭露头角。",[23,24,25,26,7,101,57,55,28,58,787],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511b3649559e91e7d9b4530da531e4c8.jpg","纵20.3cm，横61.0 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tion":85,"collections":958,"showCount":959,"zanCount":11,"manualWeight":41,"mainColor":89},221466,"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。",[23,24,25,26,101,954,7,955,57,55],"写意","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0adde438dc6811236efafbe596d17dfd.jpg","纵27.2厘米，横358.8厘米",[85,111,127],144,{"id":961,"slug":962,"title":963,"dynasty":149,"author":964,"museum":135,"description":965,"tags":966,"thumbUrl":967,"material":66,"size":66,"collection":37,"collections":968,"showCount":969,"zanCount":273,"manualWeight":41,"mainColor":89},222503,"shen-xian-tu-ce-zhang-lu-222503","神仙图册","张路","张路（1464—1538 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。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,24,99,25,100,101,7,54,28,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad175defc4617369b4400b273e45b98.jpg",[37],142,{"id":971,"slug":972,"title":973,"dynasty":94,"author":974,"museum":339,"description":975,"tags":976,"thumbUrl":977,"material":499,"size":66,"collection":37,"collections":978,"showCount":979,"zanCount":319,"manualWeight":41,"mainColor":89},219550,"xie-yi-xun-long-tu-yu-zhi-ding-219550","斜倚薰笼图","禹之鼎","此作用笔秀雅匀净，线条挺括柔婉，浅淡敷色晕染精妙。斜倚薰笼的仕女软红覆身，执卷似读非读，眉眼含着慵懒倦怠，将深闺女子百无聊赖的娇柔之态尽显无余。立侍女子佩剑负囊，神色温婉恭谨，静穆疏离的情态与坐者形成微妙呼应。画面氛围幽柔沉静，把闺中静谧松弛的氛围烘托尽致，将仕女柔婉闲淡的幽微心绪刻画入微，尽显传统仕女画雅致隽秀的审美意韵。",[23,24,25,53,54,7,28,58,409,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886625e8924a96d8b20fbfff9e4f4569.jpg",[37,127],138,{"id":981,"slug":982,"title":983,"dynasty":75,"author":518,"museum":49,"description":984,"tags":985,"thumbUrl":988,"material":141,"size":989,"collection":247,"collections":990,"showCount":991,"zanCount":41,"manualWeight":41,"mainColor":70},218551,"gao-shi-xie-he-tu-ma-yuan-218551","高士携鹤图","垂丝柳影轻笼暮色，宽袍士人拄杖凝眸。身旁仙鹤独立，长颈引向天际，似欲与流云对语。画面构图疏朗，以简淡之笔见天地阔远：柳枝的柔曼衬出士人的清寂，鹤的高洁映其心性。淡墨晕染的远山如黛，近水无痕，留白处漾着幽远的禅意。线条简练却含筋骨，衣袂的飘举、鹤羽的疏劲，皆诉着隐逸之趣——抛却俗务，与鹤为友，在烟水间守一份澄澈自在。笔墨间藏着文人的精神归处，不恋尘嚣，只愿在山水云鹤间，寻得灵魂的安宁与超脱。",[23,99,24,25,889,101,54,7,28,986,987,60],"鹤","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0535cd201a3698edcf794670a2a03726.jpg","26.3x24.6",[247],137,{"id":993,"slug":994,"title":556,"dynasty":94,"author":995,"museum":339,"description":996,"tags":997,"thumbUrl":999,"material":83,"size":1000,"collection":37,"collections":1001,"showCount":991,"zanCount":41,"manualWeight":41,"mainColor":70},218356,"zhong-kui-tu-lv-xue-218356","吕学","图中描绘的是钟馗手持宝剑，两个小孩子手持灵芝，背着书卷。这些人物是以浙江画派的风格用犀利的笔触画出来的。",[23,24,25,243,7,101,28,998],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e129c128c96a4adf8e82487a264110.jpg","167.7x95.6",[37],{"id":1003,"slug":1004,"title":1005,"dynasty":75,"author":183,"museum":184,"description":1006,"tags":1007,"thumbUrl":1008,"material":141,"size":1009,"collection":37,"collections":1010,"showCount":1011,"zanCount":11,"manualWeight":41,"mainColor":89},216928,"mian-zhou-tu-li-gong-lin-216928","免胄图","卷轴的左侧是郭子仪，带领他的部队，平静地站在他身边。右侧是入侵关中的维吾尔族士兵，这是一个庞大而令人生畏的营地。这位身着军装的维吾尔族首领在其副手的陪同下，在向脱去盔甲、身着清凉的郭子仪致敬时，以敬佩的姿态跪下。郭德纲在俯身提供帮助时显得真诚而有礼貌，体现了一位名将的慷慨。",[23,99,24,25,26,7,53,28,315,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c419667adc75769d59561e46477a00.jpg","32.3x223.8",[37],136,{"id":1013,"slug":1014,"title":1015,"dynasty":239,"author":1016,"museum":582,"description":1017,"tags":1018,"thumbUrl":1021,"material":141,"size":1022,"collection":111,"collections":1023,"showCount":1024,"zanCount":193,"manualWeight":41,"mainColor":89},219062,"zhu-que-tu-wang-yuan-219062","竹雀图","王渊","画家在这幅画中使用了水墨，做了黑白的勾勒，描绘了竹叶的起伏、花朵和湖中不平整的石头。\n这幅画在构图和技法上与印第安纳波利斯艺术博物馆收藏的王原的《花竹山禽图》相似，但《花竹山禽图》的笔触更显年轻，可能是后来的摹本。这幅画上还刻有 摹黄筌竹雀图 的字样，构图与台北故宫的黄居寀画的鹧鸪和麻雀相似，仍保留了唐代画树下花鸟的传统，所以这幅画也许确实是仿黄筌的原作。",[99,24,1019,53,7,102,122,156,155,188,1020,64],"水墨画","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eec035eb38ac09eb11650ff2dee6cbc.jpg","139.3x49.9cm",[111],134,{"id":1026,"slug":1027,"title":1028,"dynasty":75,"author":1029,"museum":1030,"description":1031,"tags":1032,"thumbUrl":1033,"material":141,"size":1034,"collection":37,"collections":1035,"showCount":1024,"zanCount":11,"manualWeight":41,"mainColor":70},218536,"er-zu-diao-xin-tu-mu-xi-218536","二祖调心图","牧溪","京都藤井有邻馆","禅者趺坐，衣袂如流云舒卷，墨线简劲中见飘逸。猛虎蜷卧身侧，昔日凶威尽敛，竟似猫咪般温顺，双目微阖，与禅者气息相融。背景远山淡抹，枯树疏枝横斜，瀑流隐于云霭，天地间弥漫着空灵静谧的禅意。笔墨写意传神，不事雕琢却直抵心性——禅心可化戾气，猛兽亦归平和，这般物我两忘的境界，尽在尺幅之中流转，引人沉潜于禅思的悠远。",[24,25,101,7,27,28,618,619,244,60,419,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650cad3bf7fe8ebae276374eeee46d0c.jpg","121x55.5",[37],{"id":1037,"slug":1038,"title":1039,"dynasty":75,"author":183,"museum":49,"description":1040,"tags":1041,"thumbUrl":1044,"material":174,"size":175,"collection":37,"collections":1045,"showCount":1046,"zanCount":11,"manualWeight":41,"mainColor":89},287960,"bai-miao-ren-wu-tu-ce-li-gong-lin-287960","白描人物图册","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\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。",[23,24,99,100,7,28,1042,206,1043],"案几","羽扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afa47d56204cb333f715bb4d382a90c.jpg",[37],133,{"id":1048,"slug":1049,"title":1050,"dynasty":75,"author":951,"museum":546,"description":1051,"tags":1052,"thumbUrl":1053,"material":141,"size":1054,"collection":111,"collections":1055,"showCount":1046,"zanCount":193,"manualWeight":41,"mainColor":89},218568,"xiang-xue-hun-tu-yang-wu-jiu-218568","香雪魂图","画的是寒梅杆的两枝，主枝上有许多细而有力的枝条，上面的梅花有的盛开，有的含苞待放，香气四溢，很是热闹。",[23,24,25,99,101,7,955,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15f2ec726fcf9db57c0bfd136610c735.jpg","29x45cm",[111],{"id":1057,"slug":1058,"title":1059,"dynasty":94,"author":909,"museum":291,"description":1060,"tags":1061,"thumbUrl":1062,"material":457,"size":1063,"collection":111,"collections":1064,"showCount":1065,"zanCount":41,"manualWeight":41,"mainColor":89},237347,"song-lu-tu-zhou-zhu-da-237347","松鹿图轴","此画是清代朱耷的作品。这幅画采取近实远虚的枝法，前后错落有序，笔力遒劲，墨色秀润，情景生动，意境深远。该作不仅画精，而且图面之大在八大山人传世作品中极为罕见。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。这幅画描绘的是一株高耸粗壮的苍松，挺立在嶙峋的岩石上。松石下，两只向背的鹿在山石草坪之中小憩，一只长着角的鹿望着远方；另一只则侧身仰望天空。围着草坪的山石上，长着兰草、灵芝、小竹笔花草植物。",[24,25,243,101,7,218,810,619,157,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8802766b2acbede1ed647fec5abad86.jpg","纵358厘米，横133.3厘米",[111],130,{"id":1067,"slug":1068,"title":1069,"dynasty":75,"author":76,"museum":135,"description":1070,"tags":1071,"thumbUrl":1072,"material":83,"size":1073,"collection":85,"collections":1074,"showCount":1075,"zanCount":438,"manualWeight":41,"mainColor":70},218600,"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。",[23,24,25,101,7,28,58,571,62,187,549,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbdeecfafad713f88037a5c5c52fa50.jpg","25.4x24.8",[85],127,{"id":1077,"slug":1078,"title":1079,"dynasty":239,"author":255,"museum":546,"description":1080,"tags":1081,"thumbUrl":1082,"material":83,"size":66,"collection":111,"collections":1083,"showCount":1084,"zanCount":273,"manualWeight":41,"mainColor":70},216266,"xiang-ma-tu-ye-1-zhao-meng-fu-216266","相马图页-1","相马图是赵孟頫的一幅画作，产生于中国的元朝时期。它是赵孟頫的最著名的作品之一，并被认为是中国传统水墨画的杰作。\n\n相马图的绘画技巧非常精湛，色彩浓艳，线条优美。赵孟頫在画作中运用了中国传统的水墨画技法，并将其与西方的绘画技法相结合，创造出了独特的艺术风格。相马图被广泛认为是中国传统水墨画的经典之作，也是赵孟頫最著名的画作之一。",[23,24,25,99,100,54,53,7,28,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d24237744a85c7ce0038010bf1cae6e.jpg",[111],126,{"id":1086,"slug":1087,"title":1088,"dynasty":239,"author":255,"museum":546,"description":1089,"tags":1090,"thumbUrl":1091,"material":246,"size":66,"collection":111,"collections":1092,"showCount":1093,"zanCount":273,"manualWeight":41,"mainColor":70},219039,"bo-le-xiang-ma-tu-zhao-meng-fu-219039","伯乐相马图","画面疏密相生，左畔士人聚首，或坐案前持杖凝思，或立侧畔低语颔首，衣袂飘举间藏着识才的审慎；右方骏马昂首卓立，鬃毛如泼墨流转，肌理起伏尽是神骏之姿，侍从俯身理具，观者围立赞叹。\n\n白描线条圆劲如铁线，人物衣纹转折灵动，马身墨色浓淡晕染，层次分明。整幅场景似将伯乐相马的典故凝作静默对话：坐者的凝思、立者的专注、骏马的神俊，在古朴绢本底色衬映下，暗合“慧眼识珠”的咏叹——既有文人雅致，亦含对贤才的期许，寥寥细节间，情境与意蕴共生。",[23,24,99,7,53,101,54,28,315,619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1dc7c2c172b3837c2820d3610aa60b.jpg",[111,37],125,{"id":1095,"slug":1096,"title":1097,"dynasty":239,"author":693,"museum":1098,"description":1099,"tags":1100,"thumbUrl":1101,"material":83,"size":66,"collection":425,"collections":1102,"showCount":1093,"zanCount":41,"man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脚蹬皮靴，骑在马上，手扶鞍桥，双目凝视前方。文姬身后，是骑在马上护送的马夫和侍从， 前面汉胡两官员并骑，左侧汉朝官员，头戴帻巾，左手持一把用毛皮镶边的团扇遮面， 以避风沙。右侧胡人官员，头戴皮帽。身穿紧袖长袍，腰系佩饰， 面现愁容，正在勒马， 马亦踢蹄踟蹰。其后有侍从五骑相随， 有的怀抱包裹，有的身背行囊，有的手架猎鹰，有的马上驮着毡毯。画面最后，是一头戴皮帽、身潸窄袖长袍、腰携箭饩、右手架鹰、左手执缰，骑于马上的武士，正驱马追赶行进的队伍，马旁还紧跟一猎犬。",[23,99,24,26,7,53,28,315,536,121,55,1212],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3649796ffeb0f1854f87bb5103aa850a.jpg","纵29cm，横129cm",[85,37,127],109,{"id":1218,"slug":1219,"title":1220,"dynasty":239,"author":76,"museum":49,"description":1221,"tags":1222,"thumbUrl":1230,"material":174,"size":175,"collection":66,"collections":1231,"showCount":1232,"zanCount":438,"manualWeight":41,"mainColor":70},228242,"long-zhou-duo-biao-tu-juan-yi-ming-228242","龙舟夺标图卷","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[23,24,25,26,365,7,53,171,29,1223,366,28,1224,1225,1226,1227,1228,1229],"桥","旗帜","水","宫殿式建筑","舟楫","龙舟","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba612b814b21c0a85e81089eda6238d.jpg",[],108,{"id":1234,"slug":1235,"title":1236,"dynasty":18,"author":19,"museum":49,"description":1237,"tags":1238,"thumbUrl":1239,"material":354,"size":1240,"collection":66,"collections":1241,"showCount":1242,"zanCount":11,"manualWeight":41,"mainColor":513},232270,"luo-han-tu-zhou-wu-dao-zi-232270","罗汉图轴","吴道子又名道玄，被后人称为“画圣”，开元年间以善画被召入宫廷，擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。存世作品有《送子天王图》，《八十七神仙卷》，《罗汉图立轴》等。",[23,99,24,25,243,27,28,7,54,811,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce47e1d86e72735b929b272c4c741b4c.jpg","148.4x76.6厘米",[],107,{"id":1244,"slug":1245,"title":1246,"dynasty":149,"author":338,"museum":339,"description":1247,"tags":1248,"thumbUrl":1249,"material":246,"size":66,"collection":37,"collections":1250,"showCount":1242,"zanCount":193,"manualWeight":41,"mainColor":70},219551,"lao-zi-tu-tang-yin-219551","老子图","笔意简逸空灵，以淡墨轻勾铺就画面。老子宽袍长髯，安坐牛背，神态超旷淡然，不见半分行旅劳顿，尽显太上忘情的出尘之姿，将道家风骨藏于简约笔墨之中。\n\n水牛造型朴拙写实，缓步行进间憨态尽显，与老子的清矍超然相映成趣。设色浅淡近乎白描，衣纹褶皱简括凝练，留白处氤氲着悠远超脱的林下之风，暗合道家“大象无形”的哲思。\n\n整幅画不见繁复铺陈，以极简物象传递出逍遥物外的高远意境，是兼具文思与笔情的写意佳作。",[23,24,25,99,101,7,28,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b062d62495bd228b5ed34446dc0182.jpg",[37],{"id":1252,"slug":1253,"title":1254,"dynasty":94,"author":832,"museum":184,"description":833,"tags":1255,"thumbUrl":1256,"material":499,"size":66,"collection":66,"collections":1257,"showCount":1242,"zanCount":41,"manualWeight":41,"mainColor":89},214836,"xie-sheng-ce-24-hua-yan-214836","写生册-24",[24,25,100,54,7,28,27,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7af5d340d1adb25d509df9d455283ac7.jpg",[],{"id":1259,"slug":1260,"title":1261,"dynasty":149,"author":76,"museum":339,"description":1262,"tags":1263,"thumbUrl":1265,"material":83,"size":1266,"collection":37,"collections":1267,"showCount":1268,"zanCount":11,"manualWeight":41,"mainColor":70},219569,"xian-nv-feng-huang-tu-yi-ming-219569","仙女凤凰图","仕女身姿柔婉，高髻簪饰，曳地长裙衣带萦回，袂角随风轻扬，仪态娴静端雅，尽是闺秀仙姿。身旁凤凰翎毛苍劲蓬松，写意笔法朴拙大气，与仕女衣纹的细劲铁线描相映成趣。浅淡设色融于古旧绢底，晕染出幽渺古雅的氛围感，仙姝伴灵禽，似正欲乘鸾凌云，缥缈出尘。\n\n笔墨兼具工写之妙，仕女沉静柔婉，凤凰灵动苍健，动静相生，将世外仙乡的清隽逸气凝于尺幅之间，尽显雅致出尘的古典意韵。",[23,24,25,7,54,28,1264,243],"凤凰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5aad1fb6eda19289875db3f46e21ef8.jpg","146.8x94.5厘米",[37],106,{"id":1270,"slug":1271,"title":1272,"dynasty":239,"author":1273,"museum":395,"description":1274,"tags":1275,"thumbUrl":1277,"material":246,"size":1278,"collection":37,"collections":1279,"showCount":1280,"zanCount":11,"manualWeight":41,"mainColor":70},220366,"zhong-kui-yue-ye-chu-you-tu-yan-hui-220366","钟馗月夜出游图","颜辉","颜辉，字秋月，庐陵(今江西吉安)人；—作江山(今浙江)人。擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣。大德(1297-1307)间尝画辅I，匝宫壁。所作《李仙像》，绢本着色，衣纹粗笔勾染，鬓发细笔勾描，主线粗，副线细，笔势转折富于变化，开明初吴伟画法之先河。传世作品有《中山出猎图》轴，图录于《故宫书画集》，《钟馗月夜出游图》现藏美国克利夫兰美术馆。\n关于元代画家颜辉的生平，画史上记载很少，仅《图绘宝鉴》中略有提及他擅画道释人物。明代吴宽《匏翁家藏集》中谓其“画鬼尤工，笔法奇崛，有八面生动之意”。颜辉还兼擅山水，画风有李成、郭熙的遗韵。",[23,99,24,25,26,7,101,28,571,1276,619],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb1ea86b91ff3415a751ad1b0b59ac4.jpg","24.8X240.3",[37,247],104,{"id":1282,"slug":1283,"title":1284,"dynasty":75,"author":518,"museum":77,"description":1285,"tags":1286,"thumbUrl":1287,"material":354,"size":1288,"collection":85,"collections":1289,"showCount":1290,"zanCount":11,"manualWeight":41,"mainColor":70},221516,"kong-qiu-xiang-tu-ye-ma-yuan-221516","孔丘像图页","马远擅长山水画，继承和发展了北派山水的画风，能自出新意，下笔遒劲严整，设色清润；用大斧劈皴描画方硬奇峭的山石；树木用笔简要多姿，树叶有夹笔，树干用焦墨，多横斜曲折之态；楼阁大都运用界尺，而加衬染；点景人物自然生动，用不同的线描表现不同条件下的各种水势，对自然观察详细，写实能力高超。\n他的画被当时评价为：“边角之景”，“峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐”；人称“马一角”，后人也有认为这是南宋偏安的写照。他是南宋时期最重要的画家之一；他的画受到当时皇室的青睐，多有当时宋宁宗杨皇后的题字；与夏圭并称“马夏”、又谓“马一角、夏半边”。马远与李唐、刘松年、夏圭合称为“南宋四家”。",[23,24,25,100,28,7,54,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140533cc0f37b2814b2ddd30cf0df06f.jpg","27.7x23.2",[85,37,127],103,{"id":1292,"slug":1293,"title":1294,"dynasty":18,"author":76,"museum":820,"description"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日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,648,25,1532,101,7,954,845,64,846,1533],"屏风","湿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77861560213211ee329ec40013d0180f.jpg",[425],87,{"id":1538,"slug":1539,"title":1540,"dynasty":75,"author":1541,"museum":339,"description":1542,"tags":1543,"thumbUrl":1544,"material":246,"size":66,"collection":85,"collections":1545,"showCount":1536,"zanCount":41,"manualWeight":41,"mainColor":70},219789,"zhou-yue-tu-zhao-ling-rang-219789","舟月图","赵令穰","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。",[99,24,25,101,7,54,28,59,571,55,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b922f084156fdab8779361947ae5c3.jpg",[85],{"id":1547,"slug":1548,"title":1549,"dynasty":75,"author":183,"museum":1550,"description":1551,"tags":1552,"thumbUrl":1553,"material":83,"size":1554,"collection":66,"collections":1555,"showCount":1536,"zanCount":41,"manualWeight":41,"mainColor":89},218436,"luo-shen-fu-tu-li-gong-lin-218436","洛神赋图","费城艺术博物馆","素绢铺展，墨线如缕，织就人神邂逅的幽渺篇章。洛神凌波微步，衣袂飘举若流云绕岫，眉目间凝着怅然的婉约；曹植凭栏遥望，神情中藏着难掩的眷恋，侍从们或立或顾，衬出场景的静谧与心绪的波澜。林木扶疏，水波澹澹，云气萦绕间，似有辞采漫溢：“翩若惊鸿，婉若游龙”的风姿，“凌波微步，罗袜生尘”的韵致，皆由简练传神的白描线条铺陈。不着浓彩却神采飞动，景物与人物交融成空灵意境，将虚幻炽热的情愫凝于绢素，让千年后的目光，仍能触碰到那份跨越人神之隔的怅惘与温柔。",[23,24,25,26,7,54,28,58,60,61,81,157,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28979b39f4e81a38082bfb84c091ac0.jpg","26.9x225.2",[],{"id":1557,"slug":1558,"title":1559,"dynasty":94,"author":909,"museum":1560,"description":1561,"tags":1562,"thumbUrl":1563,"material":1564,"size":1565,"collection":111,"collections":1566,"showCount":1567,"zanCount":41,"manualWeight":41,"mainColor":89},237408,"song-lu-zhou-zhu-da-237408","松鹿轴","旅顺博物馆","以简淡之笔绘苍松与雌鹿，构图简明，意境寥阔深远。右上自题“乙酉夏日写，八大山人”，钤“八大山人”、“荷园”二印。右下钤收藏印二，其一“大兴刘铨福家世守印”，另一印模糊不辨。乙酉为康熙四十四年，公元1705年，作者时年80岁。",[24,243,101,7,408,218,810,619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d36fc960d2f3493e1ebe2d740dd1e76.jpg","纸本墨笔","182cmx88cm",[111],86,{"id":1569,"slug":1570,"title":1571,"dynasty":75,"author":183,"museum":49,"description":1572,"tags":1573,"thumbUrl":1574,"material":66,"size":66,"collection":66,"collections":1575,"showCount":1567,"zanCount":41,"manualWeight":41,"mainColor":89},227609,"wei-mo-yan-jiao-tu-juan-li-gong-lin-227609","维摩演教图卷","《维摩演教图》卷，传为宋李公麟绘，纸本，墨笔，纵34.6厘米，横207.5厘米。\n\n无作者款印。画后幅有明沈度书《心经》及跋“永乐丙戍岁，予客燕台真如寺，老僧元觉出示李龙眠演教图真迹，随索予书《心经》附后，自愧玉台难并，固辞再三。老僧索之甚笃，勉强净手谨书一通。是夕上元日也。云间沈度。”丙戌为明永乐四年（1406年）。并有明董其昌、王穉登题跋。钤元柯九思“柯氏敬仲”，清索额图“钦赐忠孝长白山长索额图字九如号愚庵书画珍藏永贻子孙”、“长白索氏珍藏图书印”，清宣统皇帝“宣统御览之宝”、“宣统鉴赏”等鉴藏印，共57方。\n\n此图取材于佛教《维摩诘经》，描绘的是装病在家的维摩诘向奉佛祖释迦牟尼之命前来探病的文殊菩萨宣讲大乘教义的场面。全图意在表现维摩诘所具有的高深机智及其对佛教教义的巧思善辩。画中维摩诘坐于锦榻之上，精神矍铄地谈论教义，对面的文殊菩萨脚踩莲花，双手合十，对维摩诘的说法心悦诚服。画幅中部绘天女故意往大弟子舍利弗身上撒沾衣不坠的花瓣，令躲闪不及的舍利弗连忙振衣抖拂。维摩见此当即指出佛教应该视万物皆空的教义实质。\n\n佛教是公元前6至5世纪由释迦牟尼于印度创立，相传东汉明帝时传入中国。艺术家们为了扩大佛教在中国的影响，在表现佛教人物或故事时逐渐将他们中国化，生活化，以符合中国人的审美观。从东晋顾恺之到隋唐敦煌壁画，维摩诘尚被表现为“须眉奋张，目光如炬”的形象，而此图中他已完全成为汉化的佛教徒的形象。文殊菩萨体态雍容端庄，犹如现实生活中名门望族之人。众天女于恭谨中显露出活泼的神情，毫无宗教的虔诚之态。文人世俗思想融入宗教画创作中无疑增添了作品的亲和力，同时也增强了作品的感染力。全图为扫却粉黛的墨线勾描，遒劲圆转而富于表现力度的游丝描和铁线描相辅相成，在成功地刻画出神态各异的人物形象的同时，洁净轻淡的笔法也与佛教“空即是色，色即是空”的教义相吻合。\n\n此图无款，对作者有三种推测：明人沈度、董其昌、王穉登等人在画卷的跋中皆称作者为宋代李公麟。当代学者金维诺等先生认为作者应是金代的马云卿，主要根据是美国大都会博物馆藏有元代王振鹏《临马云卿画维摩不二图草本》。王振鹏在卷后题跋中称：“至大元年二月初一日拜住怯薛第二日，隆福宫花园山子上，西荷叶殿内，臣王振鹏特奉仁宗皇帝潜邸圣旨，临金马云卿画维摩不二图草本。”王振鹏的临本与此幅的艺术风格、构图章法等极为相仿，只是在局部纹饰上稍有细微变化。但目前亦有专家认为此图既不是李公麟所作，亦非马云卿所为，它应是宋佚名画家的作品。事实上，无论作者是谁，该图代表着早期白描人物画的最高成就当是无可争议的。",[23,99,24,25,26,27,28,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a5ca121eafafb8b8cc4acc361a11f6.jpg",[],{"id":1577,"slug":1578,"title":1579,"dynasty":149,"author":1580,"museum":184,"description":1581,"tags":1582,"thumbUrl":1583,"material":141,"size":1584,"collection":37,"collections":1585,"showCount":1586,"zanCount":11,"manualWeight":41,"mainColor":89},216944,"ru-lai-xiang-sun-huang-216944","如来像","孙璜","Rādhārāṇī是释迦牟尼佛的十大名号之一。如 又称 如来，即 真如，指的是佛陀所说的绝对真理，按照这个真理行事，就能达到佛陀领地的外部世界。中国佛教徒尊崇他为最高的神灵。这幅画的笔法与《曹衣出水》相同，只是手太大了，也可能是作者为了显示自己的 神性 而想这么做。",[24,25,27,28,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df3abe0179d316e6b6680707fa9ce16.jpg","101x45.1",[37],85,{"id":1588,"slug":1589,"title":1590,"dynasty":94,"author":1591,"museum":77,"description":1592,"tags":1593,"thumbUrl":1595,"material":1596,"size":1597,"collection":425,"collections":1598,"showCount":1599,"zanCount":11,"manualWeight":41,"mainColor":89},233390,"shan-shui-ren-wu-ce-jin-nong-233390","山水人物册","金农","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,25,100,54,7,101,28,1108,61,1594,409,55],"栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196382a9fa13f1fdd21f5ad09cb12d1a.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[425,37,127],83,{"id":1601,"slug":1602,"title":1603,"dynasty":75,"author":198,"museum":184,"description":1604,"tags":1605,"thumbUrl":1607,"material":83,"size":1608,"collection":37,"collections":1609,"showCount":1599,"zanCount":250,"manualWeight":41,"mainColor":42},218901,"ming-yuan-du-shi-tu-liu-song-nian-218901","茗园赌市图","这幅画以人物为主，卖茶的人有水点茶，有壶提着，有杯子品茶。一个茶贩子在右前方抬着茶叶，停下来看他的肩膀，一个女人一手拿着壶，一手抱着孩子，边走边看茶战。在这幅画中，有男人，有女人，有老人，有壮年人，有小孩，都有特色的表情，目光都集中在 斗茶 的卖茶人身上，每一个活生生的形象，把宋代街头流行的斗茶场景最大程度地展现在世人面前。这幅画署名刘松年，但笔墨风格更接近于李嵩。",[23,53,7,54,28,409,652,1606],"风俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8c9d6e6c9da08adc2121f8104eb9e6.jpg","27.2x25.7",[37],{"id":1611,"slug":1612,"title":636,"dynasty":18,"author":19,"museum":546,"description":1613,"tags":1614,"thumbUrl":1615,"material":354,"size":1616,"collection":66,"collections":1617,"showCount":1618,"zanCount":41,"manualWeight":41,"mainColor":70},232268,"ba-shi-qi-shen-xian-juan-hua-xin-wu-dao-zi-232268","吴道子勤奋好学，天资过人，借鉴古法，画技创新，打破沿袭顾恺之的游丝描，开创兰叶描，把复杂的物体形态凹凸面、阴阳面，归纳为不可再减的“线”，画出物体的线条性格，探索线条变化规律，力求每条线符合造型传神的要求，《八十七神仙卷》就是这样一幅充满线条美妙韵律的千古神作。\n《八十七神仙卷》是描绘八十七位仙人去朝拜元始天尊场景，画面人物描绘夸张，帝王高大魁梧，神圣威严，面相和蔼，头罩光环，构图以帝王为中心分布聚集，左右端是身披铠甲的护将武士，须发如生，毛根出肉，怒目圆睁，握拳拔剑。最为引人注目是出尘脱俗，如花似玉，明艳动人，顾盼生姿的数十位仙女，吹奏打板，抚琴托盘，捧花献果，举旗摇幡，长裙肥袖，满壁风动，发髻头饰，高耸光鲜，神态自若，形象各异。\n《八十七神仙卷》画面阵容恢弘，排布随意，主角突出，层次分明，人物神情丰富，形态举止自然，写实与艺术夸张手法结合并用，线条流畅如水，舞动飘逸如风，瑞气喷涌如云，天堂景致如虹，是一幅匠心独运神来之笔，画苑冠冕千古名作\n《八十七神仙卷》帝王天仙、武将文官等男士仙人造像，这些神仙人物以凡间人物为创作原形。《八十七神仙卷》是一幅道教画，道教是惟一在中国本土发育的宗教，由先秦道家思想演化而来，尊老子为道祖，奉老子著作《道德经》为主要经典，信仰尊道贵德，认为道是产生天地万物的本源，人和万物由道生、由德育，道可以修得升天成仙，长生不死。道教神仙众多，既有来源于中国古代神话人物，又有历朝褒奖、社会崇拜的真人，成为凡界修道成仙的范例，形成庞大繁杂的神仙谱系。道教神仙故有凡间人物化身，有以普通人面貌隐迹凡世。\n《八十七神仙卷》仙女众多，仙女的形象、发髻、头饰、衣衫及手持晋献花篮、托盘、果品，吹奏器乐、举旗打幡等，构成仙女喜乐，花枝招展，祥云缥缈，众神欢颜的天堂盛景，画卷中各式仙女造型是研究唐风民俗的珍贵资料\n仙女发饰，呈现出奇异多彩，令人眼花缭乱，一千多年前古代妇女发艺，放在当代也是时尚造型，媲美现代科技手段的发艺打理，由此可见作者对大唐皇室贵族妇女梳妆研究充分，观察细致，作者的社会生活见识广泛，发艺素材积累深厚，创作随心所欲，绘画信手拈来，塑造出一群貌美如花形象鲜活的天堂仙女。\n吴道子身处唐朝中期，是大唐历史最辉煌时代，史称“开元盛世”或“开元之治”，社会经济空前繁荣，国力空前强盛，人口大幅度增长，商业发达，城市繁华，上流社会时尚流行奢靡之风，来自波斯的西域工匠，带来金银珠宝与精湛加工技艺，把大唐金饰制品与华贵头饰，从皇室走出成为富豪贵族的奢侈配置。\n唐代画家周昉、张萱、王贞白等民间仕女画的片段，发式造型相似画卷中仙女，但没有佩戴耀目华贵的头饰，华贵头饰显然不属于普通妇女。在吴道子笔下仙女，不仅发型发饰具有大唐韵味，而且体现唐代崇尚妇女身形微胖的审美观念，仙女们个个脸型圆润，体态丰腴，气质雍容，超凡脱俗。\n《八十七神仙卷》服饰与纹样局部，白描有条不紊，构图复杂繁密，铁线萦绕，丝丝入扣，显示了绘画的精细功力，把仙人衣着刻画的风舞飘动，牵之欲出。唐代服饰是以社会经济发达为基础，纺织、印染技术达到了历史巅峰，为服饰文化提供了物质条件。唐代服饰具有多样性、开放性、奢华性的特点，多样性表现为融合多民族文化与中外文化的款式设计；开放性体现在造型样式方面如衣裙、肩披、围腰的“粉胸半掩疑暗雪”的装扮，图16即是唐代画家张萱《捣练图》中女性服饰图样；奢华性是服饰的绚丽多彩与华贵配饰及梳妆相搭，唐诗“眉黛夺得萱草色 红裙妒杀石榴花”，就是对唐代仕女及服饰的美艳写照。\n吴道子把唐代服饰风貌搬上《八十七神仙卷》，尤其衣衫纹样画法，线条密集、画迹流畅、繁杂有序、柔韧雄放、粗细相间、交织如网、鲜活灵动、造型夸张的笔法，后世称为“吴家样”，对衣饰飘舞形象称为“吴带当风”画法，表现了后人对吴道子超凡画技与与作品魅力的敬仰崇拜。\n唐朝从“贞观之治”到“开元之治”期间一百多年，虽有外患内乱但终被平息，国家政治局势基本稳定，经济繁荣昌盛，也是文化艺术发展的最好时代，涌现多位载入史册的文化名人，带领唐朝的文学诗歌、书法绘画、音乐舞蹈等取得了辉煌成就。《八十七神仙卷》仙女群组形象，有取材唐朝宫廷乐舞的身影",[23,24,25,26,7,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa144931d6cc1956dc7dacc5dd4c037.jpg","画芯长800厘米、宽75厘米",[],81,{"id":1620,"slug":1621,"title":1622,"dynasty":149,"author":338,"museum":184,"description":1623,"tags":1624,"thumbUrl":1627,"material":848,"size":1628,"collection":66,"collections":1629,"showCount":1630,"zanCount":11,"manualWeight":41,"mainColor":89},287291,"lin-li-bo-shi-yin-zhong-ba-xian-quan-tu-tang-yin-287291","临李伯时饮中八仙全图","以白描法绘人物35位，线条柔和隽秀，人物神态形象逼真；山石树木粗笔勾勒，再以浓墨烘染而成。此幅长卷达八米之长，场景开阔，绘出八仙喝茶听曲，悠闲自得的情景。",[23,24,99,26,25,7,101,52,28,1625,1626,204,81,188,57,56],"历史人物","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef12bafcbc98b00a1a699522f02abb9b.jpg","23.8厘米*838厘米",[],80,{"id":1632,"slug":1633,"title":1634,"dynasty":75,"author":1418,"museum":135,"description":1635,"tags":1636,"thumbUrl":1637,"material":83,"size":1638,"collection":37,"collections":1639,"showCount":1630,"zanCount":11,"manualWeight":41,"mainColor":70},219429,"ba-gao-seng-tu-liang-kai-219429","八高僧图","《南宋梁楷八高僧故事图卷》分别描绘南北朝至唐代佛教禅宗八个高僧的故事。各个人物的神态、举止和服饰刻画入微、传神；山石多为斧劈皴，笔法简洁洗练，动静相映以烘托出人物的情绪。是梁楷作品中较为工整的一路。每幅之后，均附有明初人用行书撰写的文字说明，内容简明扼要。",[23,7,54,53,28,60,998,1306,59,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1587fabe100285596e73694b143eae99.jpg","纵 26.6 厘米 横64.1 66.4 64.7 厘米",[37],{"id":1641,"slug":1642,"title":1643,"dynasty":94,"author":832,"museum":77,"description":1644,"tags":1645,"thumbUrl":1646,"material":1647,"size":1648,"collection":37,"collections":1649,"showCount":1650,"zanCount":41,"manualWeight":41,"mainColor":89},237744,"bai-miao-shi-nv-hua-zhou-hua-yan-237744","白描仕女画轴","此图绘一端庄文弱的女子，低头垂目，双手笼袖，侧身坐于藤木秀榻上。侍女手捧书函正急步送上前来。此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。构图奇巧，画幅的上半部没有一笔字画涂抹，人物及款题均置于下半部。大面积的空白位于人物的上方，扩展了人物上部的空间，同时又以“此时无声胜有声”的暇想意境充实了画面。此外，上半部无笔墨的空旷亦与细笔白描人物简洁的笔风相吻合，有助于突出主体人物。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[24,25,243,7,28,58,121,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8f10a6089ea06b787ca52b83785359.jpg","绢本，墨笔","纵82厘米，横32.2厘米",[37],79,{"id":1652,"slug":1653,"title":1654,"dynasty":75,"author":1418,"museum":49,"description":1655,"tags":1656,"thumbUrl":1658,"material":141,"size":1659,"collection":37,"collections":1660,"showCount":1650,"zanCount":11,"manualWeight":41,"mainColor":70},218585,"lan-ting-ti-xu-tu-liang-kai-218585","兰亭题序图","松枝虬劲，墨色浓淡交织出苍古意韵。雅士二人，衣纹以极简线条勾勒，却见洒脱之态——一人凭案凝思，似在斟酌字句；一人侧立静听，神态悠然。案上瓶梅斜逸，木盒静陈，细节处暗藏文心。笔墨删繁就简，却将兰亭雅集的清旷之境、文人相契的灵犀之态，尽纳其中。虽无繁复刻画，却于简约中见深厚，如品淡茶，唇齿留香，尽显文人画的逸致与风骨。每一笔皆不多余，每处留白皆藏深意，仿佛清风过耳，让人心生向往。",[24,25,99,101,7,1657,28,62,157,409,55],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6948482f3ced4ffd228934551e7fb4.jpg","28x48",[37],{"id":1662,"slug":1663,"title":1664,"dynasty":149,"author":1665,"museum":184,"description":1666,"tags":1667,"thumbUrl":1668,"material":246,"size":1669,"collection":37,"collections":1670,"showCount":1650,"zanCount":41,"manualWeight":41,"mainColor":70},216995,"yu-lan-guan-yin-tu-wu-bin-216995","鱼篮观音图","吴彬","这幅画描绘的是鱼篓里的观音，身穿草鞋，手持经卷，旁边还有一个背着鱼篓的小孩。虽然她是个女人，但她的脸是椭圆形的，有大眉毛和大眼睛，她没有女人的特征。她的身体和孩子的身体比例不均，人物被拉长变形，衣服用浓墨重彩的笔触画出来，有很多平行的弧形线条，整个作品奇特而有趣。",[99,24,25,243,27,28,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fbc09085c36b93a042a9a0aa5784c1.jpg","187.8x85",[37],{"id":1672,"slug":1673,"title":1674,"dynasty":1518,"author":1519,"museum":1520,"description":1675,"tags":1676,"thumbUrl":1677,"material":66,"size":66,"collection":66,"collections":1678,"showCount":1679,"zanCount":41,"manualWeight":41,"mainColor":89},220519,"zhang-cai-qin-xiang-xu-bei-hong-220519","张采芹像","此作以淡墨白描写就，洗练雅致。画家精准捕捉主人公温文儒雅的神态，一袭长衫垂坠自然，背手而立的姿态舒展从容，将民国文人沉静端方的风骨尽显无遗。\n\n画面四周题跋疏密有致，墨迹与画像相得益彰，既是挚友间的交游印记，也让画面饱满和谐。作品摒弃繁复设色，以凝练线条勾勒形神，寥寥数笔便将人物气度入微呈现，文气与画韵交融，是兼具写实传神与文人意趣的写意肖像精品。",[23,24,25,7,101,28,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444958c704403f2e072309bafd507fb5.jpg",[],78,{"id":1681,"slug":1682,"title":1683,"dynasty":75,"author":76,"museum":395,"description":396,"tags":1684,"thumbUrl":1685,"material":141,"size":399,"collection":66,"collections":1686,"showCount":1679,"zanCount":438,"manualWeight":41,"mainColor":89},214983,"dao-zi-mo-bao-ren-wu-bai-miao-hua-2-yi-ming-214983","道子墨宝人物白描画-2",[23,24,25,7,28,1345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eeddadab043e71b851c8ff4a307f137.jpg",[],{"id":1688,"slug":1689,"title":1690,"dynasty":75,"author":464,"museum":266,"description":1691,"tags":1692,"thumbUrl":1694,"material":1695,"size":1696,"collection":85,"collections":1697,"showCount":1698,"zanCount":11,"manualWeight":41,"mainColor":89},221623,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[23,24,25,26,7,101,54,28,60,81,63,187,61,64,157,1693,55,56,57],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[85,37,127],77,{"id":1700,"slug":1701,"title":1702,"dynasty":75,"author":183,"museum":49,"description":1703,"tags":1704,"thumbUrl":1707,"material":457,"size":66,"collection":37,"collections":1708,"showCount":1698,"zanCount":41,"manualWeight":41,"mainColor":89},218076,"bai-miao-luo-han-tu-ce-1-li-gong-lin-218076","白描罗汉图册-1","白描罗汉图册是宋朝画家李公麟所创作的一组绘画作品，收录了许多关于罗汉的故事和传说。罗汉是佛教中的圣人，象征着智慧和善良。李公麟在这一组作品中，以简洁明快的笔触和精细的工笔画风，为读者展现了罗汉的传奇人生。\n\n李公麟的白描罗汉图册是宋朝绘画中的一大杰作，因其精美的画风和细腻的内容而受到许多人的喜爱。他运用了一种独特的白描画法，在画面中展现出纯净和精细的质感。每幅画都描绘了一个生动的故事，让人们可以通过观看这些画作，了解到罗汉的传奇人生。\n\n总的来说，李公麟的白描罗汉图册是一部优秀的绘画作品，值得收藏和鉴赏。如果您对宋朝绘画或佛教传说感兴趣，不妨花一些时间来欣赏这一组美丽的画作。",[23,24,25,100,7,101,27,28,1705,1706,673],"罗汉","山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c753992917e049858fa3fcec2e2773.jpg",[37],{"id":1710,"slug":1711,"title":1712,"dynasty":239,"author":1713,"museum":1209,"description":1714,"tags":1715,"thumbUrl":1717,"material":1442,"size":1718,"collection":66,"collections":1719,"showCount":1720,"zanCount":11,"manualWeight":41,"mainColor":89},221749,"jiu-ge-tu-ji-ci-juan-zhu-ti-zhang-wo-221749","九歌图及词卷主体","张渥","《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[23,99,24,25,26,7,101,28,56,55,1716,811],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19bda932e8c57e252c3f7db62b08b53.jpg","纵28 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曾收藏於美國華人收藏家王季遷手中，在其去世後失竊下落不明。\n\n該畫作描繪了五方帝君中的三個帝君，去往朝謁天上的最高統治者時的隊仗行列。畫家以流利的長線條描繪此圖，畫中人物栩栩如生，表情生動，描畫出了不同的人物的不同的身份與形態特徵，成功地表現出帝君的莊嚴、神將的威武和仙女的丰姿，是白描人物畫的代表作。",[23,24,99,26,7,27,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e6bd28a60a6c338f34ccc4c8b090642.jpg",[],{"id":1790,"slug":1791,"title":1792,"dynasty":239,"author":1793,"museum":694,"description":1794,"tags":1795,"thumbUrl":1796,"material":246,"size":1797,"collection":425,"collections":1798,"showCount":1768,"zanCount":41,"manualWeight":41,"mainColor":70},218718,"huang-lou-fu-tu-xia-yong-218718","黄楼赋图","夏永","这幅画宽度仅有二十多厘米，却无比精细的描画了整个黄楼，窗边饮酒赋诗的文人。用蝇头小楷写了苏辙的千字文“黄楼赋”。还有驾鹤西游的神仙。",[23,24,25,365,7,101,29,60,64,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6345fb2b38d0c73179bba1049f675384.jpg","20.6x26.7cm",[425,247],{"id":1800,"slug":1801,"title":1802,"dynasty":149,"author":1803,"museum":1804,"description":1805,"tags":1806,"thumbUrl":1808,"material":54,"size":66,"collection":37,"collections":1809,"showCount":1768,"zanCount":41,"manualWeight":41,"mainColor":89},216774,"ri-ben-xian-ren-gao-shi-tu-ping-feng-you-shou-ye-yong-de-216774","日本· 仙人高士图屏风（右）","狩野永德","日本东京国立博物馆","虬松盘曲，枝叶垂荫，林间高士或立或行，衣袂轻扬。一人俯身似拾幽趣，几人对语如论玄言，神态闲适淡然，尽得超脱尘俗之致。背景山水晕染朦胧，草木疏朗，与人物清逸之姿相映成趣。笔墨简练传神，衣纹流转自然，树木皴法古雅，将林泉之幽、高士之韵融于尺幅，营造出空灵悠远的意境，尽显文人画的雅致情怀。",[23,1532,101,7,54,28,81,188,1807],"草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2dc8a5fc99d7b36be27e50fc56ec0a.jpg",[37],{"id":1811,"slug":1812,"title":1813,"dynasty":94,"author":832,"museum":184,"description":833,"tags":1814,"thumbUrl":1816,"material":499,"size":66,"collection":66,"collections":1817,"showCount":1768,"zanCount":41,"manualWeight":41,"mainColor":89},214838,"xie-sheng-ce-22-hua-yan-214838","写生册-22",[94,24,25,100,101,7,954,28,1815],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ac13a3bc2bde43bcc3d0fb90535d38.jpg",[],{"id":1819,"slug":1820,"title":1821,"dynasty":94,"author":1822,"museum":135,"description":1823,"tags":1824,"thumbUrl":1827,"material":457,"size":1828,"collection":66,"collections":1829,"showCount":1830,"zanCount":11,"manualWeight":41,"mainColor":89},231483,"jiu-xi-feng-he-tu-hong-ren-231483","九谿峰壑图","弘仁","弘仁（1610-1664），俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后出家为僧，字无智，号渐江，又号梅花古衲。安徽歙县人。山水学宋元笔意，直追元代的倪瓒，多写黄山松石，为清初“四画僧”之一。\n\n所画山水有强烈的写实性，山石形状多取自他熟悉的黄山和武夷山，坚硬峭拔，石面干净。用笔多方折，墨色干而单，构图简洁，形成一种空旷冷郁的境界。",[24,25,60,7,101,408,1825,1826,244,188,487,55],"山峰","壑谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc394a8eac2513dc3a8eac76d6356b43f.jpg","纵110.6厘米，横58.9厘米",[],73,{"id":1832,"slug":1833,"title":1834,"dynasty":75,"author":183,"museum":546,"description":1835,"tags":1836,"thumbUrl":1837,"material":141,"size":1838,"collection":111,"collections":1839,"showCount":1830,"zanCount":41,"manualWeight":41,"mainColor":42},218998,"xuan-ya-le-ma-tu-li-gong-lin-218998","悬崖勒马图","墨线如铁线缠枝，于素绢上勾勒出悬崖边的瞬间张力。骏马昂首奋蹄，鬃毛飞扬间似有嘶鸣溢出，前蹄悬于虚空的刹那，被笔锋精准定格。牵马者衣袂飘举，身姿微倾间与马同承风势，腕间缰绳若有若无，却牵住满幅屏息时刻。悬崖皴擦淡远，衬得人马动态愈显鲜明。宋画雅致不止静穆，更在这动中藏定的禅意——勒马非止控身，更是收心。素绢留白恰是心绪回旋余地，墨色浓淡间，见画者以线塑魂的功力，亦见宋代文人对“止”与“悟”的哲思，笔端藏锋，意韵悠长。",[99,24,25,243,7,101,315,28,122,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff787966bf24640bcbb1304f1af0dc9ca.jpg","纵44.7横24.8cm",[111],{"id":1841,"slug":1842,"title":1843,"dynasty":75,"author":951,"museum":184,"description":952,"tags":1844,"thumbUrl":1845,"material":777,"size":957,"collection":85,"collections":1846,"showCount":1847,"zanCount":11,"manualWeight":41,"mainColor":89},221465,"si-mei-tu-juan-quan-juan-yang-wu-jiu-221465","四梅图卷全卷",[23,99,24,25,26,101,7,138,56,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21caf8fd4f408a77f793104e6fbc872.jpg",[85,111,127],72,{"id":1849,"slug":1850,"title":1851,"dynasty":75,"author":215,"museum":96,"description":1852,"tags":1853,"thumbUrl":1854,"material":457,"size":1855,"collection":111,"collections":1856,"showCount":1847,"zanCount":11,"manualWeight":41,"mainColor":89},219542,"shui-xian-tu-zhao-meng-jian-219542","水仙图","全幅绘水仙，其上的留白空间将整幅长卷分成三个部分，每个部分又有三组水仙。第一部分较为稀疏，水仙花茎端方可爱，花叶舒展自然。第二部分的第一组水仙，前后排布，其下鼓起了一些小土坡。第三部分的水仙花和第二部分的第一组水仙花叶相似，穿插密实而错落有致，较为孤立。",[23,99,24,25,26,7,101,154,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a6518f83bf7b9332ac84bcd8ddc655.jpg","34.1 × 993.6 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。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。",[23,24,25,26,7,28,315,1874,56,57,940,1875],"帐篷","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a6695fc73019d28ed46873d7d95576.jpg","全卷30.6X770厘米",[85],70,{"id":1881,"slug":1882,"title":1883,"dynasty":94,"author":95,"museum":135,"description":1884,"tags":1885,"thumbUrl":1886,"material":83,"size":1887,"collection":66,"collections":1888,"showCount":1879,"zanCount":438,"manualWeight":41,"mainColor":89},219813,"hua-hui-shi-kai-10-yun-shou-ping-219813","花卉十开-10","此作用淡墨白描写就，笔致清灵秀雅。花头或昂或俯，瓣片勾勒细腻通透，如冰裁玉琢，自带绰约风姿，仿佛见凌波仙子悄然伫立。长叶以虚实线条写就，舒展如素带，前后层次分明，将水仙修长清劲的姿态尽显。\n\n笔底脱胎古法，以极简淡墨晕衬出花叶温润质感，未施丹青却自带清润仙气。题识与画面相映成趣，尽显文人雅致，寥寥数笔便定格水仙疏朗脱俗的神韵，观之如闻幽芳，将写生之趣与古意格调相融，尽显清逸出尘的意境。",[24,25,100,7,101,1758,154,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966f21bff6318b643128e01db81b0e85.jpg","20.4×29.2厘米",[],{"id":1890,"slug":1891,"title":1892,"dynasty":149,"author":1893,"museum":49,"description":1894,"tags":1895,"thumbUrl":1896,"material":457,"size":66,"collection":37,"collections":1897,"showCount":1898,"zanCount":11,"manualWeight":41,"mainColor":89},220103,"zhong-kui-yi-jia-tu-qian-gu-220103","钟馗移家图","钱谷","钱谷（公元1508~1578年），字叔宝，号磬室，江苏苏州人。好读书，曾手抄稀有书籍，跟从文征明学习诗文书画。山水笔墨疏朗稳健，也能画人物、兰竹，风格较平实。编有〈续吴都文粹〉等。作品有〈雪山策骞图轴〉，〈虎丘前山图轴〉，〈董姬像（册页）〉，〈晴雪长松图轴〉。",[23,24,25,26,7,54,28,170,27,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee38741396103f6c03bb189f8e3e50a.jpg",[37],69,{"id":1900,"slug":1901,"title":1902,"dynasty":94,"author":1903,"museum":49,"description":1904,"tags":1905,"thumbUrl":1908,"material":66,"size":66,"collection":66,"collections":1909,"showCount":1910,"zanCount":41,"manualWeight":41,"mainColor":89},235300,"ju-hua-zhou-xu-gu-235300","菊花轴","虚谷","此作以上下两簇秋菊铺陈画面，左侧留白题款，疏密错落间章法雅致和谐。以淡墨勾勒花瓣，细劲舒展如丝，赭黄点染花心，醒目鲜活，尽显秋菊盛放之姿。菊叶以蓝与淡墨晕染，枯笔写枝，苍劲老辣，笔致简逸放纵，自带冷峭清奇格调。\n整体色调萧疏淡雅，将秋菊凌霜的清逸风骨尽显，融文人画清雅意趣与世俗审美于一体，于简淡朴拙之间，尽显秋花隽逸之姿与高节品性。",[24,25,243,101,54,7,1906,1907],"菊花","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef193bc0930876f14e505b19adec7fc.jpg",[],68,{"id":1912,"slug":1913,"title":1914,"dynasty":94,"author":1915,"museum":49,"description":1916,"tags":1917,"thumbUrl":1918,"material":66,"size":66,"collection":37,"collections":1919,"showCount":1910,"zanCount":41,"manualWeight":41,"mainColor":89},228989,"bai-kai-luo-han-tu-1-shi-tao-228989","百开罗汉图1","石涛","《石涛罗汉百开册页》是石涛青年时期绘制的工笔人物作品，为完整一百开册页，共画山水背景中的罗汉人物1位，各册页中罗汉左右分别陪饰众多人物及似龙、虎、鹿、狮等神兽形象。\n根据 在画中自题，最早一开创作于“丁未” (1667 年)，石涛时年26岁。\n整套册页作品分别作于1667年、1669年、167年，1672年，即从石涛的26岁至1岁，历时6年之久，实为石涛倾力之作。\n《罗汉百开图》册页集人物、山水、花鸟之大成，是石涛技艺日臻成熟时的作品，所绘人物，造型生动，神态各异，笔墨洗练，叙事清楚，饱含人文情怀。\n石涛最早的人物画是康熙时期所作的《百美图》，这是对仇英作品的临摹，更是一次再创作。\n吴湖帆正是看了此画，才有上面提到的‘石涛画人物最佳’之说。\n这幅画被石涛的老师梅青借走，供于香案之上，每日膜拜，后不知所踪。\n美国大都会博物馆所藏《十六应真图》，长达六米，人物纯用线描，而配以山水背景。\n另外还听说波士顿博物馆藏有一幅石涛人物画。\n有记录的石涛作品，现存世约4件，《石涛罗汉百开册页》占了其中1件。\n崔如琢还另外藏有石涛的两套册页以及手卷、中堂、条幅若干，藏品总数达1件，应该是收藏石涛作品最多的人。\n但他始终认为，《石涛罗汉百开册页》的价值最为独特，较之同时代西方文艺复兴时期的绘画，无论内容、题材、技法都称得上相映生辉。",[24,25,27,101,7,28,62,157,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cedcff1d2c958f6590b2e104032c599.jpg",[37],{"id":1921,"slug":1922,"title":164,"dynasty":75,"author":76,"museum":49,"description":1923,"tags":1924,"thumbUrl":1925,"material":66,"size":66,"collection":66,"collections":1926,"showCount":1910,"zanCount":438,"manualWeight":41,"mainColor":70},223655,"song-zi-tian-wang-tu-yi-ming-223655","此作为白描神品，以铁线描、兰叶描交错挥写，尽显吴带当风的流动韵致。\n画卷起首帝后侍从环侍，仪度端雅雍容；继而护法神将狞猛威严，流云焰气翻卷烘托出天界的诡谲神圣；中段天女执器缓行，身姿柔婉静穆；后段天王安坐肃穆，诸鬼神环伺拱卫，末了瑞兽载仙疾驰，灵动飞扬。\n全卷人物身份鲜明，神情各殊，帝王的沉凝、天女的温婉、神将的凶戾皆刻画入微，线条或刚劲如铁、或飘逸如丝，将天界仪卫的盛大庄严铺陈尽致，虽为摹本，依旧留存原作神采，是水墨线描的绝佳范本。",[23,99,24,25,26,7,27,28,171,619,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1875d213531142bdb5f15a8d47809ba.jpg",[],{"id":1928,"slug":1929,"title":1930,"dynasty":239,"author":76,"museum":184,"description":1931,"tags":1932,"thumbUrl":1933,"material":141,"size":1934,"collection":425,"collections":1935,"showCount":1910,"zanCount":41,"manualWeight":41,"mainColor":89},218283,"jiang-tian-lou-ge-tu-yi-ming-218283","江天楼阁图","层楼倚崖耸峙，飞檐翘角若振翅欲飞，木构窗棂皆细致勾勒，尽显楼阁之巍峨精巧。江面浩渺无垠，数叶轻舟泛于云水之间，似有渔歌隐约。远山如黛，在云雾氤氲中层层晕染，渐次隐入天际，天地间尽是清旷之气。笔墨简淡却意韵悠长，将建筑的工致与江天的空阔相融，清风仿佛穿堂而过，涛声似在耳畔轻吟。画面静谧空灵，尽显元人山水之悠远意境，观之令人心随舟行，神驰于江天之间，顿生旷达之感。",[24,365,7,60,29,59,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b9cd06ac1c83e4a168b35b2a899c84.jpg","83.7x40cm",[425],{"id":1937,"slug":1938,"title":1939,"dynasty":149,"author":1940,"museum":77,"description":1941,"tags":1942,"thumbUrl":1943,"material":538,"size":1944,"collection":37,"collections":1945,"showCount":1946,"zanCount":41,"manualWeight":41,"mainColor":89},222082,"sui-chao-jia-zhao-tu-zhu-jian-shen-222082","岁朝佳兆图","朱见深","画幅右上方有明宪宗朱见深御题：“柏柿如意。一脉春回暖气随，风云万里值明时。画图今日来佳兆，如意年年百事宜。”款署：“成化辛丑文华殿御笔”，钤“广运之宝”。\n图中画钟馗，犀利的目光紧盯着飞来的蝙蝠，一手持如意，一手扶在小鬼的肩头；小鬼双手捧着盛有柿子和柏枝的托盘，寓意“百事如意”。\n明代以前，悬挂钟馗像是年节时一项重要的风俗活动，用以驱鬼辟邪，至明清之交此风俗才渐渐移向端午，所以这幅“岁朝佳兆图”可以看作是一幅祈祥祝福的宫廷年画。此图作于成化十七年（1481年），画法老练，衣纹的勾描顿挫有力，人物的造型生动夸张，显示了这位皇帝画家的娴熟技能。",[23,99,24,25,243,54,53,7,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b9fc4e6f55bfb12448810b6d3f9227.jpg","纵59.7厘米，横35.5厘米",[37,127],67,{"id":1948,"slug":1949,"title":1950,"dynasty":75,"author":76,"museum":1951,"description":1952,"tags":1953,"thumbUrl":1954,"material":141,"size":1955,"collection":37,"collections":1956,"showCount":1946,"zanCount":41,"manualWeight":41,"mainColor":89},217001,"jiu-ge-tu-yi-ming-217001","九歌图","黑龙江省博物馆","此《九歌图》共九段，分别绘《东君》《河伯》《湘夫人》《大司命》《少司令》《云中君》《湘君》 《山鬼》《国荡》，缺《东皇太一》《礼魂》。",[23,24,25,26,7,101,28,1737,1716],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec00dfbd7a8b8065f4b1da78192376.jpg","33x743",[37],{"id":1958,"slug":1959,"title":1960,"dynasty":239,"author":76,"museum":1961,"description":1962,"tags":1963,"thumbUrl":1966,"material":499,"size":1967,"collection":37,"collections":1968,"showCount":1969,"zanCount":273,"manualWeight":41,"mainColor":70},218944,"hu-ren-yu-ma-tu-yi-ming-218944","胡人圉马图","丹佛艺术博物馆","红衣宽袍的胡人侧立，毡帽下须髯轻垂，手中长鞭斜握，缰绳牵住花斑骏马。马身丰腴却见筋骨，花斑错落如流云散雪，鬃尾以浓淡墨色晕染，线条流畅间透着矫健。人与马的姿态舒缓，似在旷野缓行，素净的背景更衬出红衣的暖艳与马的沉静。笔致简练却神形毕肖，胡人眉眼间藏着游牧民族的质朴沉毅，骏马的温顺与灵动跃然纸上。画面虽静，却仿佛能感知风过草甸的轻响，尽显元代绘画面向生活的写实意趣与含蓄韵味。",[99,24,25,53,54,7,28,315,1964,386,1965],"胡人","马鞭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932df26e99bdc85330734a726db7ce26.jpg","29.5x45cm",[37],66,{"id":1971,"slug":1972,"title":1973,"dynasty":149,"author":1974,"museum":49,"description":1975,"tags":1976,"thumbUrl":1977,"material":457,"size":66,"collection":37,"collections":1978,"showCount":1969,"zanCount":41,"manualWeight":41,"mainColor":513},217180,"shui-hu-quan-tu-du-jin-217180","水浒全图","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[24,25,100,7,365,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfd1806824c0c79c76f3500636299236.jpg",[37],{"id":1980,"slug":1981,"title":1982,"dynasty":149,"author":1983,"museum":77,"description":1984,"tags":1985,"thumbUrl":1986,"material":1987,"size":1988,"collection":425,"collections":1989,"showCount":1990,"zanCount":41,"manualWeight":41,"mainColor":89},237760,"song-shi-zhou-cheng-jia-sui-237760","松石轴","程嘉燧","图绘高士依孤松远眺、小童携琴相随以及青山与江水相隔之景，颇有晋人陶渊明《归去来辞》中“策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓”之诗意。本幅款署：“崇祯四\n年秋九月，孟阳画于虞山耦耕堂。”钤“程嘉燧印”白文印。崇祯四年即1631年，作者时年67岁。\n此幅构图取法倪瓒“一江两岸”式，重点突出孤松与高士，点明了高逸的主题。山体采用疏散的披麻皴，有元人笔意。人物神情凝重，刻画入微，笔法细腻舒朗。设色清雅，以花青入色，山色青翠，古松秀郁，整体画面呈现出儒雅清丽的韵致。",[24,25,99,243,101,408,7,998,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d79694e9f66eba28b952c2654a5b11e.jpg","纸本，设色","纵130.2厘米，横31.2厘米",[425],65,{"id":1992,"slug":1993,"title":1994,"dynasty":94,"author":1591,"museum":49,"description":1995,"tags":1996,"thumbUrl":1997,"material":1987,"size":66,"collection":247,"collections":1998,"showCount":1990,"zanCount":11,"manualWeight":41,"mainColor":89},236338,"long-ke-shu-xia-fo-xiang-zhou-jin-nong-236338","龙窠树下佛像轴","金农画佛像，有的点缀山石花木，奇柯异叶，有的则不画衬景，但不管有无点景，其佛像均画得安祥、庄严而生拙，他在《龙窠树下佛图》中云：“予画菩萨妙相，奇柯异叶，以状庄严，恍如佛光上下，隐见在方寸也。”他又说：“余年逾七十，世间一切妄念，种种不生，此身虽属秽浊，然治清斋，每当平旦，十指新沐，熏以妙香，执笔敬写，极尽庄严，尚不叛乎昔贤遗法。世多善男子，愿一一品之，永充供养云。”(以上见《冬心画佛题记》)，说明了他开始画佛的时间和原因。",[24,25,243,27,101,54,28,62,55,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0052263f278bc7b744665176bb988523.jpg",[247,470],{"id":2000,"slug":2001,"title":2002,"dynasty":149,"author":2003,"museum":2004,"description":2005,"tags":2006,"thumbUrl":2007,"material":2008,"size":2009,"collection":66,"collections":2010,"showCount":1990,"zanCount":11,"manualWeight":41,"mainColor":89},222197,"jia-fu-ren-li-tu-chou-ying-222197","佳妇人例图","仇英","日本早稻田大学图书馆","《佳妇人例图》落款为“实父仇英制”，共绘人物60位，构图、内容、人数与《千秋绝艳图》均雷同，所以有专家言《佳妇人例图》属《千秋绝艳图》的母图或白描草图。\n仇英 ，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[23,24,25,26,7,53,28,58,121,1440,1441,1442,1443],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],{"id":2012,"slug":2013,"title":2014,"dynasty":239,"author":1793,"museum":77,"description":2015,"tags":2016,"thumbUrl":2017,"material":1647,"size":2018,"collection":425,"collections":2019,"showCount":1990,"zanCount":11,"manualWeight":41,"mainColor":70},221820,"yue-yang-lou-tu-xia-yong-221820","岳阳楼图","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何著笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。 其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[23,24,365,889,7,54,29,60,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a4943b845226bb520d7033519a172d.jpg","纵24.4厘米，横26.2厘米",[425,247],{"id":2021,"slug":2022,"title":2023,"dynasty":75,"author":464,"museum":77,"description":2024,"tags":2025,"thumbUrl":2026,"material":2027,"size":2028,"collection":85,"collections":2029,"showCount":1990,"zanCount":438,"manualWeight":41,"mainColor":70},221621,"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。",[23,99,24,25,26,7,101,54,60,28,59,62,571,61,64,157,57,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","绢本，淡设色","25.9*143cm",[85,425,127],{"id":2031,"slug":2032,"title":2033,"dynasty":239,"author":2034,"museum":395,"description":2035,"tags":2036,"thumbUrl":2037,"material":141,"size":2038,"collection":37,"collections":2039,"showCount":1990,"zanCount":41,"manualWeight":41,"mainColor":70},214296,"wu-zu-zai-lai-tu-yin-tuo-luo-214296","五祖再来图","因陀罗","因陀罗（1247-1317）是元代著名的画家，他的《元五祖再来图》是其代表作之一。\n\n《元五祖再来图》描绘了五位道士依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出五位道士与山林的和谐关系。因陀罗在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《元五祖再来图》被认为是因陀罗写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《元五祖再来图》也是收藏家们青睐的经典之作。\n\n因陀罗的《元五祖再来图》是一幅描绘五位道士依山而居的画作，它体现了道家哲学中“和谐”的理念。五位道士与周围的山林和谐相处，表现出人与自然和谐共处的理想。因陀罗的《元五祖再来图》不仅是一幅精美的画作，更是一首关于人与自然和谐相处的诗篇。",[23,24,25,99,7,101,28,62,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce02a048b10ef3981bf016dade452b6.jpg","32.7x44.6",[37],{"id":2041,"slug":2042,"title":2043,"dynasty":94,"author":2044,"museum":135,"description":2045,"tags":2046,"thumbUrl":2047,"material":83,"size":66,"collection":37,"collections":2048,"showCount":2049,"zanCount":438,"manualWeight":41,"mainColor":89},218387,"xie-liu-ru-shi-fu-jin-xiao-xiang-tu-gu-shao-218387","写柳如是幅巾小象图","顾韶","顾韶，字螺峰，钱塘(今杭州)人。清代画家顾洛女。其父擅人物、山水、花卉、翎毛，尤长仕女。写古衣冠，渊雅静穆。顾韶得父真传，人物、花卉臻妙，尤妙婴戏图。\n这幅肖像所画人物为明末清初名妓柳如是。上书小篆“柳如是幅巾小象”，落款“螺峰女史顾韶学画”，钤“螺峰”朱白文印。\n柳如是（1618—1664）本姓杨，名爱，字蘼芜，又有影怜、云娟等别名，改姓柳，名是，又名隐，字如是，号我闻室主人，人称河东君。嘉兴人。明末名妓，秦淮八艳之一。幼年为盛泽徐氏养女，后入吴江故相周道登家为侍婢。继为盛泽归家院妓，能诗善画，曾结交陈子龙，欲托身而未能。后嫁钱谦益为妾，南明亡，劝谦益殉国，不能从。谦益卒，族人争产，自经死。有《戊寅草》、《湖上草》等。\n史载柳如是喜男装。这幅小象中，她幅巾广袖，风姿如玉，眉目间自有清逸之气，可谓传神。",[24,25,243,7,54,28,58,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9021ddbd10d5a9fe53dfbc4a7171900.jpg",[37],64,{"id":2051,"slug":2052,"title":592,"dynasty":94,"author":1591,"museum":339,"description":2053,"tags":2054,"thumbUrl":2055,"material":141,"size":2056,"collection":37,"collections":2057,"showCount":2049,"zanCount":41,"manualWeight":41,"mainColor":89},218382,"luo-han-tu-jin-nong-218382","这是一幅长须罗汉坐在棕榈树下，神态安详的画，他已经获得了大罗汉的果位。这幅画是金农人物画的代表作。",[23,24,25,243,27,7,101,28,811,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75ebb87baf372dcdb84c225c1bba02a.jpg","69.1x25.5",[37],{"id":2059,"slug":2060,"title":2061,"dynasty":149,"author":150,"museum":49,"description":2062,"tags":2063,"thumbUrl":2064,"material":66,"size":66,"collection":66,"collections":2065,"showCount":2066,"zanCount":11,"manualWeight":41,"mainColor":70},237908,"ting-qin-zhou-chen-hong-shou-237908","听琴轴","《陈洪绶听琴轴》是明代画家陈洪绶创作的一幅绫本设色画，该画现藏于 。\n款署：“枫溪弗迟老人陈洪绶写于定香桥畔。\n”钤“字章侯”白文印。\n图绘一端庄文弱的女子在专心抚琴的场景。\n其优美的琴音吸引了周围的人，侍女驻足恭听，不愿打扰动听的旋律；男子侧耳静听，不愿落掉每一个音符。\n“弹”与“听”构成了画作的主题，也表达了文人所向往的一种娱乐情趣和他们日常的家居生活状态。\n此幅所绘人物形象古拙，线描造型准确传神，显现出作者深厚的艺术功底和既写实又独具韵味的笔墨特点，是其仕女人物画的代表作之一。",[24,25,99,243,54,53,7,28,58,1171,138,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f517614b1bbd46132ab010b3fe9ea3e.jpg",[],63,{"id":2068,"slug":2069,"title":2070,"dynasty":645,"author":76,"museum":49,"description":2071,"tags":2072,"thumbUrl":2073,"material":174,"size":175,"collection":66,"collections":2074,"showCount":2066,"zanCount":11,"manualWeight":41,"mainColor":89},231610,"fu-hua-bai-miao-shi-er-tian-tu-xiang-di-shi-tian-zhen-hai-ben-dong-jing-yi-ming-231610","佛画 白描十二天图像 帝释天(珍海本-东京)","此作为白描佛画，以纯墨线塑就神祇形象。作者以游丝描勾勒衣袂褶皱，婉转舒展如流云拂过，尽显织物飘逸柔润；刻画宝冠璎珞时则换为挺劲铁线描，凝练勾勒出庄严华贵的气度。\n帝释天面容慈悲沉静，眉眼间自带悲悯沉静的神性。两侧题字斑驳古拙，为画作晕染出厚重的岁月质感。整作极简笔墨中兼具宗教造像的肃穆威仪，尽显中古佛画的典雅法度，笔墨之间藏着东方宗教美术的内敛禅意，是一件极具韵味的宗教绘事佳品。",[23,24,25,27,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f79510cd2eea3790c69a98476d0571.jpg",[],{"id":2076,"slug":2077,"title":2078,"dynasty":149,"author":76,"museum":339,"description":2079,"tags":2080,"thumbUrl":2081,"material":499,"size":66,"collection":37,"collections":2082,"showCount":2066,"zanCount":41,"manualWeight":41,"mainColor":70},219523,"shuang-xian-ren-tu-yi-ming-219523","双仙人图","画面里两位仙人意态悠然，一位素衣宽袍，神情沉静垂手而立；另一位以叶为裳，虬髯浓密，正持笔轻触好友长须，亲昵随性，尽显知己投契的自在。\n\n线条清劲如铁线，衣纹舒展自然，叶裳晕染细致鲜活，浅淡古雅的设色衬出超凡仙逸。留白开阔空灵，将世外之人的澹泊闲情，知己同游的融融意态铺陈开来，笔底藏着山林隐者的逍遥，古意悠悠，静雅动人。",[23,24,25,243,53,7,54,28,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc7edf6d9652291b3fbe4295465e07a.jpg",[37],{"id":2084,"slug":2085,"title":2086,"dynasty":239,"author":693,"museum":184,"description":2087,"tags":2088,"thumbUrl":2090,"material":354,"size":2091,"collection":425,"collections":2092,"showCount":2093,"zanCount":41,"manualWeight":41,"mainColor":70},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,99,24,25,26,365,7,54,28,29,171,366,1225,81,2089,55],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[425,247],62,{"id":2095,"slug":2096,"title":2097,"dynasty":75,"author":1418,"museum":184,"description":2098,"tags":2099,"thumbUrl":2100,"material":457,"size":2101,"collection":85,"collections":2102,"showCount":2093,"zanCount":11,"manualWeight":41,"mainColor":89},219954,"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。",[23,99,24,25,101,7,1421,28,62,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b1cc436980034bf908ab2030dac5a49.jpg","31.3×58.9公分",[85],{"id":2104,"slug":2105,"title":2106,"dynasty":704,"author":2107,"museum":184,"description":2108,"tags":2109,"thumbUrl":2111,"material":83,"size":2112,"collection":37,"collections":2113,"showCount":2093,"zanCount":438,"manualWeight":41,"mainColor":70},219490,"wen-hui-tu-qiu-wen-bo-219490","文会图","丘文播","图绘四文士宴饮、赋诗、抚琴的雅集场景。四人均宽衣大袍，坐于榻上，身旁置酒杯、酒瓶，似在即席作文行酒。四位人物的姿态不一，一人停笔凝思，一人秉笔疾书，而右下者似已醉态微呈，意欲下榻，侍童忙为其穿靴并扶撑其腰，文士转身挥手，招呼怀抱锦袱之女子，而女子则淡妆素抹，作扭首含羞之态。左下背向文士，则牵住右下文士之腰带，似有不让其离席之状。三位挽双髻女子，或抱琴、或端杯侍立于榻旁。此图人物造型具有唐风，结构严谨，衣纹线条疏密有致，运笔极为娴熟。背景中的古树，枝干劲挺虬曲，树叶以三角形堆叠法绘成，并根据疏密搭配，间以色彩轻重渲染，使之古茂苍雄，更进一步衬托了“文会”主题之雅意。",[99,24,25,53,54,7,28,204,2110,62,188,202,409],"侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a055f28d65527ebeb12ed1c39e04aab.jpg","纵84.9厘米，横49.6厘米",[37],{"id":2115,"slug":2116,"title":2117,"dynasty":149,"author":2118,"museum":184,"description":2119,"tags":2120,"thumbUrl":2121,"material":141,"size":2122,"collection":37,"collections":2123,"showCount":2093,"zanCount":41,"manualWeight":41,"mainColor":89},219362,"guan-shi-yin-xiang-tu-shen-shi-chong-219362","观世音像图","沈士充","淡墨线条如行云流水，勾勒出观音端坐之姿。衣纹婉转流畅，纱幔轻盈似有风动，垂坠间尽显织物柔韵。她垂眸含慈，眉宇间凝着悲悯与安宁，头饰虽简却见匠心，衬得面容圣洁温婉。留白处散落的题跋与朱印，既添古朴韵味，亦映证作品流传脉络。整幅画以极简笔触，传递出深沉禅意与人文温度，观之如沐清辉，心渐沉静。",[24,25,99,243,27,28,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d098b00d77f489e63754c4af5e92d3.jpg","60.1x32",[37],{"id":2125,"slug":2126,"title":2127,"dynasty":149,"author":76,"museum":339,"description":2128,"tags":2129,"thumbUrl":2131,"material":83,"size":2132,"collection":37,"collections":2133,"showCount":2093,"zanCount":41,"manualWeight":41,"mainColor":70},218360,"yu-fu-tu-yi-ming-218360","渔父图","这幅画描绘了一条小船停泊在河岸边的一棵大柳树旁，船边有一个渔夫在睡觉，对面有一个小孩在盯着水面，船边挂着一个鱼哨，而画面中的水波似乎在摇晃着小船。",[23,24,101,7,28,59,61,64,62,2130],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51b1c5078844ad604b93da19526e59.jpg","25x25",[37,127],{"id":2135,"slug":2136,"title":2137,"dynasty":239,"author":1273,"museum":184,"description":2138,"tags":2139,"thumbUrl":2140,"material":83,"size":2141,"collection":37,"collections":2142,"showCount":2093,"zanCount":41,"manualWeight":41,"mainColor":70},216990,"shi-de-zi-tu-yan-hui-216990","拾得子图","拾得子图是指《拾得》这本书中所收录的图画，其中包含了许多关于中国古代历史、文化、生活、工艺技术的图画。《拾得》是元朝时期的一本图画书，作者是颜辉。这本书是在元朝时期绘制的，所以拾得子图中所描绘的内容也主要是元朝时期的。\n\n拾得子图中收录了许多元朝时期的图画，包括人物画、动物画、植物画、建筑物画、花卉画、工艺品画等。这些图画描绘了元朝时期的生活、文化、工艺技术等方面的内容，为我们了解元朝时期的历史、文化提供了重要的资料。",[24,25,243,27,28,101,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5385df89b8f503cbf4142f4a1cbf67d.jpg","152.8x69.5",[37],{"id":2144,"slug":2145,"title":1294,"dynasty":18,"author":76,"museum":820,"description":1295,"tags":2146,"thumbUrl":2147,"material":174,"size":175,"collection":66,"collections":2148,"showCount":2149,"zanCount":11,"manualWeight":41,"mainColor":70},226175,"ku-yong-dao-bei-bi-yi-ming-226175",[281,54,28,121,27,365,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c07dac132f05fefabb70d0f8300e753.jpg",[],61,{"id":2151,"slug":2152,"title":2153,"dynasty":94,"author":2154,"museum":49,"description":2155,"tags":2156,"thumbUrl":2157,"material":457,"size":66,"collection":37,"collections":2158,"showCount":2149,"zanCount":41,"manualWeight":41,"mainColor":2159},223276,"luo-han-chang-juan-hong-yi-fa-shi-223276","罗汉长卷","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,99,24,25,26,27,7,54,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5bdb6c55f2c12f941fbbee4339b485.jpg",[37],"FFFFFF",{"id":2161,"slug":2162,"title":2163,"dynasty":75,"author":464,"museum":77,"description":2164,"tags":2165,"thumbUrl":2166,"material":246,"size":2167,"collection":37,"collections":2168,"showCount":2149,"zanCount":438,"manualWeight":41,"mainColor":70},218626,"tang-feng-tu-ce-ma-he-zhi-218626","唐风图册","马和之，生卒年月不详，钱塘人（杭州），南宋著名人物画家，主要社会活动在高宗时期。据记载马和之的官方身份为画院待诏，又有文献说他曾考中进士，官至工部或兵部侍郎。这么看，在南宋画院中，马和之身份特殊，不是一般的伎术官员。南宋末期的著名文人周密说他为画师之首，语意是模糊的，具体情况有待学术界去研讨清晰。\n在绘画上，马和之以人物画著称。他的绘画技术主要学习唐代吴道子、宋代李公麟两家。技术成熟期的马和之，在吴、李基础上，独创了人物形象的独特描摹技术：柳叶描（又称蚂蟥描）。这种描法的线条粗细变化丰富，用笔起伏明显，清俊不羁，活泼潇洒，韵味十足。因他创作上的成就斐然，人们以“小吴生”称之，将其置于吴道\n子这类大师的行列。南宋以后的绘画大家黄公望、吴镇、唐寅、任伯年、徐悲鸿等人皆对其推崇备至。\n马和之的传世作品尚有很多，其中《后赤壁赋图》、《 古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[23,24,25,100,7,28,60,81,63,64,315,61,1693,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","27x44.7cm",[37],{"id":2170,"slug":2171,"title":2172,"dynasty":239,"author":1713,"museum":49,"description":2173,"tags":2174,"thumbUrl":2175,"material":141,"size":66,"collection":37,"collections":2176,"showCount":2149,"zanCount":41,"manualWeight":41,"mainColor":89},218244,"xue-ye-fang-dai-tu-zhang-wo-218244","雪夜访戴图","疏枝横斜，托出夜雪的清寒；孤棹轻漾，载得随性的旷达。画面中，枯树虬劲如铁，寒江空蒙似练，小舟泊于岸侧，篷窗半掩。舟中人物或凭舷凝思，或敛袖安坐，神态悠然自适。此作取王子猷雪夜访戴典故，不着一字写雪，却以萧索枯枝、静谧孤舟暗合冬夜清寂。笔墨简练传神，线条流畅婉转，皴染淡雅自然，将魏晋士人“乘兴而来，兴尽而返”的旷达心境，融入寒江孤棹的图景。观者仿佛能透过纸面，触摸那份不拘形迹的自在，感受超脱世俗的精神余韵，尽显古典文人画的意境之美。",[24,25,7,101,28,59,244,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52371083784394e711a04b815e88c70f.jpg",[37],{"id":2178,"slug":2179,"title":2180,"dynasty":75,"author":183,"museum":49,"description":2181,"tags":2182,"thumbUrl":2184,"material":457,"size":66,"collection":37,"collections":2185,"showCount":2149,"zanCount":11,"manualWeight":41,"mainColor":89},218088,"bai-miao-shi-liu-luo-han-du-hai-tu-li-gong-lin-218088","白描十六罗汉渡海图","宋朝时期，有一位名叫李公麟的画家，他创作了一幅名为“白描十六罗汉渡海图”的作品。这幅画描绘了十六位罗汉在海上渡江的情景。\n\n在这幅画中，十六位罗汉都站在船上，举着经书，准备渡江。他们身穿红袈裟，头戴黄色的僧帽，神情肃穆。周围的水面上有许多小鱼和蝴蝶在玩耍。\n\n这幅画的背景是一片蔚蓝的天空和海水，上面有云朵在飘动。整幅画的画风简洁明快，线条流畅，色彩明亮，充满了生机和动感。\n\n这幅画反映了宋朝佛教文化的特点，也是李公麟作品中的经典之作。",[23,24,26,7,27,28,60,1705,2183],"渡海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fe367beaa46b579b2e0e93d18fe367.jpg",[37],{"id":2187,"slug":2188,"title":2189,"dynasty":94,"author":1915,"museum":49,"description":2190,"tags":2191,"thumbUrl":2192,"material":66,"size":2193,"collection":111,"collections":2194,"showCount":2195,"zanCount":41,"manualWeight":41,"mainColor":89},237761,"mo-mei-tu-zhou-shi-tao-237761","墨梅图轴","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,243,101,7,138,157,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fab0adcf142610f1d8c057e202ce5f9.jpg","133×66cm.",[111],60,{"id":2197,"slug":2198,"title":2199,"dynasty":75,"author":464,"museum":77,"description":2200,"tags":2201,"thumbUrl":2202,"material":538,"size":2203,"collection":85,"collections":2204,"showCount":2195,"zanCount":11,"manualWeight":41,"mainColor":70},221628,"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。",[23,24,25,26,7,54,57,56,28,29,81,721,60,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[85,425,127],{"id":2206,"slug":2207,"title":475,"dynasty":75,"author":183,"museum":49,"description":2208,"tags":2209,"thumbUrl":2210,"material":174,"size":175,"collection":66,"collections":2211,"showCount":2212,"zanCount":41,"manualWeight":41,"mainColor":89},230972,"wu-ma-tu-li-gong-lin-230972","此图画的是宋朝元佑初年天驷监中的五匹西域名马，马旁各有一名奚官或圉人执辔引领。画中无作者款印，前4马后，各有黄庭坚签题的马名、产地、年岁、尺寸，卷末有黄庭坚“李公麟作”题跋：这些由西域诸国进贡的骏马，马名依序是“凤头骢”、“锦膊骢”、“好头赤”、“照夜白”，第五匹马佚名，经考证可能为“满川花”。画中的5位马官，两位是汉人，其余的为外族，形貌、服饰、神情各不相同，但在气质上却有着微妙的类似之处。",[23,99,24,25,26,7,54,28,315,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec0ca19437f2221e38f8bcfaa50fb4.jpg",[],59,{"id":2214,"slug":2215,"title":2216,"dynasty":149,"author":2217,"museum":184,"description":2218,"tags":2219,"thumbUrl":2220,"material":354,"size":66,"collection":66,"collections":2221,"showCount":2212,"zanCount":41,"manualWeight":41,"mainColor":89},228368,"sou-shan-tu-juan-li-zai-228368","搜山图卷","李在","苍松躯干虬结嶙峋，疤节错生尽显古拙雄健，松针攒簇如戟，苍劲之意溢出纸面。左侧群妖姿态怪诞灵动，或疾奔呼号，或惶然疾走，铁线白描勾勒出魑魅惊惶奔逃的身形，衣袂毛发皆带着仓皇动感，将神异妖物的惶遽神态刻画入微。\n\n淡墨晕染烘托出山林幽寂的荒蛮底色，笔力劲挺洗练，虚实相生间，搜山捉妖的紧张氛围跃然纸上，把这场神异搜山的诡谲张力诠释得淋漓尽致，尽显笔底风神，将山野间的奇幻荒怪之气铺陈开来。",[23,24,26,7,101,28,619,62,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F243e48218103e4f5026b059cf667cf60.jpg",[],{"id":2223,"slug":2224,"title":2225,"dynasty":75,"author":1871,"museum":2226,"description":2227,"tags":2228,"thumbUrl":2229,"material":457,"size":2230,"collection":85,"collections":2231,"showCount":2212,"zanCount":41,"manualWeight":41,"mainColor":89},221449,"zhong-shan-chu-you-tu-juan-gong-kai-221449","中山出游图卷","美国弗瑞尔美术馆","《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",[23,24,26,7,101,28,170,315,1276,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8280b5c0f8df796c30604681cc79ff9.jpg","纵32.8厘米，横169.5厘米",[85,425,127],{"id":2233,"slug":2234,"title":2235,"dynasty":75,"author":183,"museum":2226,"description":2236,"tags":2237,"thumbUrl":2239,"material":538,"size":2240,"collection":85,"collections":2241,"showCount":2212,"zanCount":438,"manualWeight":41,"mainColor":70},221406,"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。",[23,99,24,25,26,7,101,54,28,60,81,373,59,61,63,57,1875,2238,122,64,1693],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 x 521.5 cm",[85,37,247],{"id":2243,"slug":2244,"title":2245,"dynasty":75,"author":76,"museum":582,"description":2246,"tags":2247,"thumbUrl":2248,"material":141,"size":66,"collection":37,"collections":2249,"showCount":2212,"zanCount":11,"manualWeight":41,"mainColor":70},219587,"hu-fa-tian-wang-tu-yi-ming-219587","护法天王图","全作以长卷铺陈浩荡群像，排布疏密有致。左侧雅士云集，宽袍博带，神态或清隽沉凝，或温雅端方，铁线游丝般的线条勾勒出出尘风神。右侧融世俗百态，驯虎、舆车错落，仆役走卒情态鲜活，雅俗相映，消解了仙圣绘的疏离感。\n\n绢面虽经岁月晕染，浅淡古雅的设色依旧耐看，劲挺流转的线描尽显白描功底。衣袂飘举间将清贵气度与市井意趣揉为一体，在庄严仪轨之中藏着鲜活烟火，尽显中古人物画的叙事张力与笔墨意韵。",[23,24,25,26,27,7,54,53,28,618,619,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac3273b94acfdc6de56954e04e0abfb.jpg",[37],{"id":2251,"slug":2252,"title":2253,"dynasty":94,"author":2254,"museum":339,"description":2255,"tags":2256,"thumbUrl":2257,"material":499,"size":66,"collection":37,"collections":2258,"showCount":2212,"zanCount":41,"manualWeight":41,"mainColor":89},214995,"ren-wu-tu-ce-gu-jian-long-214995","人物图册","顾见龙","画面中，红衣僧闲坐虎背，身姿随意舒展，似与猛虎相得甚欢；蓝衫僧侧卧于地，怀中抱持乐器，眉眼间尽是悠然惬意。那头猛虎虽轮廓雄健，却温顺如犬，伏身贴地，与僧人亲昵相伴，猛兽的凌厉全然化作柔和。笔墨运用细腻传神，衣袂线条流畅婉转，虎的毛发晕染层次分明，质感毕现。整幅画将人物的闲适、动物的温驯交织，营造出清逸恬淡的禅意氛围，仿佛能听见林间风声与隐约乐声，尽显传统绘画中笔墨的灵动与人文的温情。",[23,99,24,25,100,54,101,7,28,619,618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1208ac2686fd778f7e364e29c9d2495.jpg",[37],{"id":2260,"slug":2261,"title":2262,"dynasty":75,"author":2263,"museum":49,"description":2264,"tags":2265,"thumbUrl":2266,"material":66,"size":66,"collection":66,"collections":2267,"showCount":2268,"zanCount":11,"manualWeight":41,"mainColor":70},227514,"ting-pu-tu-mi-fei-227514","听瀑图","米芾","北宋·米芾《听瀑图》(传)，纸本，42x35厘米，美国弗利尔美术馆藏。世已无米芾画迹传世，应该是明、清好事者按记载中的米芾画法为蓝本而进行的臆造之迹。\n\n元代以后，由苏轼（1037-1101）、米芾等人倡导的“文人画”审美趣味大为发展，并逐渐成为画坛主流，苏轼、米芾等人因首倡之功而备受推崇。一些“文人画”家和持“文人画”观点的理论家更是将米芾提升到画圣的高度。\n\n晚明大书画家、理论家董其昌（1555-1636）便极力推崇米芾，他说：“诗至少陵，书至鲁公，画至二米，古今之变，天下之能事毕矣。”在董其昌看来，米芾不仅是严格意义上的画家，而且还是一代宗师，画史地位是非常高的。\n\n董其昌在整个明清画坛的影响是毋庸置疑的，米芾因董其昌的极力推崇，在明清画坛上牢牢占据着重要地位。清书画鉴赏家卞永誉（1645-1712）评米芾画：“岂知南宫迥不群，一扫千古丹青尘。”显然，卞永誉也将米芾作为开宗立派的大家看待",[23,99,24,25,101,7,60,28,419,122,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b61a781aa7191005d890d7f6abbfaf4.jpg",[],58,{"id":2270,"slug":2271,"title":2272,"dynasty":149,"author":2273,"museum":135,"description":2274,"tags":2275,"thumbUrl":2277,"material":457,"size":2278,"collection":425,"collections":2279,"showCount":2268,"zanCount":41,"manualWeight":41,"mainColor":89},221933,"za-hua-ce-guo-xu-221933","杂画册","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,24,25,101,7,100,28,244,1594,55,2276],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0573efbe7b213e884e25992b2193b58.jpg","纵28.5 厘米横46.5 厘米",[425,37],{"id":2281,"slug":2282,"title":2283,"dynasty":239,"author":1273,"museum":546,"description":2284,"tags":2285,"thumbUrl":2288,"material":141,"size":66,"collection":37,"collections":2289,"showCount":2268,"zanCount":41,"manualWeight":41,"mainColor":89},219398,"zhong-jin-shi-yuan-ye-chu-you-tu-yan-hui-219398","钟进士元夜出游图","墨线劲挺如铁，勾勒出钟馗的凛凛威仪，群鬼随扈左右——或扛幡持械，步履生风；或嬉戏打闹，憨态可掬。简括造型里藏着生动细节：鬼卒夸张的肢体、钟馗沉凝的神情，在浓淡相宜的墨色中鲜活起来。画面以动态叙事，仿佛能听见队伍行进的喧腾，元夜的神秘氛围与人间烟火气交织。笔意洒脱却不失精准，将神鬼世界的诙谐与庄重融于一卷，尽显元人写意人物画的妙趣与功力，是寓庄于谐的艺术佳构。",[99,24,25,26,7,101,28,2286,1276,386,55,56,57,80,1875,2287,53],"鬼神","篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4635b72bdb16674e440c200b8a4b6d4b.jpg",[37],{"id":2291,"slug":2292,"title":2293,"dynasty":645,"author":76,"museum":694,"description":2294,"tags":2295,"thumbUrl":2296,"material":246,"size":2297,"collection":37,"collections":2298,"showCount":2268,"zanCount":41,"manualWeight":41,"mainColor":70},218315,"bai-yi-guan-yin-tu-yi-ming-218315","白衣观音图","画面中观音衣袂翩跹若流云泻地，轻盈舒展间尽显温婉神韵。身后圆月如璧悬于天际，清辉漫洒，衬得她面容柔和，眸光含慈，悲悯之意溢于眉宇。衣纹线条细腻流畅，褶皱层叠自然，笔墨灵动处见功底。上方疏枝横斜，影映清辉；下方水波微动，更添空灵澄澈之境。整体氛围静谧祥和，似能涤荡尘心，传递出超越世俗的慈悲安宁。观者凝神间，心神便被这份神圣静谧的美感包裹，沉醉于艺术与信仰交融的温柔力量中。",[24,25,243,27,28,7,54,571,61,157,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f74b241027c5bc565bf1a1a100e2598.jpg","180.3x83.5",[37],{"id":2300,"slug":2301,"title":2293,"dynasty":239,"author":76,"museum":49,"description":2302,"tags":2303,"thumbUrl":2304,"material":246,"size":66,"collection":37,"collections":2305,"showCount":2268,"zanCount":438,"manualWeight":41,"mainColor":70},217067,"bai-yi-guan-yin-tu-yi-ming-217067","白衣观音图是元朝时期的一幅佚名绘画，被认为是中国古代宗教图像艺术的杰作。这幅画描绘的是观音菩萨的形象，她身着白衣，头戴冠冕，手持莲花，神态庄严肃穆。\n\n观音菩萨是佛教传统中的一位菩萨，被认为是慈悲与智慧的化身。她的莲花代表了佛教的清净，而白色的衣服则象征着她的纯洁和超凡的品德。\n\n白衣观音图的风格独特，线条流畅，色彩明亮。画家巧妙地运用了透视法和光影效果，使得观音菩萨的形象更加立体生动。\n\n白衣观音图至今仍被认为是中国古代宗教绘画的杰作，其独特的风格和出色的艺术技巧吸引了众多观众的目光。它不仅是一幅优秀的艺术品，也是中国文化遗产的瑰宝。",[24,25,243,27,7,101,54,28,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53f25759ae0a1847993ffe0f015ebbf.jpg",[37],{"id":2307,"slug":2308,"title":2309,"dynasty":94,"author":2310,"museum":184,"description":2311,"tags":2312,"thumbUrl":2313,"material":141,"size":2314,"collection":37,"collections":2315,"showCount":2268,"zanCount":11,"manualWeight":41,"mainColor":89},216960,"gan-lu-da-shi-tu-yang-da-zhang-216960","甘露大士图","杨大章","这是杨大章的一幅虔诚之作，以白描的方式画出了观音，用的是细笔和淡墨。",[24,25,243,27,28,7,55,987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1759f3a863f1747347f926856bc74106.jpg","131.7x64.5",[37],{"id":2317,"slug":2318,"title":2319,"dynasty":704,"author":705,"museum":49,"description":2320,"tags":2321,"thumbUrl":2323,"material":66,"size":66,"collection":66,"collections":2324,"showCount":2325,"zanCount":41,"manualWeight":41,"mainColor":70},226707,"ting-qin-tu-zhou-wen-ju-226707","听琴图","周文矩是中国五代时期南唐人，生卒年不详，大约在南唐中主李璟、后主李煜时期，官至翰林待诏，擅长画佛道、人物、车马、屋木、山水题材，最擅长画仕女画。他是出色的肖像画家。所绘作品多以宫廷贵族的生活为题材，画风和唐代的周昉比较相近，独创了“战笔”描法。\n\n《听琴图》，传为五代周文矩所作，绢本，立轴，纵60厘米，横47厘米，现收藏于美国克利夫兰美术馆藏。画上题款“周文矩”，但传为明朝唐寅唐伯虎所作赝品。",[23,24,25,99,53,7,54,28,244,63,188,1171,2322,1347],"山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375f9f9c019d3847bfbc827a8b08238c.jpg",[],57,{"id":2327,"slug":2328,"title":2329,"dynasty":94,"author":1460,"museum":184,"description":1461,"tags":2330,"thumbUrl":1463,"material":141,"size":2332,"collection":37,"collections":2333,"showCount":2325,"zanCount":41,"manualWeight":41,"mainColor":89},219553,"qing-ding-guan-peng-ming-huang-ji-ju-ding-guan-peng-219553","清丁观鹏明皇击鞠",[23,99,24,25,26,53,7,54,28,315,2331,55],"击鞠","32.1x523.2厘米",[37,247],{"id":2335,"slug":2336,"title":2337,"dynasty":239,"author":693,"museum":694,"description":2338,"tags":2339,"thumbUrl":2340,"material":141,"size":2341,"collection":37,"collections":2342,"showCount":2325,"zanCount":41,"manualWeight":41,"mainColor":89},219499,"wei-mo-bu-er-tu-wang-zhen-peng-219499","维摩不二图","此幅画作描绘的是《维摩诘经》中的一件趣事，居士为摩维诘和代表智慧的文殊菩萨间的一次论法，据经文所载，维摩诘以沉默应对让他解释佛法的要求，微妙地阐述了是万物皆空的佛法实质。\n画后有两段重要的作者自跋，描述了此幅画作的创作背景。此画完成于1308年，受命于当时的皇太弟，也就是后来继位的元仁宗。跋文中明确记载了王振鹏接到元仁宗作画命令时的宫殿，并记有当时在场的拜住怯薛之名。\n王振鹏在跋文中提到，他是以金代马云卿摹李公麟的画作为他的范本，北京故宫博物院藏有一幅画，为《维摩演教图》的手卷，被归为李公麟的作品，但实际上应该是被王振鹏当做创作范本的马云卿的作品。\n在中国绘画中，常用极具流动感的线来描绘佛教人物衣纹，被称为“行云流水描”，右图中僧人所著的僧袍就是以此绘法描绘的，但王振鹏笔下颇有几何规则的线条，明显成铁线描特征，线条圆润规则无明显粗浅变化，表现为他对卧榻的图案和木纹一丝不苟的精致描绘。\n王振鹏对狮子的描绘可倾心倾力，他将一头猛兽塑造成了一只嬉戏的狮子狗，炉火纯青的笔法，从神兽精美的鬃毛上可见一斑。薄纱头巾，扇子，长袖宽袍，印度佛教居士维摩诘在这里俨然被塑造成了一个中国文人学士的模样。",[23,26,7,53,27,28,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ee15f114f82711278e555b4721cf3f.jpg","39.5厘米，横217.7厘米",[37],{"id":2344,"slug":2345,"title":2346,"dynasty":94,"author":1822,"museum":49,"description":2347,"tags":2348,"thumbUrl":2349,"material":66,"size":66,"collection":425,"collections":2350,"showCount":2351,"zanCount":11,"manualWeight":41,"mainColor":89},237613,"hong-ren-mei-hua-zhou-hong-ren-237613","弘仁梅花轴","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[24,25,243,7,101,138,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05d4f75e8c0b7583181dee88bfbac1e.jpg",[425,247],56,{"id":2353,"slug":2354,"title":2355,"dynasty":239,"author":1713,"museum":49,"description":2356,"tags":2357,"thumbUrl":2358,"material":174,"size":175,"collection":66,"collections":2359,"showCount":2351,"zanCount":41,"manualWeight":41,"mainColor":89},228078,"jiu-ge-tu-juan-zhang-wo-228078","九歌图卷","《九歌图》是元代张渥于1346年创作的画作，此画现藏于吉林省博物馆。画上题记：至正六年，丙戌，即1346年。\n《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[99,24,25,26,7,28,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd703b650dbb12a74da0ce542b73749.jpg",[],{"id":2361,"slug":2362,"title":2363,"dynasty":75,"author":464,"museum":2364,"description":2365,"tags":2366,"thumbUrl":2367,"material":354,"size":2368,"collection":85,"collections":2369,"showCount":2351,"zanCount":438,"manualWeight":41,"mainColor":70},221451,"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","美国波士顿博物馆","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。",[23,99,24,25,26,7,54,57,55,56,28,29,61,187,63,62,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[85,425,127],{"id":2371,"slug":2372,"title":2373,"dynasty":149,"author":1368,"museum":135,"description":2374,"tags":2375,"thumbUrl":2377,"material":141,"size":2378,"collection":37,"collections":2379,"showCount":2351,"zanCount":41,"manualWeight":41,"mainColor":89},219405,"tie-di-tu-wu-wei-219405","铁笛图","《铁笛图》表现的是一位文人雅士饮酒作歌的场景。画面的背景为古松森森、四寂无人的僻静之处；画的当中为一文士，焚香而坐，手端酒杯，其态陶然欲醉；侧边有一侍女，双手棒着一支尺许铁笛。此画技法精湛，松树以浓墨描画而成，令人一睹之下有雄健劲硕之感；画中人物线条流畅，神态毕肖，奇逸潇洒，分外动人。",[24,25,7,28,998,139,1440,1441,1442,1443,2376,1171,55],"扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37d0c161bcf80421932b82d79808e2.jpg","纵32.1厘米，横155.4厘米",[37],{"id":2381,"slug":2382,"title":2383,"dynasty":239,"author":76,"museum":49,"description":2384,"tags":2385,"thumbUrl":2387,"material":101,"size":66,"collection":247,"collections":2388,"showCount":2351,"zanCount":41,"manualWeight":41,"mainColor":70},218496,"dong-po-qi-lv-tu-yi-ming-218496","东坡骑驴图","驴背人影衣袂掀动，似携一身野风穿行于淡墨峰峦间。松枝斜出如笔，与天边流云共织清寂，驴蹄轻踏处，草叶簌簌声仿佛随墨色漫开。笔墨简劲却藏深情，没有繁复设色，仅以水墨勾勒人物的孤远与从容——那是坡公贬谪途中的淡然，也是画者对先贤心境的隔空呼应。峰峦的淡皴如旧梦晕染，松风与驴鸣似在耳畔低回，简淡画面里，沉潜着文人遭际中的旷达文心。每一道笔触都像在诉说：纵使前路风雨，仍以悠然姿态，踏遍山河。画面虽简，意蕴却厚，如陈酒浅酌，余味漫过时光。",[23,24,25,243,101,954,7,28,2386,811,188,1306],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f93ebd14f269b38bf81415ee2b5a2d.jpg",[247],{"id":2390,"slug":2391,"title":2392,"dynasty":149,"author":2003,"museum":49,"description":2393,"tags":2394,"thumbUrl":2395,"material":66,"size":66,"collection":66,"collections":2396,"showCount":2397,"zanCount":41,"manualWeight":41,"mainColor":70},228432,"guan-yin-xiang-li-zhou-chou-ying-228432","观音像立轴","此作用铁线白描写就，观音安坐高榻之上，衣褶线条细劲匀停，如流云舒卷，将纱衣轻柔垂坠之态尽皆铺展。菩萨面容温婉沉静，宝相端严，身旁童子神态稚拙恭谨，烘托出清和肃穆的禅意。\n\n右上方题跋与造像相映成趣，画幅下方浅绘乘蛟逐月，笔意简淡空灵，衬出佛界的幽远高渺。整作未施丹青，却凭借精妙线法勾勒出丰盈神态与物象质感，褪去浓丽浮华，尽显白描素净洗练之美，将观音的慈悲静定，融于每一缕流转的线条之中，清寂中自含庄严禅韵。",[23,243,27,53,7,365,28,171,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe329623b759309ed5ef59a72ea6029c0.jpg",[],55,{"id":2399,"slug":2400,"title":2401,"dynasty":149,"author":150,"museum":49,"description":2402,"tags":2403,"thumbUrl":2404,"material":66,"size":66,"collection":66,"collections":2405,"showCount":2397,"zanCount":41,"manualWeight":41,"mainColor":70},228324,"pu-sa-mo-ding-tu-chen-hong-shou-228324","菩萨摩顶图","此作用笔清劲圆转，白描衣纹古拙又带着灵动意趣，翩然衣袂暗藏沉静厚重的质感。高僧垂目含凝，面相奇古内敛，斜倚的锡杖间，清肃威仪隐然流露。身旁童子神态鲜活灵动，一动一静反差相生，暗合禅家动静之趣。\n\n古雅错落的题跋与画面相映，书画合璧交融文气禅意。设色素淡克制，以赭石与墨色晕染，尽显古澹空灵意境。笔底揉合出世静定与入世生气，简约铺陈间晕开幽远禅韵，寥寥数笔勾勒出超脱世外的清寂氛围感。",[23,149,24,25,243,27,28,54,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13b60712db3d2482a26bf69baa0e528.jpg",[],{"id":2407,"slug":2408,"title":2409,"dynasty":149,"author":2410,"museum":77,"description":2411,"tags":2412,"thumbUrl":2413,"material":2414,"size":2415,"collection":66,"collections":2416,"showCount":2397,"zanCount":438,"manualWeight":41,"mainColor":89},221997,"xiang-jun-xiang-fu-ren-tu-wen-zheng-ming-221997","湘君湘夫人图","文徴明","该图是文徵明早期仅存的人物画名作。此图根据屈原《九歌》中“湘君”、“湘夫人”两章而作。画面上湘君、湘夫人一前一后，前者手持羽扇，侧身后顾，似与后者对答，神情生动。人物造型来自晋顾恺之《女史箴图》、《洛神赋图》，形象古雅，体态修长，长袖飘逸，衣裙曳地，用游丝描，施朱红及白粉，精工古雅。从文徵明和王稺登的题跋可知，文徵明曾请仇英以此题作画，但文氏看过后并不满意，自己又重新创作。可见，文氏是在刻意追求一种“古意”，与仇英有不同的审美趣好。画上方自书《湘君》、《湘夫人》两章，后署“正德十二年丁醜二月已未停雲館中書”。正德十二年（1517年），时文徵明48岁。本幅有文徵明、文嘉、王稺登题跋。\n经清·耿昭忠等鉴藏。",[23,24,25,99,243,53,7,54,28,58,55,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97f60c8237a52c52ad96b4e9d3caf10.jpg","纸本，淡设色","纵100.8厘米，横35.6厘米",[],{"id":2418,"slug":2419,"title":2420,"dynasty":149,"author":76,"museum":339,"description":2421,"tags":2422,"thumbUrl":2423,"material":83,"size":2424,"collection":37,"collections":2425,"showCount":2397,"zanCount":11,"manualWeight":41,"mainColor":70},219545,"qi-lv-ren-wu-shan-shui-tu-yi-ming-219545","骑驴人物山水图","此作以水墨写意秋寒山行之景，高崖斜出，枯木虬枝缀着残叶，淡墨晕染远山烟岚，虚实相生间漾出清远萧疏之境。前景行旅意趣盎然，骑驴策缓者衣衫宽博，似在缓赏山光，仆役负囊随行，将羁旅况味藏于画面细节。笔墨简括苍劲，以留白衬出山野空寂，尽显文人山水重意境、简笔墨的写意风神，铺陈出寒秋远行的清寂悠然。",[23,24,101,408,28,60,2386,244,188,1693,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19352433e6cbac8b95bb8f0f5f3d2250.jpg","92x46.5厘米",[37,425],{"id":2427,"slug":2428,"title":2429,"dynasty":75,"author":76,"museum":49,"description":2430,"tags":2431,"thumbUrl":2433,"material":66,"size":66,"collection":66,"collections":2434,"showCount":2435,"zanCount":41,"manualWeight":41,"mainColor":70},227847,"song-mo-gu-kai-zhi-luo-shen-fu-tu-juan-yi-ming-227847","宋摹顾恺之洛神赋图卷","此作以辞赋为骨，铺展缥缈爱恋。山峦云霭间，洛神凌波微步，衣带蹁跹，与曹植遥遥相望，情思暗涌。线条细劲连绵如春蚕吐丝，古雅设色晕开绢本旧韵，将洛神仙姿、侍众恭谨、仪仗威仪一一铺展。山海林泉错落，云雾萦回如幻，把初见的惊艳、相恋的缱绻、别离的怅惘揉进山水里，诗画相融，将文字中的深情化作可视丹青，晕染出千年前那场哀怨缥缈的人神之恋，尽显晋唐风骨的温婉雅致。",[23,24,26,52,54,53,7,60,28,269,171,315,29,81,673,1224,2432,1727,372,188,370],"侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08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，为周昉(约730-800)所创，「菩萨端严，妙创水月之体」。周昉所画，「掩障菩萨圆光及竹，并是刘整成色。」后朱景玄《唐朝名画录》及《太平广记》均有类似记载，唯其画无传。现存最早的水月观音画，见于敦煌莫高窟《千手千眼观音菩萨坐像》，水月观音位于该画右下角，绘成于九四三年，现藏法国吉美博物馆。画中观音右手持柳枝，左手托净瓶，坐姿呈半跏思维相；周围泉水萦映，背倚修竹。观音头饰宝冠，身披璎珞，富丽华美，法相庄严。",[23,24,99,243,27,7,101,28,2494,571,188,61],"观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad1c02b1758bf9ed874046a042ba650.jpg",[],52,{"id":2499,"slug":2500,"title":2501,"dynasty":94,"author":1915,"museum":77,"description":2502,"tags":2503,"thumbUrl":2504,"material":2505,"size":66,"collection":66,"collections":2506,"showCount":2497,"zanCount":11,"manualWeight":41,"mainColor":89},234504,"yuan-ji-mei-hua-ce-dan-ye-shi-tao-234504","原济梅花册单页","石涛（1642年－1708年）清代著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。明靖江王朱亨嘉之子。与弘仁、髡残、朱耷合称“清初四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,99,100,101,7,57,55,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3586e802482ec56e20f1a800f31d1e.jpg","纸本，水墨",[],{"id":2508,"slug":2509,"title":2510,"dynasty":94,"author":1915,"museum":77,"description":2511,"tags":2512,"thumbUrl":2514,"material":2505,"size":66,"collection":66,"collections":2515,"showCount":2497,"zanCount":11,"manualWeight":41,"mainColor":89},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[23,24,26,101,408,57,7,60,28,59,188,81,2513,998,422],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg",[],{"id":2517,"slug":2518,"title":2519,"dynasty":94,"author":2520,"museum":49,"description":2521,"tags":2522,"thumbUrl":2524,"material":66,"size":66,"collection":37,"collections":2525,"showCount":40,"zanCount":41,"manualWeight":41,"mainColor":89},237689,"diao-ying-shi-nv-tu-zhou-xu-lan-237689","调鹦仕女图轴","徐兰","徐兰 ，生卒年不详，约活动于康熙、雍正年间。字芬若，号芝仙，江苏常熟人。少从王士祯学诗，诗体近李贺，擅画花卉及白描人物，线条生动，名盛一时。二十岁时出游京师，数十年仅回乡一次。",[24,25,243,7,53,28,58,2523,1440,1441,1443,206],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd148ea9e16bb0d745cc44e58dfa559.jpg",[37],{"id":2527,"slug":2528,"title":2529,"dynasty":239,"author":255,"museum":77,"description":2530,"tags":2531,"thumbUrl":2532,"material":1647,"size":2533,"collection":247,"collections":2534,"showCount":40,"zanCount":41,"manualWeight":41,"mainColor":70},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839","古木竹石图轴","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[23,24,25,99,243,101,7,62,122,157,2276,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[247,2535],"竹石精选",{"id":2537,"slug":2538,"title":2539,"dynasty":75,"author":2540,"museum":339,"description":2541,"tags":2542,"thumbUrl":2549,"material":457,"size":66,"collection":66,"collections":2550,"showCount":40,"zanCount":11,"manualWeight":41,"mainColor":89},218379,"da-sui-qiu-tuo-luo-ni-lun-man-cha-luo-ban-hua-wang-wen-zhao-218379","大随求陀罗尼轮曼茶罗版画","王文沼","轮盘如密语织就的星河，层层经文环伺中心神祇，每一笔线条都藏着梵呗的韵律。纤细却骨力内含的刻线，将密教曼茶罗的繁复仪轨凝于一纸：中心陀罗尼轮盘旋绕无尽真言，四周边框纹饰与护法形象相映，祥云缭绕间似有梵音流动。宋代版画的精湛工艺在此尽显，线条疏密有致，神祇姿态庄严，经文排布规整如律。黑白之间，千年虔诚仿佛仍在纸上游走，每处纹路都是通往秘境的密钥，静穆中透着震慑人心的力量——它不仅是宗教仪轨的视觉化，更是刻工匠心与信仰温度的永恒凝结。",[1345,2543,27,2544,7,2545,2546,2547,2548],"版画","木刻","文字","宗教人物","圆形图案","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F624a1ab5fbe51925afc91fa4c06efe10.jpg",[],{"id":2552,"slug":2553,"title":2554,"dynasty":645,"author":2555,"museum":49,"description":2556,"tags":2557,"thumbUrl":2558,"material":174,"size":175,"collection":66,"collections":2559,"showCount":2560,"zanCount":41,"manualWeight":41,"mainColor":89},231609,"bai-miao-shi-er-tian-tu-xiang-feng-tian-ri-ben-231609","白描十二天图像 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字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,99,24,25,26,7,101,28,60,62,188,27,1705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170319a288dca7837131a3e85962f9be.jpg",[],48,{"id":2675,"slug":2676,"title":1059,"dynasty":94,"author":909,"museum":1560,"description":2677,"tags":2678,"thumbUrl":2679,"material":2680,"size":1565,"collection":66,"collections":2681,"showCount":2673,"zanCount":41,"manualWeight":41,"mainColor":89},232936,"song-lu-tu-zhou-zhu-da-232936","朱耷（约1626年—约1705年），号八大山人，又号雪个、个山 、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。\n八大山人是宁献王朱权的后裔，大明宗室对鹿有极深的感情。古代的鹿象征至高无上的皇权地位。鹿在中国有着非常吉祥的寓意，它不仅代表长寿，还与“禄”字谐音，故国画中间常借画鹿传达贺寿或加官进爵之意。八大山人画鹿存世十余幅，大都画一两只鹿，而画群鹿及配山水至今仅见此一幅。",[24,25,243,101,7,218,810,619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7891ac0bf8822102bdf85850797f6e1f.jpg","纸本 墨笔",[],{"id":2683,"slug":2684,"title":2685,"dynasty":645,"author":76,"museum":49,"description":2686,"tags":2687,"thumbUrl":2689,"material":174,"size":175,"collection":66,"collections":2690,"showCount":2673,"zanCount":41,"manualWeight":41,"mainColor":89},231794,"gu-hua-fen-ben-zhong-kui-xiang-li-zhou-yi-ming-231794","古画粉本 钟馗像立轴","此作以淡墨勾勒晕染，将钟馗威严肃杀的神态尽皆铺陈。画家以虬髯环眼塑造出钟馗狞厉刚猛的面容，按剑而立的雄硕身姿，满是镇伏邪祟的浩然正气。衣纹兼用铁线、兰叶描，笔力顿挫劲健，随身形走势跌宕起伏，将衣物的厚重质感与钟馗的刚健勇武融为一体。墨色浓淡相宜，须发、冠履层次分明，虽未施重彩，却将钟馗的凛然神采烘托得淋漓尽致，尽显传统人物画“以形写神”的精髓，把这位镇邪判官的威严气魄刻画得入木三分，是极具功力的传神佳作。",[23,24,243,101,7,28,55,2688,27],"粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d0c3b8f23c66f9ab7516659a3bef79.jpg",[],{"id":2692,"slug":2693,"title":2694,"dynasty":149,"author":2695,"museum":49,"description":2696,"tags":2697,"thumbUrl":2699,"material":66,"size":66,"collection":111,"collections":2700,"showCount":2673,"zanCount":41,"manualWeight":41,"mainColor":89},222405,"fang-chen-dao-fu-hua-hui-juan-quan-juan-du-da-zhong-222405","仿陈道复花卉卷全卷","杜大中","陈道复也是明代极富名气的绘画大家之一。他在传统写意绘画的基础上，将草书笔意融入写意花卉画中，开创了大写意花卉画的新风貌，其作品价值亦不俗！该作同时融入了两大绘画艺术家的风格特色，可谓魅力非凡\n继承了陈道復清新隽雅的画法，作品具有典型的晚明时期花卉画风格。卷尾署款“万历戊戌夏日汝南周之冕写。” 钤白文方印“服卿氏”、“周之冕印”。画面中有吴幼培、杜大中题诗数首，图后有朱鹭题跋。\n吴门画派是明中期重要的绘画流派，尤以山水画成就最高，标志着文人画走向极盛！而周之冕画得最多也最有成就的是山水画。",[23,24,25,26,52,101,7,102,138,2238,2698,941,56,55],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff15bf087597467f842c177242ffd37.jpg",[111,247],{"id":2702,"slug":2703,"title":2704,"dynasty":239,"author":76,"museum":135,"description":2705,"tags":2706,"thumbUrl":2707,"material":246,"size":66,"collection":37,"collections":2708,"showCount":2673,"zanCount":41,"manualWeight":41,"mainColor":70},218471,"bai-miao-qun-xian-xiang-yi-ming-218471","白描群仙像","素绢铺展，墨线如流霞婉转，勾画出群仙雅聚的清灵之境。人物神态各异：或执羽轻摇，衣袂飘举间见笔墨凝练；或躬身颔首，似与同侪低语，情态生动。伏侧的虎形温顺灵动，无半分戾气，恰与仙者的超然相映成趣。线条兼具铁线的劲挺与蚕丝的柔细，衣纹转折、须发纤毫皆精准传神，不施丹青却鲜活可感。整幅画携古卷幽韵，将仙凡相契的闲逸之气凝于笔端，墨色虽简，意境却远，引人沉醉于那份古朴雅致的超凡之美。",[24,25,7,28,27,618,619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dcc4913ac8e436933091ef6c1afde81.jpg",[37],{"id":2710,"slug":2711,"title":2712,"dynasty":149,"author":150,"museum":49,"description":2713,"tags":2714,"thumbUrl":2717,"material":66,"size":66,"collection":66,"collections":2718,"showCount":2719,"zanCount":11,"manualWeight":41,"mainColor":70},228282,"fang-tang-ren-jiao-yin-shang-gu-tu-chen-hong-shou-228282","仿唐人蕉荫赏古图","苍劲芭蕉如墨云翻卷，衬着嶙峋古雅的玲珑湖石，辟出一方幽寂天地。宽袍高士踞坐案前，清癯眉眼凝注古物，沉静间漫溢追慕唐风的幽古意趣。侍立童子恭谨端持器物，朴拙身形与高士的沉静古雅相映成趣。\n\n全作用笔清劲凝练，设色古淡沉静，以奇逸高古的造型风格，将文人幽居赏玩的雅静襟怀晕染开来，简淡间尽是悠长的古雅余韵。",[23,24,25,243,54,53,7,28,787,157,206,2715,64,2716],"童子","仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a2a9d4591340b66ef93084f64ccfd1.jpg",[],47,{"id":2721,"slug":2722,"title":2723,"dynasty":18,"author":76,"museum":820,"description":1295,"tags":2724,"thumbUrl":2726,"material":174,"size":175,"collection":66,"collections":2727,"showCount":2719,"zanCount":41,"manualWeight":41,"mainColor":70},226489,"ku-yong-dao-ding-bu-yi-ming-226489","窟甬道顶部",[281,27,54,7,28,535,367,2548,2725],"建筑元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4891b46a78d4abcdaee6dc4824bd9eb.jpg",[],{"id":2729,"slug":2730,"title":2731,"dynasty":94,"author":2732,"museum":49,"description":2733,"tags":2734,"thumbUrl":2735,"material":66,"size":66,"collection":66,"collections":2736,"showCount":2719,"zanCount":41,"manualWeight":41,"mainColor":89},224354,"lin-quan-chun-mu-tu-zhou-jian-jiang-224354","林泉春暮图轴","渐江","此作用笔瘦硬峭拔，以极简勾勒写危崖峻立，皴擦淡简却见山石棱骨清奇。崖间古木槎枒、幽居隐现，水岸扁舟系于浅汀，茅舍独处一隅，寥寥数笔便晕开暮春空山的静寂清寒。\n\n画面留白空灵通透，淡墨轻岚里裹挟着出尘禅意，题诗与画意相融，将杜鹃啼暮的春深意趣和林泉幽隐的襟怀合而为一。笔底萧疏淡远，把江南山水的冷雅秀逸，化作洗尽铅华的林下高致，尽显静穆出尘的画中真意。",[23,24,25,243,101,408,7,60,188,81,373,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e89fcb2f45dbcaccf688fec7a72e8a.jpg",[],{"id":2738,"slug":2739,"title":2740,"dynasty":149,"author":964,"museum":135,"description":965,"tags":2741,"thumbUrl":2743,"material":457,"size":2744,"collection":425,"collections":2745,"showCount":2719,"zanCount":41,"manualWeight":41,"mainColor":89},222484,"shang-bo-hua-ji-xuan-36-1-zhang-lu-222484","上博画集选36-1",[23,99,24,101,7,571,2742],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b5d5778cff96abe98aa324850a403d.jpg","55.88厘米 27.94厘米",[425,37],{"id":2747,"slug":2748,"title":2749,"dynasty":149,"author":1368,"museum":49,"description":2750,"tags":2751,"thumbUrl":2752,"material":66,"size":66,"collection":66,"collections":2753,"showCount":2754,"zanCount":11,"manualWeight":41,"mainColor":89},228369,"pi-pa-mei-ren-tu-wu-wei-228369","琵琶美人图","《琵琶美人图》是吴伟创作的一幅中国国画作品，创作于明代。\n该画纸本水墨，现藏于美国印地安那波里斯美术馆。\n作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n吴伟的这件传世国画作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n作者采用近白描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n画面无任何背景，主体突出，简洁明快。\n作品上面上有孙一元、黄姬水等三人题的诗跋，称“江夏兹图，允为神品”。\n《琵琶美人图》在表现技法上与工笔白描一体，略似北宋李公麟。\n但是较之画家早年的《铁笛图》，更加流畅秀润，风神俊爽。\n《画史会要》、《 》等著录。\n画一位手抱琵琶的女子,侧面低首,神情幽怨哀愁。\n画家用近折描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n吴伟（1459-158 ），江夏（今湖北武昌）人。\n龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。\n弱冠至金陵画名遂起。\n相传伟性戆直，有气岸而豪放，尝遇庞老人击石得髓，伟饮其半，遂以画名。\n成国朱公延至幕下，以小仙呼之，因以为号。\n宪宗时待诏仁智殿，好剧饮狎妓，人欲得伟画者，则载酒携妓往。\n一日被诏正醉，中官扶掖入殿，命作松泉图。\n伟跪翻墨汁，信手涂抹，宪宗叹曰：「真仙笔也。\n]又孝宗命画称旨，授锦衣百户，赐印章曰「画状元」。\n吴伟画人物出自吴道子，纵笔不甚经意，而奇逸潇洒动人，山水树石俱作斧劈皴。\n白描尤佳。\n尝游 渴，从老妪索茗，明年复过之，老妪已谢世。\n援笔追写其像，其子见之大恸，乞而藏之。\n又尝饮友人家，酒间作画，戏取莲房濡墨印纸上数处，莫测其用意，忽起纵笔挥洒成捕蟹图，最为神妙。\n孝宗喜马、夏画风，而画院戴进、吴伟均承继马、夏，成为一时风尚，号为“浙派”。\n吴伟亦号“江夏派”。\n其后吴派既盛，浙派渐归澌灭。\n卒年五十。",[23,24,25,243,7,101,28,58,1171,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5696b91097f04f9e47a6f55178478.jpg",[],46,{"id":2756,"slug":2757,"title":2758,"dynasty":75,"author":2759,"museum":77,"description":2760,"tags":2761,"thumbUrl":2763,"material":901,"size":2764,"collection":85,"collections":2765,"showCount":2754,"zanCount":193,"manualWeight":41,"mainColor":70},221560,"su-wu-mu-yang-tu-li-di-221560","苏武牧羊图","李迪","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。",[23,99,24,25,889,54,7,28,2762,619,811,139],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaa42b0901bb55ad17260f047b24a30.jpg","24.4x21.5厘米",[85,37,127],{"id":2767,"slug":2768,"title":2769,"dynasty":75,"author":183,"museum":694,"description":2770,"tags":2771,"thumbUrl":2774,"material":246,"size":1454,"collection":37,"collections":2775,"showCount":2754,"zanCount":438,"manualWeight":41,"mainColor":89},216770,"xiao-jing-tu-chang-juan-li-gong-lin-216770","孝经图长卷","李公麟的孝经形象在宋代以来的各种作品中被反复提及，而且大多以不止一种形式流传。",[23,99,24,25,26,7,101,28,811,139,63,1042,2772,2773],"桌椅","景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52813534dd45106294016e482651eab3.jpg",[37],{"id":2777,"slug":2778,"title":2779,"dynasty":149,"author":2780,"museum":49,"description":2781,"tags":2782,"thumbUrl":2783,"material":174,"size":175,"collection":66,"collections":2784,"showCount":2785,"zanCount":41,"manualWeight":41,"mainColor":89},287863,"ren-wu-tu-juan-shi-liu-shen-xian-zhou-dian-287863","人物图卷－十六神仙","周颠","周颠（？－？），明朝初年颠僧，建昌（今江西永修）人。本名不详，因为行事疯癫，人称周颠。\n朱元璋讨陈友谅时，周颠一直来求见，朱元璋很反感，于是把他处以烹杀，但是烧不死他，于是朱元璋将他寄养于蒋山寺。《明史·方伎传》以《周颠仙传》为根据收录他的传记。朱元璋亲著《周颠仙传》，纪周颠仙事迹。内有太祖御制《祭天眼尊者文》一首，《群仙诗》及《赤脚僧诗》各一首。\n民间相传，朱元璋病时，梦见一个佛坐在龙椅上念经，随即降下一个彗星，火焚宫殿。于是从庐山找来周颠发问，是不是亡国之兆。周颠说：“佛在龙座上，宫殿又有火，象征国号‘大明’，是国家昌盛之意。”朱元璋说：“彗星是不是周公辅政？”周颠却笑着说：“不是周公，就是召公。这个佛不是被召公赶走，就是要帮助召公。”周颠就走了。朱元璋一直不理解，到自己死前才突然理解了，把年轻时穿过的一套袈裟与一柄匕首包好，拿给建文帝，说：“我本来出身就是和尚，有困难的时候，你也知道该怎么办。”",[23,24,26,25,7,101,28,1727,27,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9f1aff475a20d5d17b1bd203533867.jpg",[],45,{"id":2787,"slug":2788,"title":2789,"dynasty":94,"author":2790,"museum":49,"description":2791,"tags":2792,"thumbUrl":2797,"material":174,"size":175,"collection":66,"collections":2798,"showCount":2785,"zanCount":41,"manualWeight":41,"mainColor":70},287450,"zhi-hua-nu-rong-zhong-kui-tu-gao-qi-pei-287450","指画怒容钟馗图","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[99,24,25,243,101,7,28,2793,2794,2795,2796],"指画","钟馗","怒容","神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387e507c0fdc2a5bd90e16e3c58a00a8.jpg",[],{"id":2800,"slug":2801,"title":2802,"dynasty":149,"author":2803,"museum":77,"description":2804,"tags":2805,"thumbUrl":2809,"material":2810,"size":2811,"collection":66,"collections":2812,"showCount":2785,"zanCount":41,"manualWeight":41,"mainColor":70},234171,"zhong-jia-shan-yin-wang-ping-yuan-cun-jing-tu-juan-dong-qi-chang-234171","钟贾山阴望平原村景图卷","董其昌","画中山石用中锋细笔勾写轮廓，继以短笔浓点或卧笔长皴表现其阴阳向背。画树运笔率意，注重枝枒曲直姿态。构图平远开阔，呈现出江山无尽的悠远之趣。董其昌将历史上的山水画家分为南北两个派系，自己崇“南”抑“北”，追求笔墨沉稳雅致。董氏以自己提倡的南方山水画名家惠崇、巨然的笔意绘制此图，愈加体现出从容恬静中蕴含的冲淡平和的文人气息。",[23,24,25,26,101,60,408,56,55,7,81,2806,187,61,2807,2808,373,998],"村庄","远山","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d659f24b6f6cd77b8ff45c08be3e4a9.jpg","金笺，墨笔","纵28.2厘米，横252厘米",[],{"id":2814,"slug":2815,"title":1220,"dynasty":239,"author":76,"museum":184,"description":2816,"tags":2817,"thumbUrl":2818,"material":538,"size":2819,"collection":66,"collections":2820,"showCount":2785,"zanCount":41,"manualWeight":41,"mainColor":70},233115,"long-zhou-duo-biao-tu-juan-yi-ming-233115","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。\n他曾先后两次画过《金明池夺标图》卷，描绘的是北宋崇宁年间（112-116年），每年三月三日皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。\n由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七八本之多。\n此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。\n殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。\n正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[24,25,99,26,7,28,1228,81,315,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe290f2a56042ec07c31d9aaf702c8382.jpg","该幅 29.5x359公分、隔水一 18公分、隔水二 18.8公分",[],{"id":2822,"slug":2823,"title":2824,"dynasty":239,"author":2825,"museum":77,"description":2826,"tags":2827,"thumbUrl":2828,"material":101,"size":2829,"collection":37,"collections":2830,"showCount":2785,"zanCount":41,"manualWeight":41,"mainColor":89},219275,"li-er-shou-jing-tu-sheng-mao-219275","李耳授经图","盛懋","盛懋，字子昭，浙江嘉兴人，约活动于元至正年间(1341--1367年)。其家世代以画为业，他继承家学，善画人物、山水，风格近董源和赵孟頫，用笔较尖峭繁细，山石多用披麻、解索皴，设色明丽，主体面貌属董巨派系。",[23,24,25,26,7,53,28,998,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7141c0d84eb6efa5c43db7928d3b5e.jpg","24.8x117.7厘米",[37],{"id":2832,"slug":2833,"title":592,"dynasty":149,"author":2834,"museum":184,"description":2835,"tags":2836,"thumbUrl":2837,"material":499,"size":2838,"collection":37,"collections":2839,"showCount":2785,"zanCount":41,"manualWeight":41,"mainColor":70},218463,"luo-han-tu-dai-jin-218463","戴进","明人画景，喜欢参透人物的真实，戴进这幅画中的罗汉手持法杖静静地坐在堂前，左手徐徐伸向猛虎，另一个僮仆侧身在门后窥视，表现出恐惧，而罗汉、猛虎却平静自如。人物的脸部刻画精细，生动传神；岩石上凿有大斧头，水墨淋漓，粗壮有力。笔触迅捷，推进有形，笔墨有聚有放，工作与书写之间刚柔相济，巧拙相间。",[23,24,25,243,27,7,101,28,618,619,122,811,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a316db5cd7b66cdcda9599be7778b79.jpg","113.9x36.7",[37],{"id":2841,"slug":2842,"title":2843,"dynasty":239,"author":76,"museum":49,"description":2844,"tags":2845,"thumbUrl":2846,"material":141,"size":66,"collection":37,"collections":2847,"showCount":2785,"zanCount":41,"manualWeight":41,"mainColor":70},218241,"guan-yin-xiang-yi-ming-218241","观音像","古绢泛黄的肌理间，墨线轻勾出观音趺坐之姿。衣纹流转如微风拂水，宽袍广袖间藏着沉静慈悲。她身侧瓶花斜插，清供映心；石畔童子躬身，似在聆听梵音。上方枯枝疏朗，如淡墨写就的禅意，与下方苍劲的岩峦相映。笔墨简淡却含韵致，线条简练而神完气足，每一笔都透着元代文人画的清雅风骨。整幅画似将尘世喧嚣滤尽，只留一方澄明之境，让观者在素朴的墨色里，触摸到那份跨越时空的宁静与悲悯。",[24,27,7,101,28,157,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c0b36713cf7ce305c20d87a62db56.jpg",[37],{"id":2849,"slug":2850,"title":2851,"dynasty":149,"author":150,"museum":694,"description":2852,"tags":2853,"thumbUrl":2854,"material":83,"size":66,"collection":66,"collections":2855,"showCount":2785,"zanCount":438,"manualWeight":41,"mainColor":89},218021,"za-hua-ce-9-chen-hong-shou-218021","杂画册-9","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[24,25,100,7,54,138,122,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb52c3b4ffb7cffa51007098fdadd2ea1.jpg",[],{"id":2857,"slug":2858,"title":2859,"dynasty":149,"author":2860,"museum":184,"description":2861,"tags":2862,"thumbUrl":2863,"material":141,"size":2864,"collection":37,"collections":2865,"showCount":2785,"zanCount":41,"manualWeight":41,"mainColor":89},216994,"ning-qi-fan-niu-tu-zhou-chen-216994","宁戚饭牛图","周臣","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[24,99,25,243,101,7,408,28,367,62,157,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fed04e633925c11d278f84b1628a630.jpg","126.7x68.9",[37],{"id":2867,"slug":2868,"title":2869,"dynasty":149,"author":150,"museum":77,"description":2870,"tags":2871,"thumbUrl":2873,"material":2874,"size":2875,"collection":66,"collections":2876,"showCount":2877,"zanCount":41,"manualWeight":41,"mainColor":89},233892,"mei-shi-jia-die-tu-juan-chen-hong-shou-233892","梅石蛱蝶图卷","本幅墨笔画，钤毕泷、毕沅、庞元济等藏印。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[24,99,25,26,101,7,55,102,138,139,2872],"蛱蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adf709c74efa862426abfaf7ff8a533.jpg","金笺","纵37.9cm横123cm",[],44,{"id":2879,"slug":2880,"title":2881,"dynasty":94,"author":76,"museum":49,"description":2882,"tags":2883,"thumbUrl":2884,"material":141,"size":66,"collection":37,"collections":2885,"showCount":2877,"zanCount":11,"manualWeight":41,"mainColor":89},218453,"di-wang-ming-chen-xiang-zhi-wang-xi-zhi-yi-ming-218453","帝王名臣像之王羲之","墨线勾勒的衣袂如行云流转，宽博的袍服衬出人物清雅风骨。长髯垂胸，目光沉静似藏砚池烟霞，巾帽下的面容温润儒雅，尽得书圣旷达之态。左侧题跋笔力苍劲，与肖像相映成趣，文墨间流淌着人物轶事，添了古朴意韵。墨色浓淡相宜，衣纹转折见笔锋，工笔与写意相融，将王羲之的文人灵韵凝于尺幅。整幅画气韵生动，笔墨含情，似能窥见这位书法大家挥毫时的风采，是传统人物肖像中颇具韵味的佳作。",[23,24,25,100,7,101,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad2ca69093f4ab3dd5c940ec366ecaa.jpg",[37],{"id":2887,"slug":2888,"title":2889,"dynasty":645,"author":76,"museum":49,"description":2890,"tags":2891,"thumbUrl":2894,"material":174,"size":175,"collection":66,"collections":2895,"showCount":2896,"zanCount":41,"manualWeight":41,"mainColor":42},288544,"li-fo-xiang-yi-ming-288544","立佛像","以铁线白描勾勒全貌，线条遒劲舒展，将衣袂、璎珞层叠的细节尽数铺陈。青莲斜擎于手，宝冠华饰精巧繁复，仪容温婉慈悲，静穆之中尽显庄严华贵。\n\n笔意简练却形神兼备，寥寥数笔便将沉静悲悯的气韵烘托尽致。纸面历经岁月泛黄残破，更添古拙厚重的沧桑质感，带着质朴古雅的沉静力量。未施丹青，却以素墨勾勒出佛教造像的超然之美，是一件极具意趣的宗教白描稿本。",[24,25,7,27,2892,28,2893,2698],"佛教","菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071ea652088e58cec0de64d81f9e68b5.jpg",[],43,{"id":2898,"slug":2899,"title":2900,"dynasty":75,"author":1418,"museum":49,"description":2901,"tags":2902,"thumbUrl":2903,"material":174,"size":175,"collection":66,"collections":2904,"showCount":2896,"zanCount":41,"manualWeight":41,"mainColor":89},288491,"liu-zu-jie-zhu-tu-liang-kai-288491","六祖截竹图","画家深入体察所画人物的精神特征，以简练的笔墨表现出人物的音容笑貌，以简洁的笔墨准确地抓取事物的本质特征，充分地传达出了画家的感情，从而把写意画推入一个新的高度，使时人耳目一新。",[23,24,99,243,101,7,28,27,122,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613ca3795615c3e18fe9384d18d42ce9.jpg",[],{"id":2906,"slug":2907,"title":2908,"dynasty":149,"author":2909,"museum":77,"description":2910,"tags":2911,"thumbUrl":2912,"material":457,"size":2913,"collection":111,"collections":2914,"showCount":2896,"zanCount":41,"manualWeight":41,"mainColor":89},236756,"mo-lan-tu-zhou-tian-qiu-236756","墨兰图","周天球","此图画墨兰一束，姿态婀娜，充满生意。兰叶潇洒舒展，穿插有致；花瓣随意点簇，淡雅秀美。行笔多转折，以中、侧笔锋互换，笔势一波三折，有挺有转，有断有续，有收有纵，清爽而秀雅，变化多端，生动地表现了兰草的质感和风韵，格调清新幽雅。",[24,25,101,153,157,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cf749fc13e7e1f98c4ffdd275619602.jpg","纵83cm，横33.5cm",[111,247],{"id":2916,"slug":2917,"title":2918,"dynasty":94,"author":557,"museum":49,"description":2919,"tags":2920,"thumbUrl":2921,"material":174,"size":175,"collection":37,"collections":2922,"showCount":2896,"zanCount":41,"manualWeight":41,"mainColor":89},235355,"shan-shui-ren-wu-tu-ce-huang-shen-235355","山水人物图册","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 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terial":246,"size":66,"collection":37,"collections":2996,"showCount":2896,"zanCount":41,"manualWeight":41,"mainColor":89},217055,"bai-miao-ying-zhen-tu-2-ding-yun-peng-217055","白描应真图-2","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[24,25,26,27,7,28,62,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e22d21a4546a2f44db8635013c06ce4.jpg",[37],{"id":2998,"slug":2999,"title":2494,"dynasty":239,"author":76,"museum":49,"description":3000,"tags":3001,"thumbUrl":3002,"material":174,"size":175,"collection":66,"collections":3003,"showCount":3004,"zanCount":41,"manualWeight":41,"mainColor":70},228230,"guan-yin-yi-ming-228230","以淡逸铁线白描勾勒造像，衣纹圆转舒和如流云垂落，将观音静定安和的神态晕染开来。淡描头光不着浓色，愈发衬出造像澄澈出尘的气质。\n\n上方题字朴拙苍劲，率意天真，笔墨意趣与造像的清寂禅心相融相合，文与画互为表里。整幅舍去敷色繁饰，以极简笔墨托出慈悲空寂之态，将禅门万象皆空之理藏于素净纸面，于简淡之中见至深佛韵，观之令人俗念渐消，心神安谧。",[23,24,25,243,7,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf1fc1fccfe0241e7cf06c9f7628590.jpg",[],42,{"id":3006,"slug":3007,"title":3008,"dynasty":149,"author":3009,"museum":49,"description":3010,"tags":3011,"thumbUrl":3012,"material":457,"size":3013,"collection":66,"collections":3014,"showCount":3004,"zanCount":41,"manualWeight":41,"mainColor":70},222699,"zhong-kui-jia-mei-tu-qian-gu-222699","钟馗嫁妹图","钱毂","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,99,24,25,26,7,101,53,28,170,619,1276,386,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c26209f23737e8706df0896ba1b8b9f.jpg","33.3*257.5",[],{"id":3016,"slug":3017,"title":3018,"dynasty":239,"author":3019,"museum":773,"description":3020,"tags":3021,"thumbUrl":3023,"material":3024,"size":3025,"collection":66,"collections":3026,"showCount":3004,"zanCount":41,"manualWeight":41,"mainColor":70},221856,"yu-tu-lai-an-221856","鱼图","赖庵","赖庵《藻鱼图轴》，在中国古代大量有关鱼的绘画中具有代表性，鱼在水藻间出游从容，身体扭曲自然，画家以此明志。\n元代画家常常赋予鱼以类似人的个性。此图中，鱼几乎占据了画面的全部空间，它似乎刚刚突然掉转身来面对观者，嘴巴大张，目光犀利。作者用细线精心描绘了片片鱼鳞，通过晕染来显示质感和立体感。以淡墨写水草，并通过鱼尾的摆动和水草的摇晃增加了画面的动感。",[23,24,25,3022,7,53,101,295,846],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6c0167aad2f00c768ac238d83f7767.jpg","绢本墨画","19.4×31.0",[],{"id":3028,"slug":3029,"title":3030,"dynasty":75,"author":464,"museum":266,"description":3031,"tags":3032,"thumbUrl":3033,"material":538,"size":3034,"collection":85,"collections":3035,"showCount":3004,"zanCount":41,"manualWeight":41,"mainColor":70},221450,"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》。",[23,99,24,25,26,54,53,7,56,55,28,60,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01c50754e74ad6bb6c4843682dac0cb.jpg","32.6*973cm",[85,425,247],{"id":3037,"slug":3038,"title":3039,"dynasty":75,"author":183,"museum":49,"description":3040,"tags":3041,"thumbUrl":3042,"material":246,"size":66,"collection":37,"collections":3043,"showCount":3004,"zanCount":41,"manualWeight":41,"mainColor":70},218092,"bai-miao-luo-han-tu-quan-juan-li-gong-lin-218092","白描罗汉图全卷","宋朝是中国历史上的一个朝代，它的统治时间是从960年到1279年。在这个时期，许多著名的文化遗产和艺术品被创造出来，其中之一就是李公麟的《白描罗汉图全卷》。\n\n李公麟是宋朝时期的一位著名的画家，他的《白描罗汉图全卷》是他的代表作之一。这幅画共有六十张图片，描绘了罗汉（菩萨）的各种形象。罗汉是佛教中的一种神祇，被视为慈悲、智慧、勇敢的象征。\n\n《白描罗汉图全卷》画风精细，造型优美，富有表现力。李公麟在画中运用了白色的纸张，使得整幅画显得格外纯净、灵动。此外，他还运用了许多细节处理手法，如镂空、描边和拓印等，使得画面更加丰富、生动。\n\n总的来说，李公麟的《白描罗汉图全卷》是一幅精美的艺术杰作，具有极高的艺术价值和文化意义。",[23,99,24,25,26,7,27,28,60,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259cf0e940680700b94e0d92e8fa0ef6.jpg",[37],{"id":3045,"slug":3046,"title":3047,"dynasty":94,"author":95,"museum":49,"description":878,"tags":3048,"thumbUrl":3049,"material":174,"size":175,"collection":66,"collections":3050,"showCount":3051,"zanCount":41,"manualWeight":41,"mainColor":89},239426,"shan-shui-hua-hui-ce-yun-shou-ping-239426","山水花卉册",[24,25,100,101,7,157,244,122,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46879573d1358b6fa55ffe759b2f7a28.jpg",[],41,{"id":3053,"slug":3054,"title":3055,"dynasty":94,"author":3056,"museum":49,"description":3057,"tags":3058,"thumbUrl":3059,"material":66,"size":66,"collection":66,"collections":3060,"showCount":3051,"zanCount":41,"manualWeight":41,"mainColor":89},238135,"fang-ni-zan-shi-zi-lin-tu-juan-fang-cong-238135","仿倪瓒狮子林图卷","方琮","此作用淡墨铺展园居全景，开篇修竹扶苏，清韵悠悠，茅舍草堂错落其间，屋中有人凭案闲坐，庭前老木虬枝疏朗，衬出院落萧散简远。\n\n整卷笔墨极简，以干笔淡皴写就山石林木，线条清劲秀逸，全无繁冗之笔，承袭古淡空灵的笔意。留白疏阔，氤氲出静穆冷寂的古雅意境，将观者带入无人尘扰的幽居，坐看竹影摇窗、苔痕覆阶，尽显文人画的隐逸高致，笔底藏着天真古淡的林下之风，写尽园居清趣与幽人逸怀。",[23,24,25,26,101,7,52,29,63,122,811,188,1347,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37103644d51d567e8b77eae43a2e67bb.jpg",[],{"id":3062,"slug":3063,"title":3064,"dynasty":149,"author":2945,"museum":77,"description":3065,"tags":3066,"thumbUrl":3068,"material":66,"size":66,"collection":66,"collections":3069,"showCount":3051,"zanCount":11,"manualWeight":41,"mainColor":89},234208,"yin-zhong-ba-xian-tu-juan-li-shi-da-234208","饮中八仙图卷","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,25,26,7,101,28,3067,121,2772,1171],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a2be7f38107d2f8b2db69666be51e8.jpg",[],{"id":3071,"slug":3072,"title":3073,"dynasty":239,"author":3074,"museum":49,"description":3075,"tags":3076,"thumbUrl":3077,"material":66,"size":66,"collection":66,"collections":3078,"showCount":3051,"zanCount":41,"manualWeight":41,"mainColor":89},228027,"lin-li-gong-lin-ren-ma-tu-zhao-yong-228027","临李公麟人马图","赵雍","说明：元 赵雍 纸本设色 （美国）弗利尔美术馆藏 纵1.7厘米 横7.5厘米 此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。\n牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。\n画人马用线细劲连绵，人物胡须及马尾线描极为精彩。\n与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。\n字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。\n官至集贤待制，同知湖州路总管府事，晚年隐居在家，往来于湖、杭间。\n承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。\n幼即勤奋，得母指教，稍懈母即严责之。\n稍长，“所画浓淡浅深皆至理”。\n山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。\n兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。\n书善正、行、草，亦长篆书，体势清劲。\n赵雍传世作品有至正二年（142）作《采菱图》轴、至正七年（147）作《挟弹游骑图》轴、（16）作《松溪钓艇图》卷及《沙苑图》卷，现藏故宫博物院；《着色兰竹图》轴、《青影红心图》《长松系马图》《清溪垂钓图》藏上海博物馆；溪山渔隐图》哦张衍旧藏，图录于《中国名画宝鉴》。\n至正十二年（152）作《骏马图》轴，藏台北故宫博物院；至正十九年（159）作《人马图》卷，藏美国纽约大都会艺术博物馆；《澄江寒月图》纨扇藏 ，另有《墨竹图》等。\n著有《赵待制遗稿》一卷。",[23,99,24,25,26,54,7,28,315,56,57,55,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606825de98a93d91568a7d11e00af43.jpg",[],{"id":3080,"slug":3081,"title":3082,"dynasty":75,"author":1418,"museum":773,"description":3083,"tags":3084,"thumbUrl":3085,"material":457,"size":3086,"collection":66,"collections":3087,"showCount":3051,"zanCount":41,"manualWeight":41,"mainColor":70},221606,"ku-mu-tu-liang-kai-221606","枯木图","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。",[23,24,101,7,620,157,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee6ccf2251cdf9d1af34e70cbbab5720.jpg","24.1×23cm",[],{"id":3089,"slug":3090,"title":3091,"dynasty":75,"author":76,"museum":684,"description":3092,"tags":3093,"thumbUrl":3094,"material":141,"size":3095,"collection":37,"collections":3096,"showCount":3051,"zanCount":41,"manualWeight":41,"mainColor":70},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","墨线勾勒间，十六罗汉神态各异：或静立松下凝思，或拄杖徐行于林麓，或与猿猴嬉戏、鹤鹿为邻。松竹掩映，怪石嶙峋，山野之趣与禅意相融。人物衣袂飘举，线条简练却见风骨，寥寥数笔便传神情——有的须眉微蹙似在参禅，有的笑靥舒展如悟真机，有的俯身逗猴尽显自在。画面清寂中藏生机，简淡里见深致，以自然景致衬罗汉超脱之态，笔墨洗练却形神兼备，尽显古代绘者对禅林世界的诗意描摹，亦让观者于尺幅间感受那份远离尘嚣的宁静与旷达。",[23,24,25,26,7,101,27,28,618,1815,810,619,218,122,811,139,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[37],{"id":3098,"slug":3099,"title":3100,"dynasty":75,"author":76,"museum":3101,"description":3102,"tags":3103,"thumbUrl":3105,"material":83,"size":3106,"collection":37,"collections":3107,"showCount":3051,"zanCount":11,"manualWeight":41,"mainColor":70},218461,"gao-shi-guan-shui-tu-yi-ming-218461","高士观水图","圣路易斯艺术博物馆","凭栏者凝眸向水，衣袂轻垂似与波痕共息。亭榭半掩于疏枝间，木构纹理隐现岁月静穆。秃枝如笔，蘸着空濛天色，在绢上勾勒清寂骨线；水面无波，却载千般思绪，与观者目光遥遥相契。通篇不着艳色，墨线浓淡交错，留白虚实相生，铺展文人心中丘壑——非喧嚣山水，是心与自然对语的片刻安宁。笔意简淡却藏深致，枯枝的疏朗、亭台的稳静、高士的凝思，织就一幅含蓄的精神图景，让千载后的目光，仍能触到那份清寂中的悠远。",[23,24,101,7,365,3104,28,29,61,244,63],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea1f9bda4c7207655fc3e8783405b61.jpg","21.6x24.6cm",[37],{"id":3109,"slug":3110,"title":3111,"dynasty":239,"author":76,"museum":3112,"description":3113,"tags":3114,"thumbUrl":3115,"material":141,"size":66,"collection":37,"collections":3116,"showCount":3051,"zanCount":11,"manualWeight":41,"mainColor":89},218438,"dui-yue-tu-yi-ming-218438","对月图","德川美术馆","素绢上的身影敛衣而坐，指尖似拈着月光的碎片。眉目低垂间，似与清辉私语，又或沉湎于案上书卷的墨香？身旁石案上的茶盏尚温，远山隐在淡墨晕染里，留白处尽是夜的空濛。线条如行云流水，不着浓彩，却将月夜的幽寂与内心的澄澈晕染开来。风过林梢的轻响，月色落地的微声，仿佛都藏在简淡笔触里，引观者一同沉入静谧时光，与画中人共享此刻清宁。那简素的勾勒中，藏着对自然与心境的叩问，让每一寸留白都成了思绪的延伸。",[24,25,99,243,7,101,28,571,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd60483ffc03c351b0cd0fcc7ebfb4c4.jpg",[37],{"id":3118,"slug":3119,"title":3120,"dynasty":149,"author":150,"museum":49,"description":3121,"tags":3122,"thumbUrl":3123,"material":538,"size":3124,"collection":37,"collections":3125,"showCount":3126,"zanCount":41,"manualWeight":41,"mainColor":70},221897,"lao-chi-xiang-li-zhou-chen-hong-shou-221897","老迟像立轴","此幅为陈洪绶的自画像，画上老迟盘腿坐于地上，身着宽袖长袍，蓄长须，手执某种花朵置于鼻下闻味；背后湖石形状奇特，前方一小童烧火烤似灵芝一样的东西。陈洪绶，号老莲，晚号老迟，明末清初著名书画家、诗人。",[23,24,99,243,53,7,54,28,157,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52772eece37edbf9b7da25588c5bae5.jpg","95x51cm",[37,127],40,{"id":3128,"slug":3129,"title":3130,"dynasty":239,"author":1793,"museum":77,"description":3131,"tags":3132,"thumbUrl":3133,"material":1647,"size":3134,"collection":425,"collections":3135,"showCount":3126,"zanCount":11,"manualWeight":41,"mainColor":70},221819,"feng-le-lou-tu-xia-yong-221819","丰乐楼图","作者采用对角构图法，用水墨界画殿阁山水，线条纤如毫发，背景远山平缓润泽，开阔的水面与依依杨柳恰到好处地交待出建筑处于江南的环境。展观其作品，方寸之间微入毫芒，画家再现了宏大建筑的整体和细部，技艺精湛超凡，令人叹服。\n此幅构图之用笔与故宫藏夏永另几幅界画作品如出一辙。丰乐楼为为南宋都城临安著名的大酒楼之一。地处涌金门外西湖岸边。作品所取材的“丰乐楼”早已不存，夏永极度写实的画风以及右上以“小如蚁目”的蝇头小楷题写的31行“十里挲平丰乐楼”长题，无疑成为今天了解这座在宋代杭州曾颇有声名的楼阁的重要史料。",[23,24,25,365,7,60,29,81,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F844d7f5926052f741a315b41c30867db.jpg","纵25.8厘米，横25.8厘米",[425,247],{"id":3137,"slug":3138,"title":3139,"dynasty":239,"author":3140,"museum":184,"description":3141,"tags":3142,"thumbUrl":3143,"material":246,"size":3144,"collection":247,"collections":3145,"showCount":3126,"zanCount":41,"manualWeight":41,"mainColor":70},221813,"si-ji-ping-an-tu-zhou-li-kan-221813","四季平安图轴","李衎","《四季平安图》此幅水墨绘修竹四竿，三浓一淡，两前两后，布置得宜，风姿卓然。李仲宾此幅全学文湖州，而加浓密之致，体现了其本人的艺术审美。 李衎（1245-1320年），字仲宾，号息斋道人，晚年号醉车先生，元朝蓟丘（今北京市）人。元仁宗皇庆元年（1312年）任吏部尚书，拜集贤殿大学士、荣禄大夫。李衎尤善画枯木竹石，善画墨竹，双钩竹尤佳，和赵孟頫、高克恭并称为元初画竹三大家，著有《竹谱详录》。",[23,99,24,25,243,101,7,53,122,139,157,408,3022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 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创作的中国画，现收藏于清华大学艺术博物馆。\n该画画了一位恬静仕女，手托镜子自照，用笔细劲内敛，设色古雅隽永，人物形象稍事变形夸张，高雅脱俗。\n此图的画面突出的是一位恬静、娟秀的仕女形象。\n她两手托镜自照，神态悠闲，身穿交领右衽束袖短上衣，外系长裙，腰间配有锦纹织物以及玉环小绶。\n上衣短而下裙长，袖口窄，下角圆，裙腰束得很高。\n种桃三百树，颜色亦如之。\n莫向汉宫说，美人争自为。\n洪绶似天耳社长兄。\n洪绶之印（白文）、章侯（朱文）。\n­ 渊雷室藏（朱文）、曾在朱屺瞻家（朱文）、印章漫漶（朱文）。\n该画是作者陈洪绶中后期的作品，大约创作于明崇祯九年（公元166年）。\n此图为工笔人物画，画面居中位置的仕女，面颊丰润，眉目细长，体态较同时期的人物画略显丰腴，发鬓高耸以桃花、云簪装饰，其渲染方式承唐代之法，画中仕女手持青铜菱花镜合于胸前，微微颔首垂目视镜，眉宇间略显哀愁，若有所思。\n画中人物襦裙高系，刻意变形的比例关系，又通过深色的前襟和裙摆的佩饰加以视觉的平衡。\n画面环境树石相伴，泉水隐现，人景契合 ，画面右上角斜出的桃树与画面下方皴染的几处坡石等补景起到了突出主体与调节画面的作用。\n整个画面，人物属于密体而背景属于疏体，从而形成人和自然之间的节奏变化，在艺术处理上别具匠心。\n造形夸张，带圆弧形，时常失调，反映了文人写意画脱略形似的审美意识。\n此图设色淡雅，坡石以或浓或淡的墨色与淡赭色皴染勾勒，布局疏密得当，主体突出。\n画面左上角以草书题诗，线条苍劲老练，炉火纯青。\n此图的衣饰用笔，纯属中锋，则寓清刚圆劲于长短、轻重抑扬、顿挫之中，如同奏乐，使人体会到一种韵律感。\n该画用笔细劲流畅，十分强调线条的运用，特别是服饰的摺纹，借鉴了唐人、宋人、元人的线条技巧，又重性情挥洒自如，形成了人物的线条美。\n中国艺术研究院教授 ：仕女眉毛和眼睛距离很宽，显得意态非同寻常，人物仍然是圆浑丰满的。\n线条细劲，有转折和轻重的变化，且内含苍道刚劲之力。\n设色古淡，仅于女人嘴唇点朱红色，其余地方若淡若无。\n根据收藏印记可知该画经渊雷室、近代收藏家 等收藏，现收藏于清华大学艺术博物馆。\n218年6月16日，该画在“清华藏珍·翰墨丹青——清华大学艺术博物馆藏品展”中展出。\n陈洪绶（1598—1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟頫。\n绘有《水浒叶子》《博古叶子》《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》《笼鹅图》《升庵簪花图》《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,25,243,53,54,7,28,3215,2432,244,157,3216,188,81,423],"高士","梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],{"id":3220,"slug":3221,"title":3222,"dynasty":75,"author":1871,"museum":228,"description":1872,"tags":3223,"thumbUrl":3224,"material":141,"size":1877,"collection":85,"collections":3225,"showCount":3200,"zanCount":41,"manualWeight":41,"mainColor":70},220089,"jia-pai-tu-quan-juan-fen-juan-12-gong-kai-220089","笳拍图全卷-分卷12",[24,99,25,26,7,28,1874,315,2762,206,121,1276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c86fb758c911901199210f2e7cb4fe9.jpg",[85],{"id":3227,"slug":3228,"title":3229,"dynasty":94,"author":76,"museum":1550,"description":3230,"tags":3231,"thumbUrl":3233,"material":141,"size":3234,"collection":111,"collections":3235,"showCount":3200,"zanCount":11,"manualWeight":41,"mainColor":70},219097,"shi-li-tu-yi-ming-219097","事犁图","斗笠覆顶，布衣宽袖，农夫躬身扶犁的姿态，似将田垄的气息凝在绢素之上。黑牛沉腰发力，犁铧划开的浅痕如时光笔触，在泛黄纸页间漾开生活真味。线条简劲却藏温度，无繁复设色，仅以墨色浓淡勾勒劳作肌理——农夫手背的筋络、牛身的鬃毛，都在极简中见生动。\n\n整幅画截取农耕日常的一瞬，无喧嚣，只有人与耕牛的默契，及土地里生长的烟火气。古朴绢色如岁月滤镜，让劳作的质朴更显厚重，仿佛能听见犁尖蹭过泥土的轻响，触到农人间歇时的喘息。这份对平凡劳作的描摹，藏着最本真的生活诗意，于简淡笔墨里，照见古人与土地相依的温情。",[24,7,101,28,367,3232,409],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38490095cc1dab28575b96775c05b60e.jpg","23x27.1cm",[111],{"id":3237,"slug":3238,"title":3239,"dynasty":239,"author":255,"museum":184,"description":3240,"tags":3241,"thumbUrl":3243,"material":354,"size":66,"collection":111,"collections":3244,"showCount":3200,"zanCount":11,"manualWeight":41,"mainColor":89},218744,"shuang-gou-shui-xian-tu-zhao-meng-fu-218744","双钩水仙图","素笺之上，水仙疏影悄然铺展。双钩线条如缕金萦玉，勾勒花叶轮廓——叶片修长劲挺，似含墨韵风骨；花瓣轻绽，脉络细劲，若凝霜雪之姿。墨色层次隐现，花叶间留白透气，衬得水仙清逸出尘。\n\n线条自带书法意趣，转折处见笔力，既摹物象之真，又抒文人雅怀。无浓艳设色，却以极简之笔，写尽“凌波仙子”的冰洁灵秀。淡墨浅痕里，仿佛有暗香浮动，于简静中藏生机，素朴中见雅致，尽显传统文人画的审美韵致，令人心驰神往。",[23,24,25,7,3242,101,102,154],"双钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec3a0cd86b20ca5480736257072df823.jpg",[111],{"id":3246,"slug":3247,"title":3248,"dynasty":94,"author":2648,"museum":339,"description":3249,"tags":3250,"thumbUrl":3255,"material":141,"size":3256,"collection":37,"collections":3257,"showCount":3200,"zanCount":41,"manualWeight":41,"mainColor":89},218384,"wang-shi-zhen-yu-zhu-yi-zun-he-xiang-luo-pin-218384","王士禛与朱彝尊合像","苍松虬劲，藤蔓垂丝，幽涧边两位长衫文人对坐清谈——或拄杖凝思，或持卷浅笑，眉宇间尽是林下风致。画面以淡墨皴染山水，线条简练却神形兼备，松针的挺劲、衣袂的飘举皆见笔力。四周密布的题跋，墨色浓淡相间，与山水人物相映成趣，既是对画中人物的追慕，也为画面增添了厚重的文化底蕴。整幅作品融山水、人物、书法于一体，既展现了文人雅集的闲适氛围，也传递出对先辈的敬仰之情，笔意间流淌着传统文人画的气韵与风骨，仿佛能听见松风里的清谈声，望见涧水边的诗思流转。",[23,101,7,53,408,3251,998,28,188,422,106,3252,3176,60,1212,3253,81,3254],"书画结合","古木","文人形象","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389765da7665ff9ada03940d3872f88d.jpg","167.5x56.6",[37],{"id":3259,"slug":3260,"title":3261,"dynasty":75,"author":76,"museum":395,"description":396,"tags":3262,"thumbUrl":3263,"material":141,"size":399,"collection":66,"collections":3264,"showCount":3200,"zanCount":41,"manualWeight":41,"mainColor":89},214981,"dao-zi-mo-bao-ren-wu-bai-miao-hua-4-yi-ming-214981","道子墨宝人物白描画-4",[23,1345,24,25,7,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F981c2994c92961b159052d82fbdd1ada.jpg",[],{"id":3266,"slug":3267,"title":1106,"dynasty":75,"author":183,"museum":49,"description":1040,"tags":3268,"thumbUrl":3269,"material":174,"size":175,"collection":66,"collections":3270,"showCount":3271,"zanCount":41,"manualWeight":41,"mainColor":89},289803,"xi-yuan-ya-ji-tu-li-gong-lin-289803",[23,99,24,26,7,101,28,1109,421,1108,188,2568,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f499452419406330dad616cf813d5bb.jpg",[],38,{"id":3273,"slug":3274,"title":3275,"dynasty":645,"author":76,"museum":49,"description":3276,"tags":3277,"thumbUrl":3281,"material":174,"size":175,"collection":66,"collections":3282,"showCount":3271,"zanCount":41,"manualWeight":41,"mainColor":89},289572,"huan-xi-tian-fo-xiang-yi-ming-289572","歡喜天佛像","这幅造像以象首与猪首护法为主体，二者身形丰腴饱满，遍身璎珞臂钏环身，装饰华丽精巧。画面线条古拙稚朴，带着民间画工的随性生动，设色厚重沉稳，虽历经岁月晕染褪色，依旧和谐耐看。\n\n二尊相向而立，姿态亲昵松弛，一人持卷似在念诵，一人托饼仿佛供养，打破传统佛造像的肃穆端庄，将密宗欢喜圆融的意趣融入其中，神性与世俗烟火气相融，传递出自在安乐的平和意蕴，尽显古朴灵动的异域宗教美术风情。",[23,27,2892,3278,28,619,3279,3280,54,7,326],"欢喜天","大象","野猪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01e603353edf1ea71753cc024af0a1a.jpg",[],{"id":3284,"slug":3285,"title":1397,"dynasty":75,"author":183,"museum":49,"description":1040,"tags":3286,"thumbUrl":3288,"material":174,"size":175,"collection":66,"collections":3289,"showCount":3271,"zanCount":41,"manualWeight":41,"mainColor":70},289118,"shi-nv-tu-li-gong-lin-289118",[24,99,7,28,58,29,138,1347,1532,3287,365],"仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33af21ee25f2aae5b718472616b4b91.jpg",[],{"id":3291,"slug":3292,"title":3293,"dynasty":149,"author":1983,"museum":49,"description":3294,"tags":3295,"thumbUrl":3297,"material":66,"size":66,"collection":425,"collections":3298,"showCount":3271,"zanCount":41,"manualWeight":41,"mainColor":89},235969,"shan-shui-ce-cheng-jia-sui-235969","山水册","此作用极简白描写就，古松枝干盘曲苍劲，松针攒簇尽显虬结风神，松下三人意态萧散，衣纹清瘦简括，将山林晤谈的幽雅氛围勾勒尽致。\n左侧题诗行书清隽疏朗，书画合璧浑融无间。整幅以少胜多，淡墨浅笔间，寄寓幽栖丘壑的林下襟怀，尽得简淡空灵之致，把林泉雅集的澹远意趣浓缩在尺素之上，尽显文人画以意驭笔、以韵胜形的审美意趣，藏雅逸之思于笔墨边角。",[24,25,100,7,101,57,998,28,204,3296],"童仆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d4b1c51b4c7439aeed9b8e939710c82.jpg",[425],{"id":3300,"slug":3301,"title":3302,"dynasty":75,"author":518,"museum":77,"description":3303,"tags":3304,"thumbUrl":3305,"material":354,"size":3306,"collection":66,"collections":3307,"showCount":3271,"zanCount":41,"manualWeight":41,"mainColor":70},233724,"kong-zi-xiang-tu-ye-ma-yuan-233724","孔子像图页","《孔子像》人物衣纹用笔为钉头鼠尾法，线长而劲利。孔子身着长袍,拱手而立,沉静肃穆，若有所思，神情十分生动。全图用秃笔写衣纹，简练概括，线条劲拔，寥寥数笔，形神毕现，设色浅淡，韵味高雅。",[24,99,25,100,7,28,121,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1051bbe0d77bafbd4cbd1e6129b59667.jpg","纵27.7厘米 横23.2厘米",[],{"id":3309,"slug":3310,"title":3311,"dynasty":239,"author":76,"museum":77,"description":3312,"tags":3313,"thumbUrl":3315,"material":457,"size":3316,"collection":66,"collections":3317,"showCount":3271,"zanCount":41,"manualWeight":41,"mainColor":89},223560,"yu-lan-guan-yin-tu-yi-ming-223560","渔篮观音图","鱼篮观音是三十三观音相之一，脚踏鳌背，手提盛鱼的竹篮或手提鱼篮的民间少妇形象，因是马郎之妇，故别名唤作”马郎妇观音“。\n佛教中三十三观音之一。手持鱼篮。明宋濂有《鱼篮观音像赞》：“序按《观音感应传》：唐元和十二年（公元817年），陕右金沙滩上有一美艳女子，絜篮鬻鱼，人竞欲室之。女曰：‘妾能授经，一夕能诵《普门品》者，事焉。’黎明，能者二十。女辞曰：‘一身岂堪配众夫邪！请易《金刚经》，如前期。’能者复居其半。女又辞，请易《法华经》，期以三日。惟马氏子能。女令具礼成婚。入门，女即死，死即糜烂立尽，遽瘗之。他日，有僧同马氏子启藏观之，惟有黄金锁子骨存焉。僧曰：‘此观音示现以化汝耳。’言讫飞空而去。自是陕西多诵经者。“",[23,99,24,25,243,27,28,101,7,56,55,3314],"篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc18d37597ee238c26ceb0b013f0ee58.jpg","82.1x32",[],{"id":3319,"slug":3320,"title":1314,"dynasty":149,"author":3321,"museum":266,"description":3322,"tags":3323,"thumbUrl":3324,"material":3325,"size":3326,"collection":425,"collections":3327,"showCount":3271,"zanCount":11,"manualWeight":41,"mainColor":42},222084,"han-shan-shi-de-tu-you-qiu-222084","尤求","寒山、拾得是唐代富有传奇色彩的人物。此图画唐贞观年间高僧寒山与拾得二人。寒山亦称寒山子，居天台始丰县寒岩，好吟词偈，状似疯癫。拾得是孤儿，寺僧拾而养之，故名拾得，在寺执炊涤器，与寒山友善。\n《寒山拾得图》是人物画中的佳作, “奇而不诡于正，真高流逸墨”。用笔大胆粗犷,线条流畅爽利。图中寒山右手指天,谈笔风生；拾得袒胸露腹,欢愉静听。两人披头散发,憨态可掬。从画面上，我们能够感觉到他是受了李唐画风的影响，两个人物安排在近处，给人一种很强烈的视觉印象，而远景的虚化处理，更强化了人物的形象。背景部分用笔较为豪放粗简，向外探出的树干向背分明，树枝行笔错落而不失坚挺，表现藤蔓的线条潇洒飘逸。",[23,24,101,7,243,28,81,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9b4eeb60e8f3530895eeb0a7701d9c.jpg","纸本设色","纵121厘米，横30 5厘米",[425,247],{"id":3329,"slug":3330,"title":3331,"dynasty":239,"author":3332,"museum":49,"description":3333,"tags":3334,"thumbUrl":3335,"material":457,"size":3336,"collection":111,"collections":3337,"showCount":3271,"zanCount":41,"manualWeight":41,"mainColor":89},221722,"san-hua-tu-juan-zhao-zhong-221722","三花图卷","赵衷","赵衷，元代画家。生卒年不详，主要活动于元至正年间。字原初，号东吴野人，嘉兴（今浙江嘉兴）人，一作吴江（今江苏吴江）人。世本业医，能篆、隶，善画白描人物。山水、花卉，无所不能，有白描兰亭图。至正元年（一三四一）作墨花图。《书史会要、石渠宝笈、唐五代宋元名画选》",[23,24,25,26,7,101,102,941,154,1326,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250f7b82e15859ba7790be28f7ad50c3.jpg","30x50.1cm",[111,247],{"id":3339,"slug":3340,"title":3341,"dynasty":239,"author":255,"museum":395,"description":3342,"tags":3343,"thumbUrl":3344,"material":2505,"size":66,"collection":247,"collections":3345,"showCount":3271,"zanCount":41,"manualWeight":41,"mainColor":89},220871,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220871","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[23,99,24,25,26,1019,57,56,7,122,139,153,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf614e4a0ea6966b60de3926e9843bdd.jpg",[247,2535],{"id":3347,"slug":3348,"title":3349,"dynasty":239,"author":255,"museum":77,"description":3350,"tags":3351,"thumbUrl":3352,"material":3353,"size":3354,"collection":37,"collections":3355,"showCount":3271,"zanCount":11,"manualWeight":41,"mainColor":70},220847,"du-fu-xiang-zhou-zhao-meng-fu-220847","杜甫像轴","本幅为白描画杜甫戴笠独行侧身像，用笔简洁、遒劲有力、笔墨转换自然流畅，所绘人物造型准确，表情自然生动，衣纹衣带之描绘颇得吴道子之衣钵。明初人题谓赵孟頫画。",[23,24,25,243,7,101,28,121,55,57,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfa5a00fd8c25671db7e337cf330657.jpg","绢本 设色","250cmx61厘米",[37,247],{"id":3357,"slug":3358,"title":3359,"dynasty":75,"author":3360,"museum":694,"description":3361,"tags":3362,"thumbUrl":3363,"material":141,"size":66,"collection":111,"collections":3364,"showCount":3271,"zanCount":11,"manualWeight":41,"mainColor":70},218999,"niu-yang-tu-yi-yuan-ji-218999","牛羊图","易元吉","笔墨简淡却意趣横生，画面左侧羊群散落，或低头啮草，或结伴游走，姿态憨拙灵动；右侧牛车沿坡而上，双牛奋力蹬蹄，车轱辘纹理清晰，赶车人衣袂轻扬，动态毕现。整幅画作以细腻线条勾勒物象，淡墨晕染衬出郊野氛围，动物神情与人物动态皆刻画入微，尽显宋代写生画的写实功底与生活意趣，于简约中见生动，于质朴中藏精巧。",[24,26,7,101,408,367,2762,619,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bb0575845dae604de9d8abc5bc93d4.jpg",[111],{"id":3366,"slug":3367,"title":592,"dynasty":18,"author":3368,"museum":1804,"description":3369,"tags":3370,"thumbUrl":3371,"material":246,"size":3372,"collection":37,"collections":3373,"showCount":3271,"zanCount":41,"manualWeight":41,"mainColor":70},218456,"luo-han-tu-zhang-bo-hong-218456","张伯洪","古朴绢本上，墨线勾勒的罗汉持杖静立，衣纹简练却蕴唐代宗教画的庄穆气韵。近景器物轮廓隐现古意，与修行之境相映。色调沉郁，岁月痕迹晕染出时光厚重，笔墨含蓄传递禅意——极简构图里，罗汉超然心境尽显。线条经岁月仍带力度，每一笔皆藏唐代画人对禅理与形象融合的巧思：静穆中见灵动，古雅里含深远，是兼具艺术质感与精神内涵的唐代宗教绘画精品。",[23,24,25,27,28,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffa836adf5e1eea1ba7daba179a413a.jpg","24.5x20.3",[37],{"id":3375,"slug":3376,"title":3377,"dynasty":94,"author":832,"museum":77,"description":3378,"tags":3379,"thumbUrl":3380,"material":1987,"size":1648,"collection":111,"collections":3381,"showCount":3382,"zanCount":41,"manualWeight":41,"mainColor":89},236339,"liu-yin-shi-nv-zhou-hua-yan-236339","柳荫仕女轴","此图绘一端庄文弱的女子,此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[24,243,101,54,7,28,58,987,157,811,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5db8902cc7bd108ea1d0ba1c4f56d5.jpg",[111,247,470],37,{"id":3384,"slug":3385,"title":3386,"dynasty":94,"author":3387,"museum":49,"description":3388,"tags":3389,"thumbUrl":3393,"material":174,"size":175,"collection":66,"collections":3394,"showCount":3382,"zanCount":41,"manualWeight":41,"mainColor":89},235115,"xi-zhi-ai-e-tu-zhou-ren-yi-235115","羲之爱鹅图轴","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[24,25,243,54,101,7,28,122,3390,535,572,2583,3391,3392],"鹅","传统","工写结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fa5201165d8c09e15839d296e87072.jpg",[],{"id":3396,"slug":3397,"title":3398,"dynasty":149,"author":150,"museum":49,"description":3399,"tags":3400,"thumbUrl":3406,"material":66,"size":66,"collection":66,"collections":3407,"showCount":3382,"zanCount":11,"manualWeight":41,"mainColor":70},228281,"wu-lao-tu-chen-hong-shou-228281","五老图","此作用奇石为席案，铺陈开五位老者的雅集场景。对弈者捻须凝思，观局者或倾身注目、或垂手静立，情态生动各别，尽显林下高贤的散淡意趣。\n画作以清劲高古的游丝铁线勾勒衣纹，造型奇崛古拙，设色浅淡沉静。老者面容刻画入微，须眉灵动鲜活，既带着明代人物画的高逸格调，又尽显作者标志性的古雅奇谲，将文人雅集的闲情逸致烘托得淋漓尽致，尽显晚明文人画的高妙意趣。",[23,24,53,54,7,28,204,3401,3402,206,3403,3404,3405],"对弈","棋局","桌子","坐具","衣袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf837e79b295fad40272b805d470ec78.jpg",[],{"id":3409,"slug":3410,"title":3411,"dynasty":239,"author":693,"museum":77,"description":3412,"tags":3413,"thumbUrl":3414,"material":2632,"size":3415,"collection":470,"collections":3416,"showCount":3382,"zanCount":11,"manualWeight":41,"mainColor":89},221851,"bo-ya-gu-qin-bai-miao-quan-juan-wang-zhen-peng-221851","伯牙鼓琴白描全卷","这是一幅人物故事画，画中的故事最早见于《吕氏春秋》一书。画的是俞伯牙与钟子期两位知心朋友之间的深厚友谊。画面上共有五人，左边是伯牙，他面目清秀，蓄长髯，披衣敞怀，端坐石上，双手抚琴。伯牙的对面是子期，也坐在石上，身着长袍，低头静心谛听。两人的身后共有侍童三人站立。作者用生动、准确的笔墨刻划了两个主要人物的外形特征和内心活动，弹琴者的专注，听琴者的入神，都跃然绢上。为了衬托两个主要人物，作者还安排了三个侍童，并借用次要人物的不同反应来表达伯牙和子期之间用琴声传递感情并成为“知音”的友谊。这幅画在人物心理活动的描绘上达到了很高的水平。\n在绘画技法上画家王振朋很好地继承了北宋李公麟的“白描”画法，线条挺拔有力，富有弹性，既连绵不断，又有轻重、粗细、缓急、顿挫的变化。画中部分衣帽用淡墨渲染，石块略加皴擦，这些丰富而简洁的表现手法使画面有变化而又含蓄，明快又不显单调。\n此图最右边略有残缺。根据画上所钤印章可知，该图在元朝时为鲁国大长公主祥哥剌吉（元仁宗之姐）收藏，清初归著名收藏家梁清标所有，乾隆时入内府，著录于《石渠宝笈·初编》。",[23,24,25,26,7,28,1171,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5b0e1456c709b4afc321f3126a2f0f.jpg","纵31.4厘米，横92厘米",[470],{"id":3418,"slug":3419,"title":3420,"dynasty":75,"author":464,"museum":3421,"description":3422,"tags":3423,"thumbUrl":3424,"material":83,"size":3425,"collection":37,"collections":3426,"showCount":3382,"zanCount":41,"manualWeight":41,"mainColor":70},219707,"qi-feng-tu-ma-he-zhi-219707","齐风图","香港艺术馆","齐襄公是齐僖公长子，他同父异母的妹妹姜文，素有“春秋时期四大美女”之称。见色起意的齐襄公不顾纲常伦理，与妹妹私通。《汉书·地理志》中记载了这段不堪的往事：“始桓公兄襄公淫乱，姑姊妹不嫁。",[23,24,26,25,7,54,53,57,28,29,187,61,721,81,60,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d34fa858564b0e0ce285f95eabcfed.jpg","26.2x65cm",[37],{"id":3428,"slug":3429,"title":1314,"dynasty":239,"author":76,"museum":3430,"description":3431,"tags":3432,"thumbUrl":3433,"material":499,"size":3434,"collection":37,"collections":3435,"showCount":3382,"zanCount":11,"manualWeight":41,"mainColor":70},218441,"han-shan-shi-de-tu-yi-ming-218441","福冈市立美术馆","画面分呈两段意趣：左间二人相倚，笑意温软如沐春风，似是知音对语；右处禅者踞岩，虎伴身侧驯若良朋，尽显禅心化境。淡墨晕染烟岚轻笼的山野，线条简括却勾摹出人物神态的鲜活与自然的清旷。草木疏朗，山石朴拙，处处透着元人画中那份超然尘外的禅意与闲逸。素净之笔未施浓彩，却将隐逸的自在与禅理的圆融悄然铺展，观之令人忘俗。",[23,24,101,7,408,28,618,60,81,157,673],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f0e535c4564e424c74e7b09730c1015.jpg","56x110.2",[37],{"id":3437,"slug":3438,"title":3439,"dynasty":94,"author":3440,"museum":49,"description":3441,"tags":3442,"thumbUrl":3443,"material":457,"size":66,"collection":37,"collections":3444,"showCount":3382,"zanCount":41,"manualWeight":41,"mainColor":70},215744,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-wu-gao-zeng-215744","摹吴道子圣贤像赞图册","吴高增","画面分左右两栏，右幅圣贤立像以灵动线描勾勒，衣袂飘举似吴带当风，褶皱转折间藏笔力劲道，人物神态肃穆沉稳，双手拢袖而立，眉宇间尽显渊雅气度。左幅题赞文字莹白映乌底，笔意端严工整，与画像相映成趣，拓印质感古朴厚重。整体构图均衡和谐，图文并茂间满溢对圣贤的敬仰，线描的韵律与文字的端庄交织，尽显传统艺术的典雅韵致，仿佛能透过纸页触到千年文脉的温润流转。",[23,24,25,100,7,28,52,1875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c06a78830de2d466eb6257298fcac.jpg",[37],{"id":3446,"slug":3447,"title":3448,"dynasty":645,"author":76,"museum":49,"description":3449,"tags":3450,"thumbUrl":3451,"material":174,"size":175,"collection":66,"collections":3452,"showCount":3453,"zanCount":41,"manualWeight":41,"mainColor":42},287924,"zhong-qiu-tie-yi-ming-287924","中秋帖","此作用笔极简，枯瘦梅枝苍劲老辣，寥寥枝桠斜斜舒展，数朵墨梅轻绽枝头，淡墨勾瓣，清灵雅致，尽现寒梅疏淡傲骨之姿。\n\n满幅朱红鉴藏印方圆错落排布，金石质感的厚重朱砂，与清隽墨色相映成趣，将文人画的清冷风骨，与辗转递藏的岁月底蕴相融。朱墨之间，花木的幽远意趣与典藏的风雅厚重交织，淡远高古的悠然意境扑面而来，尽显传统书画藏玩交融的别致韵味。",[24,25,102,138,7,101,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d82e2f75d477218ca64ea6643900b84.jpg",[],36,{"id":3455,"slug":3456,"title":3457,"dynasty":149,"author":2410,"museum":77,"description":3458,"tags":3459,"thumbUrl":3460,"material":124,"size":3461,"collection":66,"collections":3462,"showCount":3453,"zanCount":41,"manualWeight":41,"mainColor":89},234198,"wen-zheng-ming-zhu-lan-shi-juan-wen-zheng-ming-234198","文徵明竹兰石卷","图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。",[23,24,25,26,101,7,56,57,122,153,139,157,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259e5f9be7af848c6938d0974347ee0a.jpg","纵26.8厘米，横730厘",[],{"id":3464,"slug":3465,"title":2355,"dynasty":239,"author":1713,"museum":1209,"description":3466,"tags":3467,"thumbUrl":3468,"material":457,"size":3469,"collection":66,"collections":3470,"showCount":3453,"zanCount":41,"manualWeight":41,"mainColor":89},233767,"jiu-ge-tu-juan-zhang-wo-233767","“九歌”的名称来源很早，据说在夏朝的时候就已经出现了，《离骚》《天问》和《山海经》中都曾经提到过它。《离骚》中说：“奏九歌而舞韶兮”。“韶”，相传是舜帝的舞曲，把它与“九歌”并举，可见都是远古的乐章。而《山海经》则说“九歌”是启（传说中大禹的儿子）从天上偷来的，这便给她添上了神话色彩。现存“九歌”，其实是楚国南部流传已久的一套民间祭神的乐歌，后来经过屈原的加工改写而创造出来一种独特的抒情诗。张渥的这幅画上有屈原的画像，可见他也是根据屈原的《九歌》来创作这幅作品的。\n屈原所作《九歌》是根据民间祀神乐曲加工润色而成的诗章。当时楚国的巫风兴盛，人们的娱乐生活往往和宗教祭祀杂糅在一起，通过所祀之神来表达自己的理想和愿望。屈原《九歌》从内容到风格形式，都保存着南方原始祀神民歌的基本格调，在长期的历史进程中一直闪耀着动人的光辉，并吸引着历代画家们以此为题材进行艺术创作。据传最早绘制《九歌图》的画家是宋代李公麟。元代画家张渥的《九歌图卷》历来被认为是李公麟原作的摹本，这从该画卷后的题款“临李龙眠九歌图”即可看出。 [4] 此图是张渥为好友言思齐（世贤）所作。\n展开画卷，首先映入眼帘的是发髻束起，身着广袖长服，拱手站立的屈原像。他庄重而坚毅、孤独而傲岸、感伤而执著的神韵跃然于纸上，令人感佩动容。在对主人公形象的塑造上，画家运用了以线条勾勒为主的白描手法，用笔苍老润洁，遒逸秀劲，勾勒简练畅意，古拙脱俗，使人物更加生动传神，而且令整幅画面极具一种装饰美。其后以篆书题写《渔父》一篇，这就使读者似乎看到了屈原被放逐后徘徊于江滨那种忧心国事的情怀，不由自主地把屈原的品格同他的《九歌》密切地联系起来。\n紧随屈原像后，作者依据《九歌》原诗的情节逐一绘制出东皇太一、云中君、湘君、湘夫人的形象。画家熟练地运用线条长短、迂回、曲直变化，流畅飞扬，宛似行云流水，人物形象充满了各自的不同神韵。大司命手执拐杖，头上几根洗练的线条和些许淡墨晕染，恰如其分地表现了纱巾透明的质感，其下的发髻隐约可见。衣裤则用比较劲秀而又略有不同的线描画成，使人觉得衣与裤的质料也有所差异。至于面部和双手，用笔更细、更淡、更柔、更富于变化，枯笔画成的须眉成功地表现了它的疏落和蓬松，一副老年人的沧桑感突现出来。少司命左手执笔，右手握卷，慈眉善目，飘浮于祥云之上。左一持杖侍女似正听其嘱咐。东君浓眉大眼，鬓须满脸，手持法器，立于祥云之上。\n在原诗中，东君是人们想象中的太阳神，张渥却捕捉住“举长矢兮射天狼”这一爱憎鲜明的情节，把太阳神和天狼星之间的矛盾冲突集中在一个画面上。太阳神被描绘成一个全副武装、魁梧雄伟的武士，一手持弓，一手握箭，翻身怒视天狼星，须眉怒张，强调了他的勇武；衣带飘拂，加强了动势的表现。天狼星则被画成一个小小圆球，仿佛摇摇欲坠。这种艺术处理充分显现了原诗中那种热爱光明、仇视黑暗的思想感情，比之孙承泽旧藏传李公麟《九歌图》中髭须飘洒、抱弓而立的东君，从思想内容到艺术技巧都增加了新的内容。河伯骑于海龟之上，其衣服帽带的飞扬，波涛的奔涌，把河伯迎风破浪前进的形象淋漓尽致地表现了出来。\n《山鬼》是屈原《九歌》11首诗中最摄人魂魄的一首，它出自楚国一个美丽凄婉的传说，描写一个美丽而幽怨的女神。画卷中的山鬼裸体骑赤豹于松林之中。《国殇》原诗用较多的篇幅描写将士们奋不顾身英勇作战的场面，画家则根据原诗精神，通过一个侧面，充满想象力地进行了生动的描绘：用苍郁的笔法略施渲染，绘成几株参天大树和树下挥戈而前的勇士，铠甲的明亮与树石的阴郁形成了鲜明的对比，从而突出了人物形象。树下走在最前面的人怒目仰视，张口狂呼，仿佛可以听到他叱咤风云的不息喊杀声。在他的身后，无数战士的头在树木的繁枝密叶间攒动。这里，画家的笔墨非常精练，能看到的只有几个被枝叶遮蔽得不完整的头部，但却突出了勇往直前的眼神，成功地运用了构图的掩映和读者的错觉，因而落墨不多却表现了千军万马不可压倒之势。\n《九歌图》人物的塑造特点是形象饱满，个性鲜明。例如，东皇太一是天之尊神。张渥将他塑造为一个王者的形象，高大威严，垂裳冠冕，一手捻须，一手若有所指。与他的高大不同，天女的形象则娇小纤弱，形成对比。又如，大司命是生命之神。张渥将他刻画成一个和蔼的长者，慈眉善目，扶杖驾云而来，全无命运之神的狞厉恐怖。再如，东君为日神。张渥将他描绘成一员武将，披挂整齐，举剑携弓，凝视前方的天狼星。\n《九歌图》不仅对于考订张渥画家的年表、纠正有关记述中的疏误有所裨益，而且为了解张渥的艺术成就提供了一件有价值的资料。\n壬子年为明洪武五年，张渥去世当在此之前。可见自1346年此图创作完成之后至明初的一段时间里，这件作品一直保存在言氏手中。此后《九歌图》在明代的流传情况并不清楚。\n清乾隆时期曾流入内府，画面上铃有乾隆、嘉庆、宣统的印玺多枚。\n清亡后，溥仪令宝熙等审定内府书画时将此卷列为上上，记录在审定内府书画目原稿中。此后，《九歌图》又以赏赐的方式被辗转运往长春的伪皇宫。1945年日本投降后，《九歌图》便一直保存在长春王世宜手中，1971年捐赠吉林省博物馆。",[23,24,25,26,7,28,619,618,61,188,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83685df6eeeedeb07127abdd163834aa.jpg","纵29厘米、横523.5厘米",[],{"id":3472,"slug":3473,"title":886,"dynasty":75,"author":529,"museum":49,"description":3474,"tags":3475,"thumbUrl":3478,"material":66,"size":66,"collection":66,"collections":3479,"showCount":3453,"zanCount":41,"manualWeight":41,"mainColor":89},227736,"shi-dan-ying-xi-tu-li-song-227736","《市担婴戏图》是宋代画家李嵩创作的一幅绢本浅设色画，现藏于台北故宫博物院。此画描绘老货郎担着琳琅满目的百货，妇女、孩童蜂拥而来的情景。",[24,25,889,53,7,54,28,890,3476,81,3477,206,1444],"市担","儿童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ae9504a8080a71cacabd3b44df2120.jpg",[],{"id":3481,"slug":3482,"title":762,"dynasty":75,"author":76,"museum":77,"description":3483,"tags":3484,"thumbUrl":3485,"material":901,"size":3486,"collection":66,"collections":3487,"showCount":3453,"zanCount":41,"manualWeight":41,"mainColor":70},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[99,24,25,26,52,7,54,53,28,171,60,29,64,366,1727,764,81,423,61,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],{"id":3489,"slug":3490,"title":3491,"dynasty":239,"author":240,"museum":184,"description":3492,"tags":3493,"thumbUrl":3496,"material":457,"size":3497,"collection":247,"collections":3498,"showCount":3453,"zanCount":41,"manualWeight":41,"mainColor":89},220788,"hua-pu-ce-xin-zhi-ku-gan-yu-zhu-ni-zan-220788","画谱册·新枝枯干雨竹","该册共十帧，每页依次绘竹林山石，并细叙画法。画法中语虽不求深致，而多发人所未发，甚为可贵。",[24,25,100,101,7,56,122,3494,3495],"枯干","新枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa51185112762ece3701184f5e766e2de.jpg","幅一 23.6x14.2公分，幅二 23.6x14.2公分",[247,2535],{"id":3500,"slug":3501,"title":3502,"dynasty":239,"author":3503,"museum":3504,"description":3505,"tags":3506,"thumbUrl":3511,"material":141,"size":3512,"collection":37,"collections":3513,"showCount":3453,"zanCount":41,"manualWeight":41,"mainColor":89},218245,"bin-feng-tu-lin-zi-huan-218245","豳风图","林子奂","上海龙美术馆","《豳风图》全卷共分七段，依次为《七月》《鸱号》《东山》《破斧》《伐柯》《九罭》《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅。",[23,24,25,26,7,101,56,57,55,28,60,81,64,61,187,3507,3508,3509,3510],"舟","农田","茅屋","农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1a0555d1ec4931a6edfed8747e1ab0.jpg","26.5x446",[37],{"id":3515,"slug":3516,"title":3517,"dynasty":239,"author":693,"museum":49,"description":3518,"tags":3519,"thumbUrl":3525,"material":174,"size":175,"collection":66,"collections":3526,"showCount":3527,"zanCount":41,"manualWeight":41,"mainColor":89},287592,"wei-mo-yan-jiao-tu-wang-zhen-peng-287592","维摩演教图","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[24,99,25,26,7,28,27,2892,3520,3521,1705,3522,3523,3524],"维摩诘","文殊菩萨","天女","护法","狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40a4d0806de3db1968a0376916c5f4a.jpg",[],35,{"id":3529,"slug":3530,"title":3531,"dynasty":94,"author":3532,"museum":49,"description":3533,"tags":3534,"thumbUrl":3538,"material":174,"size":175,"collection":66,"collections":3539,"showCount":3527,"zanCount":41,"manualWeight":41,"mainColor":89},239059,"shan-shui-hua-niao-ce-yang-jin-239059","山水花鸟册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[24,25,100,101,7,102,3535,3536,3537,55],"花","叶","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63e6e415ef05404b5373e9472d91023.jpg",[],{"id":3541,"slug":3542,"title":3543,"dynasty":149,"author":3544,"museum":49,"description":3545,"tags":3546,"thumbUrl":3547,"material":66,"size":66,"collection":425,"collections":3548,"showCount":3527,"zanCount":41,"manualWeight":41,"mainColor":89},236404,"xiao-xiang-ba-jing-ce-wen-jia-236404","潇湘八景册","文嘉","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,101,100,60,59,63,62,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d1f1866b63e635521521dd0043dc9a.jpg",[425,127],{"id":3550,"slug":3551,"title":3552,"dynasty":75,"author":464,"museum":77,"description":3553,"tags":3554,"thumbUrl":3555,"material":901,"size":3556,"collection":37,"collections":3557,"showCount":3527,"zanCount":11,"manualWeight":41,"mainColor":70},233988,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233988","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,99,25,100,7,101,28,62,2322,157,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489ad7188d3047e278afe3c2a391dfdb.jpg","60.33x41.04厘米",[37,425],{"id":3559,"slug":3560,"title":3561,"dynasty":94,"author":1591,"museum":77,"description":3562,"tags":3563,"thumbUrl":3564,"material":457,"size":3565,"collection":66,"collections":3566,"showCount":3527,"zanCount":11,"manualWeight":41,"mainColor":89},233719,"zi-hua-xiang-zhou-jin-nong-233719","自画像轴","此图为扬州八怪之一金农73岁时的自画像。画中老者身着布衣，持杖侧身而立，姿态笃定，神情超然。其头部画法较为写实，具有肖像画的特征，浓密的长髯，细细的发辫，矍烁的双目，真实传神地描绘出金农本人奇倔傲世的性格特征。\n图中人物的体貌不求形似，极尽夸张，具有漫画意味，这是一种文人画家逸笔的肖像画。画家以焦墨渴笔勾勒人物形象，线条生拙简朴，脱胎于南宋马和之“兰叶描”，与题款及诗文的“漆书”共同体现出生涩拙朴、奇绝脱俗的风格。",[24,25,243,7,101,28,56,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9ed191e96e74c538004f23d2e40f11.jpg","纵131.3厘米 ，横59.1厘米",[],{"id":3568,"slug":3569,"title":3570,"dynasty":94,"author":2580,"museum":184,"description":3571,"tags":3572,"thumbUrl":3573,"material":66,"size":66,"collection":425,"collections":3574,"showCount":3527,"zanCount":41,"manualWeight":41,"mainColor":89},232797,"yu-bi-shi-jing-quan-tu-shu-hua-he-bi-tu-ce-qian-long-232797","御笔诗经全图书画合璧图册","乾隆四年暮春至十年季夏，乾隆皇帝与词臣陆续书写《诗经》三百零五篇，并补「笙诗」六篇，凡三百一十一篇，同时敕画院诸臣规抚宋人马和毛诗图笔意，完成前所未有的《御笔诗经泉图书画合璧》三十册，此书画册今藏台北故宫博物院图书文献处善本书库。\n乾隆此举当然具有政教宣示作用，但与宋高宗的立场绝不相同，因为国势盛衰相去甚远，故乾隆不免要嘲讽宋高宗「徒以西湖为销金窠」，根本不懂什麼叫做「诗」。不过，马和之高妙的笔意，不也是驱使盛清气势下的乾隆想完成此一巨擘的动力？因此，他御令画院诸臣，将旧有的临摹，已缺的补绘，完成《御笔诗经全图书画合璧》三十大册。此从文献资料的角度来看，确实提供了马和之图绘《毛诗》的一个轮廓，让我们得以配合当年同一时间内所编纂的《石渠宝笈》，去思索当时的内府究竟存有多少马和之所绘的《毛诗图》？而与今日所存的作品之间又有何种差异？同时，从诗经图的发展驶来看，乾隆朝的《御笔诗经图》虽然创意不很高，倒是以一个完整的姿态，为诗经图的历史画下一个美好的句点。\n故本论文主要论述有两方面：一是考察整个诗经图的发展历史，而马和之可说是其中最重要的一位。在他之前，只有文献上的记载；在他之後，又以临摹为多。虽然如此，随著时代的演变，许多以《诗经》为题材的画作，已渐与诗义脱离，而彰显著不同时代的文化情境，直到乾隆，其雄心壮志，反而使诗经图回归到诗义的本身，虽然所掌握的诗义和马和之有所不同，到底还是以马画为依归。其次，《御笔诗经图》既从现存的马画和文献资料中获得一些讯息，从而想像那些已不知所踪的画作是何等面貌。",[23,24,25,100,7,101,1875,56,60,28,63,81,157,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec80eb8579f58c3fe32a317b0d4e306.jpg",[425],{"id":3576,"slug":3577,"title":3578,"dynasty":149,"author":3009,"museum":184,"description":3579,"tags":3580,"thumbUrl":3582,"material":457,"size":3583,"collection":66,"collections":3584,"showCount":3527,"zanCount":11,"manualWeight":41,"mainColor":89},232695,"fang-wang-meng-jiao-shi-tu-qian-gu-232695","仿王蒙蕉石图","该画左侧画有高大的芭蕉，枝干粗壮挺拔，蕉叶茂盛，蕉叶的大小和形状各异在芭焦树右侧下，竖立着一块巨石，紧紧依仗在芭蕉树干上。奇石下长着数株花朵盛开的牡丹和茂密的枝叶。该画以粗笔泼墨把芭蕉，牡丹和湖石创造而成，细致的刻画没有作做。该幅墨韵气势，奔放横溢，笔墨和造型在徐渭的写意画中生动的表现出来，把花鸟、蔬菜、走兽、人物、山水等都给显示其中，令人耳目一新",[24,25,243,101,7,408,52,55,1108,157,572,3581],"蕨类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9519a20dcb4c79c70479b45708fd193.jpg","145.8x49.8 厘米",[],{"id":3586,"slug":3587,"title":3588,"dynasty":239,"author":693,"museum":49,"description":3589,"tags":3590,"thumbUrl":3591,"material":66,"size":66,"collection":66,"collections":3592,"showCount":3527,"zanCount":41,"manualWeight":41,"mainColor":70},228051,"da-ming-gong-tu-juan-wang-zhen-peng-228051","大明宫图卷","图绘楼台魏巍，湖水环绕，拱桥横跨，一巨大的龙舟领衔，众多小龙舟奋力竞渡夺标的生动情景。\n场面宏大壮观，人、船众多，旌旗招展，鼓乐齐奏，一片观乐紧张气氛。\n全画用笔工整严谨，楼台、龙舟俯仰曲折，细入毫端，人物虽小，然各尽其态，引人入胜。\n【名称】元王振鹏金明夺锦图卷 【规格】该幅 2.124.1公分；隔水一 1.公分；隔水二 1.7公分 【收藏】 主题与关键字：春景、名胜、龙舟、宫殿、桥、池水、奇石、官员（臣）、侍从（侍女、童仆）、百姓、表演者、杂耍艺人、松、竹、杨柳、柏、庭院、栏杆、鸟笼、旗、秋千 录入：石渠宝笈初编（养心殿），下册，15页；故宫书画录（卷八），第四册，8页；故宫书画图录，第十七册，211-214页。\n王振鹏：元永嘉（今浙江温州）人。\n官至漕运千户。\n界画极工致，仁宗眷爱之，赐号孤云处士。\n运笔和墨，豪分缕析，左右高下，俯仰曲折，方员平直，曲尽其体，而神气飞动，不为法拘。\n虽入纤细，而格力超腾，非院中人所能。\n元季界画可为第一，不在郭恕先之下， 、 辈殆不如也。\n尝为大明宫图、金明池夺标图、大安阁图、水亭图等，世称绝品。",[23,24,99,26,365,7,29,60,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c596cd513646736bb7dfa23a00cbc29.jpg",[],{"id":3594,"slug":3595,"title":3596,"dynasty":645,"author":3597,"museum":49,"description":3598,"tags":3599,"thumbUrl":3600,"material":174,"size":175,"collection":66,"collections":3601,"showCount":3527,"zanCount":41,"manualWeight":41,"mainColor":42},225293,"yue-tian-ben-dong-jing-zhen-hai-225293","月天(本-东京)","珍海","平安时代后期三论大师。画家春日元光的孩子。... 有许多与三论、密教和净土有关的著作，包括“Kettsujo Ojoshu”。从出身开始，他就擅长艺术，并在醍醐寺和东寺留下了许多白色的图标。",[23,24,25,7,27,28,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84efdcc6b821bbb1ea0a42c4d0449105.jpg",[],{"id":3603,"slug":3604,"title":3605,"dynasty":75,"author":76,"museum":49,"description":3606,"tags":3607,"thumbUrl":3608,"material":66,"size":66,"collection":66,"collections":3609,"showCount":3527,"zanCount":41,"manualWeight":41,"mainColor":70},223638,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223638","萧翼赚兰亭图","此作用笔细劲圆韧，设色古雅沉着，将一场机锋暗涌的智斗藏于寻常茶谈之间。画面分两组人物，老僧松弛端坐，意态舒展毫无戒心，对面之人敛神静坐，表面闲散实则暗怀城府。侍童仆从各司其职，衬出主客间暗流涌动的张力。\n器物陈设皆循古制，案几、茶具细节写实，尽显古朴雅致。全画以静写动，将巧取《兰亭》的权谋算计融在淡然晤对中，叙事含蓄却极具戏剧感，摹写精细传神，尽显唐画神韵，累代鉴藏朱印环伺，更添传世厚重底蕴。",[23,24,25,26,53,7,101,54,28,55,56,1440,1441,1442,1443],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e31b4f44578334bb757880c21d79b3.jpg",[],{"id":3611,"slug":3612,"title":3613,"dynasty":75,"author":76,"museum":395,"description":3614,"tags":3615,"thumbUrl":3616,"material":901,"size":3617,"collection":66,"collections":3618,"showCount":3527,"zanCount":41,"manualWeight":41,"mainColor":89},223435,"song-mo-zhou-wen-ju-gong-zhong-tu-di-yi-duan-yi-ming-223435","宋摹周文矩宫中图（第一段）","此图是描绘宫中妇女生活的长卷，存残卷四段，画八十余人。\n《宫中图》原作已经不存在,目前所见为南宋摹本,共有三段。1947年左右散佚海外,分存在美国三个不同的博物馆。第一段藏美国克里夫兰美术馆,曾名《仕女图》第二段名《宫中图》,藏美国哈佛大学福格博物馆;第三段名《唐宫春晓图》,原为英国私人藏,现入藏美国大都会美术馆。 [1] 《宫中图》，宫女童子多达八十令人，分十余组，人物穿插得体，彼此照庇，统一和谐；除人物面部行极少淡彩外，均用白描，笔法活泼，线条流畅，造型准确生动。 [2]\n此图是描绘宫中妇女生活的长卷，现残存四段，画中宫女童子多达81人，分成十余组。人物的活动有着诸多的场面，有的对镜梳妆，有的在奏乐，有的在无聊闲坐，有的在盥洗，有的在逗着小儿，童子正在逗玩小狗，有的在观鱼等等；画中的人物，除儿童显得天真活泼外，其余人物显得有些懒散、忧郁，尤其是年长者，地位较显者为甚，画中诸多人物的安排和组合，穿插得体，疏密相间，构图富有变化，错落有致。\n画卷附有宋绍兴庚申十年（1140）张激跋文，郁逢庆的（书画题跋记）把这段题跋保存下来，录在下面:\n周文矩“”宫中图”，妇人小儿，其数八十，一男子写神，而装具乐器盆孟扇椅席鷃鹉犬蝶不与。文矩句容人，为江南翰林待诏，作仕女体近周，而加纤丽，尝为后主画“南庄图”，号一时绝笔，他日上之朝廷，诏籍之秘阁。“官中图”云是真迹，藏前太府卿朱载家，或摹以见馈，妇人高自唐以来如此，此卷丰肌长裙，周法也。余在峤南于端溪陈高祖之裔，见其世藏诸帝像，左右官人梳与此略同，而丫乃作两大垂肩项间，虽丑而有真态。李氏自谓南唐故衣冠多用唐制，然风流寔是六朝之余，画家者官辩古今当先问衣冠车服，盖谓此也。绍兴庚申五月乙西岩居士张激题。”\n卷后有岳居土张激绍兴十年（1140）跋：“周文矩宫中图，妇人小儿，其数八十。男子写神。”",[23,99,24,25,26,52,7,28,58,532,1171,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d5daed2a1792353467f6670b4d6b6.jpg","纵28.3cm，横168.5cm",[],{"id":3620,"slug":3621,"title":3622,"dynasty":75,"author":350,"museum":49,"description":1785,"tags":3623,"thumbUrl":3624,"material":354,"size":355,"collection":66,"collections":3625,"showCount":3527,"zanCount":41,"manualWeight":41,"mainColor":70},221327,"chao-yuan-xian-zhang-tu-di-er-duan-wu-zong-yuan-221327","朝元仙仗圖-第二段",[23,99,24,25,26,7,27,28,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1d50323372fd5dbe926cdd9c052086.jpg",[],{"id":3627,"slug":3628,"title":3629,"dynasty":75,"author":3630,"museum":184,"description":3631,"tags":3632,"thumbUrl":3633,"material":124,"size":3634,"collection":85,"collections":3635,"showCount":3527,"zanCount":41,"manualWeight":41,"mainColor":89},221258,"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。 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的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。\n此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。\n每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。",[23,24,26,53,54,7,28,1347,81,29,1108,2513,2772,58,157,63,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd14950ec691dae510436a9d31262f4.jpg","绢","纵43.8厘米，横823.7厘米",[],{"id":3711,"slug":3712,"title":3713,"dynasty":239,"author":3714,"museum":694,"description":3715,"tags":3716,"thumbUrl":3717,"material":101,"size":3718,"collection":66,"collections":3719,"showCount":3664,"zanCount":41,"manualWeight":41,"mainColor":89},221723,"liu-chen-ruan-zhao-ru-tian-tai-shan-tu-juan-zhao-cang-yun-221723","刘晨阮肇入天台山图卷","赵苍云","赵苍云是宋代皇室家族成员，经历了南宋灭亡、蒙元统治的巨大变化。他采用李公麟的白描手法描绘了汉代刘晨、阮肇入天台山遇仙的故事。天台山在浙江天台县北，传说刘晨、阮肇入天台山采药，遇见两个仙女，留他们住了半年。后来他们要求回家，到家乡时发现已经过了七世，这种天堂与人间的巨大反差让他们感到疏离与不适应，这也是许多宋代遗民在蒙古人统治下的心境。\n关于赵苍云的资料，我们只有在这幅画卷的题跋中所知一二。第一段跋中，元代人华幼武（字彦清，号栖碧，无锡人。生于元成宗大德十一年，卒于明太祖洪武八年，年六十九岁。平生笃于孝友。少有盛名。）说赵苍云以没骨法作水墨山水与人物画。华还说赵苍云年轻时比他的同宗赵孟坚、赵孟頫更有名气。后来赵苍云归隐山林，不婚不仕，他的生平资料没有任何记载，只有这幅画留存人世。\n华幼武跋语：苍云山人，本赵宋宗室。高奇嗜酒，绘事入神。山水横放，大都仿没骨图，而生动过之。人物工致，别有姿韵，世不多见。所作刘阮天台图，意境萧散，神趣闲逸，曹衣吴带，设色妍妙，有诸家所不能及者。窃意刘阮未必非乌有子虚，唐人云：“仙姝宜属魅界。”但得此墨妙，觉灵山俨然，西园犹在，展卷不知身在桃云柳浪、清风红日间也。苍云早岁，名在子昂、子固之上，不婚不宦，每隐于山林湖舫，虽亲串无从踪迹，世人得其片帧，几如拱璧，此其匠心运意，备极惨澹，当不能有二也。洪武十二年秋九月，华幼武书於春草轩。",[23,99,24,25,26,7,101,28,60,188,81,673],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f6ca0b72de89d4c9bf952820d989cd.jpg","22.5cm×561.34cm",[],{"id":3721,"slug":3722,"title":3723,"dynasty":94,"author":3724,"museum":135,"description":3725,"tags":3726,"thumbUrl":3727,"material":101,"size":66,"collection":37,"collections":3728,"showCount":3664,"zanCount":41,"manualWeight":41,"mainColor":89},219751,"su-xiao-mei-xiang-chen-zhuan-219751","苏小妹像","陈撰","此作以极简白描勾勒仕女，凝练舒展的墨线塑就身形，少女垂首捧卷，眉梢眼底尽是沉浸书卷的静雅温婉，将才女的灵秀聪慧藏于无言。画面左侧题诗与人物相映成趣，诗画共生，晕染出清雅脱俗的文人意趣。全作不施多余敷色，纯以墨线写形传神，寥寥数笔便将闺中才女耽于诗书的娴静情态刻画入微，笔墨清逸秀朗，尽显写意雅致的格调，把人物的温婉灵韵全然铺陈开来，尽显文人仕女画的写意风神。",[24,25,243,7,101,28,58,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c45638293df21733715bda30704781.jpg",[37],{"id":3730,"slug":3731,"title":3732,"dynasty":75,"author":3733,"museum":3734,"description":3735,"tags":3736,"thumbUrl":3737,"material":141,"size":66,"collection":425,"collections":3738,"showCount":3664,"zanCount":41,"manualWeight":41,"mainColor":89},219706,"bai-miao-yue-bing-tu-li-zao-219706","白描阅兵图","李早","刘海粟美术馆","淡墨晕开平远丘壑，清旷烟岚晕染出空濛郊野，劲挺林木错落排布，晕染出幽寂底色。整肃的军马武士隐现于浅渚平坡间，白描线条清劲洗练，将军士的端严、战马的神骏勾勒得灵动传神，不着浓丽色彩，仅凭虚实笔墨，就将阅兵时的沉凝肃穆尽数铺展。\n\n卷上题跋添就文史意趣，山水意境糅合军旅气象，以简淡笔墨托出兵阵的雄浑威仪，静穆烟岚之下暗涌军阵张力，尽显笔墨雅韵与写实功力，将盛大阅兵的宏大气度，藏在清和的丘壑林泉之间。",[23,24,25,26,7,56,28,315,1276,81,2322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ddd2c5d153d84f8a246a4de734fb049.jpg",[425],{"id":3740,"slug":3741,"title":3742,"dynasty":239,"author":693,"museum":184,"description":3743,"tags":3744,"thumbUrl":3745,"material":246,"size":3746,"collection":425,"collections":3747,"showCount":3664,"zanCount":41,"manualWeight":41,"mainColor":70},218725,"bao-jin-jing-du-tu-wang-zhen-peng-218725","宝津竞渡图","界笔如丝，勾勒出楼阁层叠错落，飞檐翘角似振翅欲飞，梁柱间精巧纹饰尽显匠心底蕴。水面上龙舟竞渡，旌旗猎猎，舟中人群攒动——或击鼓助威，或挥桨逐浪，浪花翻涌间满是喧腾热闹。整幅画以细腻线条铺陈，将宋代汴京宝津楼前的端午盛景凝于绢素，既有界画的严谨工整，又不失动态的鲜活灵动，仿佛鼓点与欢呼交织耳畔，昔日都城的繁华气象跃然眼前。",[24,25,26,365,7,28,29,187,61,1228,81,487,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda29ce46bd5c86dc803d1bc684f736b8.jpg","36.6x183.4cm",[425],{"id":3749,"slug":3750,"title":3751,"dynasty":239,"author":3752,"museum":1804,"description":3753,"tags":3754,"thumbUrl":3755,"material":141,"size":3756,"collection":37,"collections":3757,"showCount":3664,"zanCount":41,"manualWeight":41,"mainColor":89},218404,"xia-zi-he-shang-tu-ke-weng-218404","虾子和尚图","可翁","墨色晕染间，禅僧躬身仰首，一手持网欲探枝间生灵，一手轻遮额前似凝眸细辨。衣纹简劲流畅，寥寥数笔勾出僧袍宽缓质感；树影藤蔓泼墨写意，浓淡交错见自然野趣。留白处意蕴悠长，引观者随其目光，窥见禅者与天地生灵的静默私语。禅意未拘经卷古刹，却在捕虫的专注里，藏着对生命的细微观照与悠然禅趣。笔意纵逸形神兼备，简淡中见生动，寻常小景里透出禅家自在天真，尽显水墨写意的妙境。",[99,24,25,243,101,7,27,28,811,157,2276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ee01580bb91979022abf804ecfce07.jpg","86.9x34.5",[37],{"id":3759,"slug":3760,"title":3761,"dynasty":239,"author":76,"museum":184,"description":3762,"tags":3763,"thumbUrl":3764,"material":83,"size":3765,"collection":37,"collections":3766,"showCount":3664,"zanCount":41,"manualWeight":41,"mainColor":89},218228,"di-yi-a-ying-a-ji-da-zun-zhe-yi-ming-218228","第一阿迎阿机达尊者","尊者趺坐石畔，衣纹流转如微风拂过的涟漪，一手托腮，眸光低垂却似洞穿万象。眉宇间凝着浅浅思索，唇边漾开若有若无的笑意，禅意便在这静默神态里漫溢。身后古木虬枝，叶影婆娑，与头顶圆光相衬，晕开温润光晕。远处峰石隐现，亭台依稀，似是尘外清境。\n\n笔墨以线塑形，婉转中见骨力，淡墨晕染出清寂氛围，将尊者的沉静与天地的悠远交织。无需浓墨重彩，只凭简淡之笔，便勾勒出禅者澄明心境，尽显元人绘佛的空灵韵致——于寻常物象藏深意，于静默观照见真如。",[24,25,243,27,7,101,54,28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幅左篆书款署嘉靖己酉（一五四九），时仇英约五十六岁。左下角「剑光阁」、「华氏明伯」两印，均华云所有，故此画应是仇英为华氏所作",[24,99,25,243,7,101,28,998,1171,55,3809],"闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ccceac39e78de66c277baf5ea414e1.jpg","54.9×28.4",[],{"id":3814,"slug":3815,"title":3816,"dynasty":75,"author":76,"museum":49,"description":3817,"tags":3818,"thumbUrl":3820,"material":174,"size":175,"collection":66,"collections":3821,"showCount":3802,"zanCount":41,"manualWeight":41,"mainColor":70},290095,"ru-lai-shuo-fa-tu-yi-ming-290095","如来说法图","本幅画一佛半跏趺坐于一大莲座上，座侧二天王、阿难、迦叶和二供养菩萨围绕。该坐佛长眉细目，眉间有白毫，唇上有髭，法相庄严。顶有螺发，肉髻低平，右手施安慰印。身后有一圆形背光，头后圆光边缘尚饰炽然飞动的火焰纹。二天王身穿盔甲，手持剑槊，神情威武。年轻的阿难温文儒雅，双手合什而立，年长的迦叶浓眉深目，双手合握作拳，食指和姆指竖起，结密教的灌顶印。二供养菩萨则手捧供花，仰首望佛，虔诚恭敬。作者充分地掌握每个人物的内在特质。人物神情各异，栩栩如生。",[24,25,243,27,2892,7,53,28,3697,3819,2893],"僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa8ad1776dc909afc9ed35c24e31d2c2.jpg",[],{"id":3823,"slug":3824,"title":3825,"dynasty":94,"author":76,"museum":49,"description":3826,"tags":3827,"thumbUrl":3828,"material":124,"size":3829,"collection":37,"collections":3830,"showCount":3802,"zanCount":11,"manualWeight":41,"mainColor":89},238022,"hua-di-wang-ming-chen-xiang-ce-zhu-ge-liang-yi-ming-238022","画帝王名臣像册-诸葛亮","淡墨轻勾，绘出武侯宽袍博带的儒雅身形，发丝虬髯丝丝分明，眉眼间沉敛着半生尽瘁朝堂的弘毅忠忱，将其智绝忠纯的风骨凝于笔端。左侧配精整小楷题跋，录武侯生平评赞，笔墨清隽端雅，与画像彼此映衬。\n\n整作摒弃浓艳修饰，以工致写实的手法，用素净无华的笔触勾勒贤相仪容，不求繁复，只凭淡墨线条便将武侯忠贞弘毅的精神内核尽数彰显，书画合璧，尽显肖像画以形传神的精妙意趣，把一代名相的卓然风骨藏于简淡笔墨之中。",[24,25,100,7,101,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e19027ae7c4d5721732c1c5739a3d8c.jpg","纵25.1厘米，横20厘米",[37],{"id":3832,"slug":3833,"title":3834,"dynasty":94,"author":1591,"museum":694,"description":3835,"tags":3836,"thumbUrl":3837,"material":1564,"size":3838,"collection":66,"collections":3839,"showCount":3802,"zanCount":41,"manualWeight":41,"mainColor":42},233868,"mei-hua-ce-jin-nong-233868","梅花册","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[24,25,100,7,101,102,138,62,3537,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb34432e0d3f92f887635aac9010c975.jpg","25.4cm ×29.8cm",[],{"id":3841,"slug":3842,"title":3843,"dynasty":75,"author":183,"museum":77,"description":3844,"tags":3845,"thumbUrl":3846,"material":457,"size":3847,"collection":66,"collections":3848,"showCount":3802,"zanCount":41,"manualWeight":41,"mainColor":70},232627,"xi-yue-jiang-ling-tu-juan-quan-juan-li-gong-lin-232627","西岳降灵图卷全卷","《西岳降灵图》图卷描绘了各种形形色色人物，包括贵族及其眷属随从，甚至市井中的商人、乞丐、渔父、玩把戏的等等。在不同的程度上表现了各种人的特点。道教画放手描写市井人物，因为道教相信神仙会隐迹在普通人群中间，可以具有普通人的外表。因而这样的道教画又具有了风俗画的特点。李公麟的绘画风格，是重实践而又追求清新的。\n《西岳降灵图》画卷被认为是北宋著名画家李公麟的传世名作之一。从画卷后的跋语及其所钤盖的印章来看，该画卷在明初曾为黔宁王沐英家族收藏，明成化至正德时，又流落到大太监钱宁手中，清代则为鉴藏家梁清标所有。该画卷最后的私人收藏者是近现代佛学大师、书画家、鉴藏家叶恭绰先生。特别值得一提的是，叶恭绰先生曾经的重要藏品还有《鸭头丸贴》、《毛公鼎》等等。虽然《西岳降灵图》并未见诸著录，但经许多收藏大家之手审定、珍藏，也可说是流传有序了。",[23,24,99,26,7,28,315,1716,1727,32,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fa89bfeaab83091e6e70ab92b978e3.jpg","纵26.5厘米，横513.7厘米",[],{"id":3850,"slug":3851,"title":3852,"dynasty":239,"author":3853,"museum":184,"description":3854,"tags":3855,"thumbUrl":3857,"material":457,"size":3858,"collection":66,"collections":3859,"showCount":3802,"zanCount":41,"manualWeight":41,"mainColor":89},231337,"guan-dao-sheng-yan-yu-cong-zhu-yuan-dai-ji-jin-zhi-er-guan-dao-sheng-231337","管道昇烟雨丛竹－元代集锦之二","管道升","管道升善画竹，就存世画件，则有北京故宫藏《赵氏一门三竹图卷》中的第二件《墨竹》。此卷本安歧旧藏。安氏评以：“密叶劲节，不似闺秀之辈。”安歧旧藏又有赵孟頫、管道升《蕙竹合作卷》，安氏记以：“墨竹一枝，竹叶萧疏，枝节秀劲。”从这些描述来看《烟雨丛竹》，都不贴切。\n这幅《烟雨丛竹》不是习说的“墨竹”，而是当作于山水画的竹林图。从古老的诗经“瞻彼淇奥，绿竹猗猗”到“渭川千亩”，再到杜甫移种万竿于浣花草堂：“我有阴江竹，能令朱夏寒，阴通积水内，高映浮云端。”这种意念，移之于画作。明张丑记东坡居士《断山丛筱真迹》：“又见东坡《万竿烟雨》小帧。绢本精细，歇云眉山苏轼。下有飞白坡石，兼远景烟霭，极精。上方文征仲诗跋，称许娓娓可诵也。”“飞白坡石，兼远景烟霭。”移之于这幅《烟雨丛竹》，也是合宜的。又画史上倪瓒创出的《十万图》《万竿烟雨》即为第一题目。安歧记此画：“作淡墨细竹，沙渚遥浦，其间烟雾横迷，万玉幽深，茫茫有渭川千亩之势，坡陀皴法大类松雪，布景一派平远天真，秀妙绝伦，实为佳品。”也从此立意。\n《烟雨丛竹》画竹不分节，一笔不断由下方到顶端完成。竹叶形状细劲，结组繁而不乱。墨色用前浓后淡来区分出远近；画山坡是一般的山水皴法，沙渚丛竹，掩映于烟云中。新篁成丛与赵孟頫《自写小像》（1299作）的竹林画法是接近的。两件画竹叶，都是向上仰，做“燕尾”式的交合，且是前浓后淡的竹叶丛。竹竿《自写小像》并不一直顺畅到顶，略有些小转变。《自写小像》是青绿重彩，竹注重“墨骨”来衬托出色彩。《烟雨丛竹》是水墨层层迭迭渲染，烟云变灭，做得极为细致。技法上容有相通，情怀却不一。画平坡石块，《自写小像》画得古拙，而《烟雨丛竹》反而是老练成熟。",[24,25,26,101,7,122,3856,61,157],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdc9f3061b89318e38a118057564b00.jpg","縱23.1厘米，橫113.7厘",[],{"id":3861,"slug":3862,"title":3863,"dynasty":149,"author":150,"museum":49,"description":3864,"tags":3865,"thumbUrl":3866,"material":66,"size":66,"collection":66,"collections":3867,"showCount":3802,"zanCount":41,"manualWeight":41,"mainColor":70},228292,"li-fo-tu-chen-hong-shou-228292","礼佛图","此作用笔清劲圆韧，尽显高古奇逸之风。崖上枯松虬曲苍劲，枝桠裹挟冷冽清气，石崖趺坐的尊者素衣宽博，神色澹然，以丝缕牵出云端佛影，引渡下界向佛之心。下方沙弥合掌长跪，衣褶层叠温婉，满脸至诚恭敬。\n\n玲珑剔透的太湖石错落排布，衬出画面空灵疏朗的禅意，设色清雅柔和，仅以淡赭、浅青晕染，将出世的静穆禅韵融于尺幅之间，笔端藏着静水流深的禅思，把礼佛的虔敬化作悠远澄澈的画境。",[23,24,25,243,27,53,7,54,28,157,244,998,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c721a086c33d6299e0b1c0e20fa17b.jpg",[],{"id":3869,"slug":3870,"title":3871,"dynasty":75,"author":183,"museum":184,"description":3872,"tags":3873,"thumbUrl":3874,"material":3875,"size":3876,"collection":85,"collections":3877,"showCount":3802,"zanCount":11,"manualWeight":41,"mainColor":89},221356,"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。",[23,99,24,25,26,7,101,28,315,1224,2322,2808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca6087e9bb8a0ab5fd706b1ea01ef813.jpg","绢本，水墨淡设色","26.6x764",[85],{"id":3879,"slug":3880,"title":3881,"dynasty":94,"author":1460,"museum":184,"description":3882,"tags":3883,"thumbUrl":3884,"material":3885,"size":3886,"collection":37,"collections":3887,"showCount":3802,"zanCount":41,"manualWeight":41,"mainColor":89},219527,"fang-han-huang-qi-cai-zi-guo-guan-tu-ding-guan-peng-219527","仿韩滉七才子过关图","历史故事画题，描写唐开元年间七才子冒风雪出蓝田关，游龙门寺的故事。",[24,25,53,54,7,52,28,315,2386,60,811,63,1693,423,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eea564194f470461c7e20c843cace7b.jpg","设色,纸本","94.5X54.7cm",[37],{"id":3889,"slug":3890,"title":3891,"dynasty":239,"author":76,"museum":49,"description":3892,"tags":3893,"thumbUrl":3895,"material":246,"size":3896,"collection":37,"collections":3897,"showCount":3802,"zanCount":41,"manualWeight":41,"mainColor":70},216729,"cai-wen-ji-gui-han-tu-juan-yi-ming-216729","蔡文姬归汉图卷","蔡文姬归汉图卷是一幅来自中国元朝时期的绘画作品，作者不详。这幅作品描绘了蔡文姬的故事，蔡文姬是中国古代传奇人物，被认为是中国历史上最伟大的女子琴师之一。\n\n蔡文姬归汉图卷描绘了蔡文姬归汉的故事，她最终回到了中国。",[23,99,24,25,26,7,54,28,315,3894,1874,1693],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa205e6ef03d2c82dc7ac2a4de33cb74.jpg","31.5x89.5",[37],{"id":3899,"slug":3900,"title":3901,"dynasty":75,"author":76,"museum":395,"description":396,"tags":3902,"thumbUrl":3903,"material":141,"size":399,"collection":66,"collections":3904,"showCount":3802,"zanCount":41,"manualWeight":41,"mainCo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风俗画的兴盛至晚出现在南宋时期，这和当时的商品经济、市民经济发展有关。",[23,24,25,26,53,7,28,367,315,3174,3937,56,55,57],"耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65d45b34c3b7c6f1debaca0eb192617.jpg","27.2 x 101.5",[],{"id":3942,"slug":3943,"title":3944,"dynasty":645,"author":1529,"museum":49,"description":1530,"tags":3945,"thumbUrl":3946,"material":174,"size":175,"collection":66,"collections":3947,"showCount":3912,"zanCount":41,"manualWeight":41,"mainColor":42},231666,"shi-ting-shi-dai-fang-liang-kai-huang-chu-ping-tu-xue-zhou-231666","室町时代 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zanCount":41,"manualWeight":41,"mainColor":89},219409,"bai-miao-fo-xiang-tu-juan-cui-zi-zhong-219409","白描佛像图卷","崔子忠","崔子忠（约1574-1644年），初名丹，字开予，改名子忠，字道母，号青蚓。山东莱阳人，寓居顺天府（今北京）。善画人物、肖像，传世作品较少。此幅白描佛画，似说法或授经图，取法李公麟，人物高古，衣纹流美，作于崇祯四年（1631)，作者时年约五十八岁，款署“辛未九月九日长安门下士崔子忠识。”另纸有明田大受崇祯四年（1631）手书《金刚经》，款曰“崇祯辛未重阳日瀛州奉佛弟子田大受沐手敬书。”",[149,24,25,26,27,7,28,188,81,55,56,859],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb93c57ab1883defa55547102439778a.jpg","纵30厘米，横56厘米",[37],{"id":4020,"slug":4021,"title":4022,"dynasty":149,"author":76,"museum":339,"description":4023,"tags":4024,"thumbUrl":4025,"material":83,"size":4026,"collection":37,"collections":4027,"showCount":3912,"zanCount":41,"manualWeight":41,"mainColor":513},218323,"tie-guai-xian-ren-tu-yi-ming-218323","铁拐仙人图","这幅画与元代颜辉的风格相似，但笔法过于工整，切石过于急促，应是明代浙派画家所为。",[23,24,99,25,54,101,7,28,27,157,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17cc1e06718b81b52b719798dc68eab.jpg","77.6x56.1",[37],{"id":4029,"slug":4030,"title":4031,"dynasty":75,"author":183,"museum":49,"description":4032,"tags":4033,"thumbUrl":4034,"material":141,"size":66,"collection":66,"collections":4035,"showCount":3912,"zanCount":11,"manualWeight":41,"mainColor":89},218113,"bai-miao-ren-wu-tu-ce-1-li-gong-lin-218113","白描人物图册-1","李公麟的生平信息相对较少，但是他在宋朝的政治、文化和经济发展中发挥了重要作用。他曾任国子监太傅，是宋朝的最高学府。他还是一位著名的诗人，他的诗歌风格优美流畅，富有哲理性。\n\n李公麟还是一位杰出的政治家。他在宋朝的统治过程中，提出了许多有益的政策建议。他倡导改革，推动了宋朝经济的发展。他还是一位慈善家，常常为穷人提供帮助。\n\n总的来说，李公麟是宋朝时期一位著名的人物，他在政治、文化和经济发展中发挥了重要作用。他的诗歌风格优美流畅，富有哲理性，是宋朝的著名诗人。他还是一位杰出的政治家，在宋朝的统治过程中，提出了许多有益的政策建议。他还是一位慈善家，常常为穷人提供帮助。",[23,99,24,25,100,7,28,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2d350df6ea3393f1fa4448450695ce.jpg",[],{"id":4037,"slug":4038,"title":4039,"dynasty":75,"author":183,"museum":49,"description":4032,"tags":4040,"thumbUrl":4041,"material":141,"size":66,"collection":66,"collections":4042,"showCount":3912,"zanCount":11,"manualWeight":41,"mainColor":89},218111,"bai-miao-ren-wu-tu-ce-2-li-gong-lin-218111","白描人物图册-2",[23,99,24,25,100,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132f01757017d211702ac7efc58659cf.jpg",[],{"id":4044,"slug":4045,"title":4046,"dynasty":149,"author":76,"museum":49,"description":4047,"tags":4048,"thumbUrl":4050,"material":246,"size":4051,"collection":37,"collections":4052,"showCount":3912,"zanCount":41,"manualWeight":41,"mainColor":70},216728,"mai-xin-song-shu-tu-yi-ming-216728","卖薪诵书图","枯枝虬曲，远山含黛，野径蜿蜒向林深。担薪者负薪束于肩，一手扶担，一手展卷，诵读之态若忘周遭。寒林疏影映寒空，涧水浅流绕石行，天地间似只剩书页轻翻与步履缓响。劳役的艰辛未掩向学之心，平凡身影里藏着对知识的执着。笔墨简练却意韵悠长，将劳作与勤学相融的图景凝于尺幅。清寂山水间，躬身向学的姿态恰是求知精神的无声颂赞，令观者于萧疏景致中，触到那份穿越时光的执着暖意。",[23,99,24,25,243,7,101,54,408,28,549,62,60,3176,61,4049],"薪柴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[37],{"id":4054,"slug":4055,"title":4056,"dynasty":75,"author":1418,"museum":49,"description":4057,"tags":4058,"thumbUrl":4060,"material":174,"size":175,"collection":66,"collections":4061,"showCount":4062,"zanCount":11,"manualWeight":41,"mainColor":89},290897,"bai-miao-dao-jun-xiang-liang-kai-290897","白描道君像","《白描道君像图》共分为三部分，中段画主神于莲花之上，左右两段各画人间及地狱的活动；右段是道观的日常起居和法事：祈祷、习经、绘塑神像等；左段则绘世俗生活，多为积善行德的场面。左下角为地狱形象，有风刀之苦及鬼官治事，且有火中盛开金莲的场面，疑与咏习《黄庭经》的禁忌科戒有关。该图是梁楷画笔中流传下来的唯一孤本，画中人物形象端庄，周密繁复，笔势劲细，骨体苍劲，确是李公麟画派以后的面貌，与南宋其他人物画叛然殊途。图中的山林泉石，既不是北宋李成、范宽的画派，也不是董源江南画派的体系，工整的形式，出于北宋。",[23,26,24,25,7,3661,1727,28,29,56,1875,859,4059],"黄庭经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c1d7f06e06834834cdb17f9b89afb4a.jpg",[],31,{"id":4064,"slug":4065,"title":4066,"dynasty":94,"author":3387,"museum":77,"description":4067,"tags":4068,"thumbUrl":4070,"material":124,"size":4071,"collection":37,"collections":4072,"showCount":4062,"zanCount":41,"manualWeight":41,"mainColor":89},236467,"gong-sun-da-niang-wu-jian-tu-zhou-ren-yi-236467","公孙大娘舞剑图轴","图绘著名教坊舞伎公孙大娘舞剑之情景。公孙大娘主要活动于唐代开元年间（713—741年），以擅长舞剑享有盛名。相传怀素、张旭观其舞剑曾启发了他们的草书创作，形成了狂草之笔风。\n是图线条劲健流畅，墨笔枯润浓淡自如，有明末陈洪绶笔法，但又具自家面貌，为任氏用意之作。",[24,25,99,243,7,101,28,58,4069,55,56],"剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a3ce8d2d9ae38ee061b2d227a8155.jpg","纵41.9㎝，横28㎝",[37,247],{"id":4074,"slug":4075,"title":2908,"dynasty":75,"author":215,"museum":49,"description":4076,"tags":4077,"thumbUrl":4078,"material":66,"size":66,"collection":66,"collections":4079,"showCount":4062,"zanCount":11,"manualWeight":41,"mainColor":89},227697,"mo-lan-tu-zhao-meng-jian-227697","《墨兰图》卷，宋，赵孟坚作，纸本，淡墨，纵34.5厘米，横90.2厘米。\n\n本幅款署“彜齋趙子固仍賦”。钤“子固寫生”一印。墨兰是赵孟坚善画的题材。画面上绘墨兰二株，呈放射状的长叶参差错落，分合交叉，俯仰伸展。自题诗曰：“六月衡湘暑氣蒸，幽香一噴冰人清。曾將移入浙西種，一歲才華一兩莖。”诗中表露了作者孤高脱俗的思想境界。\n\n图中运笔柔中带刚，花朵及兰草叶均一笔点划，土坡用飞白笔轻拂，略加点苔。兰叶皆用淡墨，花蕊墨色微浓，变化含蓄，形成墨色对比。画虽为水墨，但格调高雅，“远胜着色”。其好友周密曾云：“赵孟坚墨兰最得其好，其叶如铁花，茎亦佳，……前人无此作也。”\n\n清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、吴修《青霞馆论画绝句》等书著录。",[23,24,26,101,7,102,153,56,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92597e894b5d42c872718b468778597.jpg",[],{"id":4081,"slug":4082,"title":4083,"dynasty":75,"author":4084,"museum":49,"description":4085,"tags":4086,"thumbUrl":4087,"material":66,"size":66,"c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法描绘，线条洗练流畅，背景画竹林一片，笔墨潇洒，显示出相当高的绘画技巧。",[23,24,25,26,101,7,122,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F819d2965a332e5986283ad45900d2c5f.jpg","纵27.7厘米，横40.5厘米",[37,247],{"id":4172,"slug":4173,"title":4174,"dynasty":239,"author":4175,"museum":184,"description":4176,"tags":4177,"thumbUrl":4178,"material":141,"size":4179,"collection":66,"collections":4180,"showCount":4124,"zanCount":41,"manualWeight":41,"mainColor":89},221794,"luo-shen-tu-zhou-wei-jiu-ding-221794","洛神图轴","卫九鼎","该画以单一人物为主，意在突出洛神的灵韵。 画家以简率的淡墨刻划远景的山丘，使得江面益发显得空旷清新。幅中主要是用纤细绵长而柔韧的白描线条绘就，墨色轻淡，更衬托出主角人物的娴静幽雅，绝尘出世。辽阔江面上水纹波汤，蒸腾云气中冉冉升起一位白衣佳人在水一方，手持绘有山水图案的扇子，身形纤细窈窕，仪容端庄，繁复的衣纹圆柔婉转，衣带飞升飘扬。看她凌波微步，驾云御风而行，显然并非平凡的女子。从倪瓒的题字，知道画中人是因曹植所写的《洛神赋》而永垂不朽的理想女性美典型——洛神。传世诸多以《洛神赋》为题的画中，有的强调云龙随行、神奇壮观的叙事性场景",[24,25,243,7,101,28,58,60,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360421bac69de8e240dd3bb2ce9169ff.jpg","90.8x31.8公分",[],{"id":4182,"slug":4183,"title":4184,"dynasty":239,"author":255,"museum":4185,"description":4186,"tags":4187,"thumbUrl":4188,"material":457,"size":4189,"collection":470,"collections":4190,"showCount":4124,"zanCount":41,"manualWeight":41,"mainColor":89},220882,"gui-qu-lai-ci-juan-hua-xin-zhao-meng-fu-220882","归去来辞卷画芯","湖州博物馆","自东晋陶渊明的一曲《归去来辞》问世以来，为历代文士所雅好。赵孟頫以宋室后裔入仕元朝，在其任官期间许多次以真、行书写过此篇，其归隐思乡情绪全在其中。\n此卷书于元延佑五年，即1318年，是年赵孟頫六十五岁。\n全篇以行、楷为主，偶参草书，笔法秀媚典雅，苍劲浑厚，结构严密，用笔婉转停匀，具有晋人风范。",[23,99,24,25,26,57,7,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58edf3bc226e67307b138bb359553070.jpg","纵48厘米，横455厘米",[470],{"id":4192,"slug":4193,"title":4194,"dynasty":94,"author":4195,"museum":339,"description":4196,"tags":4197,"thumbUrl":4198,"material":83,"size":66,"collection":37,"collections":4199,"showCount":4124,"zanCount":11,"manualWeight":41,"mainColor":70},219559,"yu-jia-miao-e-tu-min-zhen-219559","渔家媌娥图","闵贞","垂柳依依拂过空蒙水岸，将江南水乡的柔婉晕染开来。画中渔女荷秤伫立，衣袂线条简劲爽利，带着写意的疏朗，却把渔家劳作后的倦怠质朴刻画入微。人物面部晕染柔和，神情恬淡安然，静望着烟水澹澹的江天，仿佛正等候归船。\n\n背景以淡墨虚化远山，柳枝细笔密叶写出，繁而不乱，与人物的简淡形成虚实对比，烘托出幽寂清旷的氛围。整作以水墨写就，墨色干湿浓淡层次分明，尽显文人写意雅致，又饱含烟火情味，将平凡渔家日常升化为诗意图景，在简淡笔墨间蕴藏悠悠江南意趣。",[23,24,25,243,7,28,58,62,157,2513],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3e252e59b1f535e258aa0277d37b52.jpg",[37],{"id":4201,"slug":4202,"title":4203,"dynasty":94,"author":832,"museum":184,"description":4204,"tags":4205,"thumbUrl":4206,"material":141,"size":4207,"collection":37,"collections":4208,"showCount":4124,"zanCount":41,"manualWeight":41,"mainColor":89},219390,"shou-xing-zhou-hua-yan-219390","寿星轴","长髯垂拂，宽袍曳地，老者持杖安坐，眉目间尽是悠然超脱。墨线婉转如流水，衣褶以淡墨轻晕，虚实相济中见出闲散风骨。题跋文字与画像相映成趣，文气与画境浑然一体，似可闻松风过耳，见云影悠悠。不事雕琢却意韵悠长，将寿星的仙逸之态与文人的旷达情怀融于笔端，简淡笔墨里藏着清灵之气，读来让人忘俗。",[24,25,243,101,7,28,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031b572da656ae0597a2b21f63ec5bd2.jpg","178.3x93.9",[37],{"id":4210,"slug":4211,"title":4212,"dynasty":75,"author":4213,"museum":228,"description":4214,"tags":4215,"thumbUrl":4216,"material":141,"size":4217,"collection":37,"collections":4218,"showCount":4124,"zanCount":11,"manualWeight":41,"mainColor":89},217974,"shi-liu-ying-zhen-tu-fan-long-217974","十六应真图","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[23,24,25,7,27,28,998,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d16fbc634607e2716bf2bb96a0708.jpg","30.5x1062.5",[37],{"id":4220,"slug":4221,"title":4222,"dynasty":94,"author":4223,"museum":49,"description":4224,"tags":4225,"thumbUrl":4229,"material":66,"size":66,"collection":66,"collections":4230,"showCount":4231,"zanCount":41,"manualWeight":41,"mainColor":89},229040,"liu-an-chun-feng-tu-pu-ru-229040","柳岸春风图","溥儒","此作以淡墨写意铺陈春岸景致，近坡枯荣交织的岸柳虬枝柔条相映，苍朴坡石野趣自生。烟波空濛间渔舟错落，渔人或撑篙行舟，或泊船闲坐，自在悠然。远山以淡墨轻晕，帆影杳渺隐于烟岚之中，留白尽显江天寥廓的清远空寂。\n\n简淡秀雅的笔墨，未作繁复皴染，却将春岸风柔波暖的温煦，渔家乐的恬然意趣融于尺幅。把江南春日的闲逸野趣铺陈开来，寄寓了归心丘壑的雅逸襟怀，淡远萧疏间漫溢融融春意，悠悠古意扑面而来，尽显文人山水画寄情山水的悠然意境。",[23,24,101,7,54,60,2513,59,61,28,188,2130,81,4226,4227,4228],"河岸","渔船","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9995c8d550395c6272b742eac90d75b7.jpg",[],29,{"id":4233,"slug":4234,"title":4235,"dynasty":75,"author":464,"museum":49,"description":4236,"tags":4237,"thumbUrl":4238,"material":174,"size":175,"collection":66,"collections":4239,"showCount":4231,"zanCount":11,"manualWeight":41,"mainColor":89},227814,"shi-jing-you-feng-qi-yue-tu-chang-juan-ma-he-zhi-227814","诗经·幽风七月图(长卷)","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“構”，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。",[23,99,24,25,26,7,54,56,28,60,81,373,3174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ae8f0c67abd521009f2b1403a7787c.jpg",[],{"id":4241,"slug":4242,"title":1851,"dynasty":75,"author":215,"museum":49,"description":4148,"tags":4243,"thumbUrl":4244,"material":66,"size":66,"collection":66,"collections":4245,"showCount":4231,"zanCount":41,"manualWeight":41,"mainColor":89},227700,"shui-xian-tu-zhao-meng-jian-227700",[23,24,25,26,7,101,54,56,57,55,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff0e9ff39b8a658d8889d784b15fb6f.jpg",[],{"id":4247,"slug":4248,"title":4249,"dynasty":75,"author":76,"museum":49,"description":4250,"tags":4251,"thumbUrl":4252,"material":66,"size":66,"collection":66,"collections":4253,"showCount":4231,"zanCount":41,"manualWeight":41,"mainColor":70},227371,"luo-shen-fu-tu-di-yi-juan-yi-ming-227371","洛神赋图第一卷","曹植的作品中，除了“七步诗”，最有名的就是《洛神赋》了，后来，著名的画家顾恺之依据《洛神赋》，画了流传千古的名画《洛神赋图》，其中最感人的一段描绘是曹植与洛神相逢，但是洛神却无奈离去的情景。\n\n全卷分为三个部分，曲折细致而又层次分明地描绘着曹植与洛神真挚纯洁的爱情故事。人物安排疏密得宜，在不同的时空中自然地交替、重叠、交换，而在山川景物描绘上，无不展现一种空间美。\n\n此图卷无论从内容、艺术结构、人物造形、环境描绘和笔墨表现的形式来看，都不愧为中国古典绘画中的瑰宝之一。",[23,24,26,54,53,7,56,55,28,58,1727,269,60,81,61,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda06f1d6798502716c251cdbc934d11d.jpg",[],{"id":4255,"slug":4256,"title":3816,"dynasty":75,"author":76,"museum":184,"description":4257,"tags":4258,"thumbUrl":4259,"material":83,"size":4159,"collection":66,"collections":4260,"showCount":4231,"zanCount":41,"manualWeight":41,"mainColor":513},227347,"ru-lai-shuo-fa-tu-yi-ming-227347","画佛登宝座说法，旁有侍者六人：两天女，两僧，两介士随侍。佛顶圆光，四周飞火焰，画火笔法极生动而传神。全幅以水墨为主调，略施淡彩，其它如手足诸事，无不刻画肌容，揣拟入妙。天女衣褶，如曹衣出水，本为印度作风，北魏时传入中国，北宋以后又复少见。故成画当在北宋时，为故宫院藏佛画中之甚精者",[24,25,99,243,27,28,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b569fbc72e4a17b9c63ddb4bd3a7df.jpg",[],{"id":4262,"slug":4263,"title":4264,"dynasty":75,"author":464,"museum":77,"description":4265,"tags":4266,"thumbUrl":4267,"material":538,"size":4268,"collection":85,"collections":4269,"showCount":4231,"zanCount":41,"manualWeight":41,"mainColor":70},221627,"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",[24,25,26,7,54,60,28,81,63,56,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555b229615a13e54be0497c1481073c.jpg","纵26.2厘米，横857.6厘米",[85,425,127],{"id":4271,"slug":4272,"title":4273,"dynasty":1518,"author":1519,"museum":1520,"description":4274,"tags":4275,"thumbUrl":4277,"material":66,"size":66,"collection":66,"collections":4278,"showCount":4231,"zanCount":41,"manualWeight":41,"mainColor":89},220572,"jiu-fang-gao-xu-bei-hong-220572","九方皋","山野风色裹着粗粝的生机，老者静立崖边，目光越过皮毛叩问龙马的骨血，沉静神态藏着识珠的笃定。牵马汉子筋肉虬结、野性勃发，与老者的沉稳形成强烈反差。\n\n画面以笔墨塑风骨，线条凝练遒劲，糅合西画体积感与东方白描意趣。马匹神形各异，或昂首长嘶、或垂首闲食，野趣盎然。画作将伯乐识贤的典故融于田间小景，借相马喻识人，朴素场景里藏着对英才不问出身的深切期许，笔墨间满溢沉厚真挚的人文温度。",[23,24,25,54,101,7,4276,28,315,1807,81,1518],"写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03f353d2c8b3af414b1b65a034610f6.jpg",[],{"id":4280,"slug":4281,"title":4282,"dynasty":18,"author":4283,"museum":184,"description":4284,"tags":4285,"thumbUrl":4290,"material":354,"size":4291,"collection":37,"collections":4292,"showCount":4231,"zanCount":41,"manualWeight":41,"mainColor":89},219607,"du-bei-tu-zheng-fa-shi-219607","读碑图","郑法士","画面以淡墨勾勒绢素，丘壑荒疏古雅，山林间一人凝伫碑前，似在细读碑文，侍从垂手侍立身侧。线条细劲挺括，带着六朝遗韵，人物仪态萧散沉静，将凭吊古碑的幽思缓缓铺陈。\n\n山水简淡拙朴，和人物的沉静互为映衬，把文人怀古的澹远心境融在荒疏景致之中。整体笔墨清隽凝练，静谧沉凝的古意漫溢纸面，简淡里藏着沉郁的思古幽情，悠悠怀古意绪藏于简雅画面，意境澹远悠长。",[23,24,99,25,100,7,101,28,60,4286,4287,4288,4289],"山林","古碑","怀古","幽思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227bce08d6e766d1f00417214e49e4d7.jpg","纵26.5横39.8厘米",[37],{"id":4294,"slug":4295,"title":4296,"dynasty":149,"author":2974,"museum":184,"description":4297,"tags":4298,"thumbUrl":4299,"material":54,"size":4300,"collection":37,"collections":4301,"showCount":4231,"zanCount":41,"manualWeight":41,"mainColor":70},219311,"shi-ba-ying-zhen-xiang-zhou-ding-yun-peng-219311","十八应真像轴","祥云裹挟金芒倾泻而下，漫卷的云海间，十八应真或骑狮踞象，或趺坐参禅，或执杖笑谈，神态各异如活现眼前。衣纹线条精谨流畅，兽形憨态与威严并存，群像错落间藏着疏密有致的章法。淡墨晕染出缥缈的云雾与波澜，将神圣与世俗的气息悄然融合——既见罗汉的庄严法相，亦有生动活泼的人间意趣。每一处细节皆见匠心：或眉眼间的慈悲，或兽足踏浪的灵动，都在泛黄的绢本上沉淀出时光的厚重，尽显传统人物画的精妙神韵。",[24,25,243,27,28,619,7,54,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a6776ed79f7001c79a87c79325b796.jpg","109.1x50.9",[37],{"id":4303,"slug":4304,"title":4305,"dynasty":75,"author":183,"museum":49,"description":4032,"tags":4306,"thumbUrl":4307,"material":141,"size":66,"collection":66,"collections":4308,"showCount":4231,"zanCount":11,"manualWeight":41,"mainColor":89},218105,"bai-miao-ren-wu-tu-ce-6-li-gong-lin-218105","白描人物图册-6",[23,99,24,25,100,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43efda329c4ccc607a4e310fdaa626b7.jpg",[],{"id":4310,"slug":4311,"title":4312,"dynasty":149,"author":150,"museum":49,"description":4313,"tags":4314,"thumbUrl":4315,"material":141,"size":66,"collection":66,"collections":4316,"showCount":4231,"zanCount":41,"manualWeight":41,"mainColor":70},216320,"xi-xiang-ji-zhen-ben-tu-ce-9-chen-hong-shou-216320","西厢记真本图册-9","虬枝盘曲如古篆流转，墨叶疏朗似淡诗铺展。花萼以淡墨轻勾，含露欲绽；隐于枝后的身影半遮半显，暗合西厢幽会的朦胧意趣。线条刚劲中藏柔婉，转折处见古拙，尽显笔底奇崛风神。枝叶排布疏密有致，留白处余韵悠长，将戏曲里的缠绵情愫凝于尺幅间。每一笔都似低诉西厢千古情肠，古雅动人，让观者于墨色流转中，触到那份跨越时空的雅致与温柔。",[24,25,100,7,102,3535,156,3537,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8810db7fb6ea742688c7209acba8d1ed.jpg",[],{"id":4318,"slug":4319,"title":4320,"dynasty":149,"author":4321,"museum":49,"description":4322,"tags":4323,"thumbUrl":4325,"material":457,"size":66,"collection":37,"collections":4326,"showCount":4327,"zanCount":11,"manualWeight":41,"mainColor":70},236959,"xian-ren-cai-zhi-tu-zhou-guo-fen-ya-236959","仙人采芝图轴","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。",[99,24,25,243,53,7,54,28,157,4324,673],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b03906855f2a9702cbd91eb476a56a.jpg",[37],28,{"id":4329,"slug":4330,"title":4331,"dynasty":149,"author":4332,"museum":49,"description":4333,"tags":4334,"thumbUrl":4335,"material":174,"size":175,"collection":66,"collections":4336,"showCount":4327,"zanCount":41,"manualWeight":41,"mainColor":70},236477,"zhu-lin-qi-xian-shan-ye-li-shi-guang-236477","竹林七贤扇页","李世光","此作用笔清隽秀雅，以金笺为底，淡晕轻染。画面分两处铺陈雅集，右侧竹林下，名士或围坐清谈、或醉卧观云、或凝神听琴，情态自在疏放；左侧松下，二三逸人凭石对语，林泉幽寂淡然。通幅线条简净温婉，皴擦浅淡写意，将魏晋林下风流的散淡雅致尽显。右上角题字与绘事相映成趣，书画合璧，把千古流传的竹林雅集的清旷高致，凝缩在咫尺扇面，尽显追慕六朝隐逸雅韵的文人情思。",[24,25,889,7,101,28,122,811,188,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe126baa65852155b36ec08a45ae37ce1.jpg",[],{"id":4338,"slug":4339,"title":4340,"dynasty":149,"author":1940,"museum":184,"description":4341,"tags":4342,"thumbUrl":4343,"material":457,"size":4344,"collection":66,"collections":4345,"showCount":4327,"zanCount":41,"manualWeight":41,"mainColor":89},231567,"da-mo-tu-zhu-jian-shen-231567","达摩图","此图绘达摩一苇渡江的故事，达摩身材魁梧，鼻梁高耸，眼珠圆凸，虬须怒张，两手置于胸前，侧身南望，戴头巾，身穿僧衣，赤足立于苇竿上，一第竿迎着风涛挺进，苇花在江风中摇曳，达摩脚下为滚滚的江水，奔腾而流。背景为一望无际的江水，弥雾茫茫无边无际。此图作于明成化庚子（1480）时年33岁，为他的中年佳作。钤“广运之宝”朱文印。\n明宪宗朱见深，英宗长子，天顺八年（1464）继位，年号成化（1465-1487）。先宗是一位有所作为的皇帝，嗜好艺术，也工书善画，尤擅人物和山水小景，并以御翰墨，赐予大臣们。此《达摩图》是他人物画中的佳作。\n达摩是菩提达摩的简称，是中国佛教禅宗的创始人。相传南朝梁武帝时，印度僧人天竺禅宗第二十八祖达摩，从海道前来我国传布佛教，梁武帝迎至金陵。他是乘坐船只从海道而来，但历来不少画家为神化达摩的道行，便画他脚踏芦苇，飘海而至。此画面所画正是这样。\n此画虽为宪宗即兴之作，即随意画成，但人物形象的刻画极其精练，神情表现细致入微。画法新颖别致，真切自然。人物的特征，用不多笔墨便勾画出来，头中和僧衣更为简练，袍下露出一双赤脚，亦真实地表现出来。衣褶用苇叶描，用笔如作书，转折之间，见其方整。江水波涛的烘染也很自然。总体来说，此画构图简括，笔墨简练，笔势放纵，将达摩的形象刻画入微，神采奕奕，精致地描绘出达摩超然尘表的形象特点，给人留下深刻的印象。",[23,24,25,7,101,27,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f2b8d36724bb198e8256b183c8f56f.jpg","纵76.8厘米,横47.4厘米",[],{"id":4347,"slug":4348,"title":4349,"dynasty":149,"author":150,"museum":49,"description":4350,"tags":4351,"thumbUrl":4352,"material":174,"size":175,"collection":66,"collections":4353,"showCount":4327,"zanCount":41,"manualWeight":41,"mainColor":89},228284,"shan-shui-wu-jian-hua-hui-ce-13-kai-chen-hong-shou-228284","山水物件花卉册13开","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,25,100,7,101,28,1727,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e605160230b222da495bd1f286071cc.jpg",[],{"id":4355,"slug":4356,"title":4357,"dynasty":239,"author":1793,"museum":49,"description":4358,"tags":4359,"thumbUrl":4360,"material":66,"size":66,"collection":66,"collections":4361,"showCount":4327,"zanCount":41,"manualWeight":41,"mainColor":89},228072,"teng-wang-ge-tu-ye-xia-yong-228072","滕王阁图页","此作以铁线白描界画楼宇，依山临江的名楼层叠错落，飞檐翘角、榫卯结构皆毫厘毕现，廊庑间人物往来顾盼，鲜活灵动，将楼阁巍峨工致描摹入微。\n\n江面上扁舟随波浮沉，远山澹澹晕开，简淡山水与精工楼宇相映，在尺幅之中铺展出宏阔雅致的胜景。整幅工细却不板滞，白描线条劲挺匀净，既复刻出名楼的壮伟形制，又晕染出江南水畔的清灵意韵，将登临名楼的雅致意趣凝于方寸之间，尽显界画的极致工巧，藏着对江南胜景的隽永追慕。",[23,24,99,365,100,7,101,29,60,59,811,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a4378908f12da247e608b1311e041d.jpg",[],{"id":4363,"slug":4364,"title":4365,"dynasty":75,"author":3630,"museum":184,"description":4366,"tags":4367,"thumbUrl":4368,"material":848,"size":3634,"collection":66,"collections":4369,"showCount":4327,"zanCount":41,"manualWeight":41,"mainColor":89},227718,"dao-yi-tu-juan-mou-yi-227718","捣衣图卷","《捣衣图》南宋画家牟益创作的纸本水墨画作品，现收藏于台北故宫博物院。\n\n《捣衣图》描绘南朝谢惠连《捣衣诗》之诗意。画中庭院秋深，高槐叶落，景象凄凉，绘三十二位妇女捣练、裁衣、缝衣之劳动情景。画家通过建筑物的相连、人物的往来、花木的点缀，前后贯通，画中的人物造型准确，生动有致，面容圆润，衣裙宽大，犹有唐人余韵。",[23,24,99,25,26,7,28,58,1347,81,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff35647b7e53622cc6bfd8715853cbc.jpg",[],{"id":4371,"slug":4372,"title":2843,"dynasty":75,"author":4373,"museum":49,"description":4374,"tags":4375,"thumbUrl":4376,"material":66,"size":66,"collection":66,"collections":4377,"showCount":4327,"zanCount":41,"manualWeight":41,"mainColor":70},227395,"guan-yin-xiang-wang-hong-xun-227395","汪鸿薰","暂无描述",[23,24,25,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f2ec3b61dd5166a64dfebc275647beb.jpg",[],{"id":4379,"slug":4380,"title":4381,"dynasty":75,"author":183,"museum":184,"description":4382,"tags":4383,"thumbUrl":4384,"material":141,"size":1192,"collection":66,"collections":4385,"showCount":4327,"zanCount":41,"manualWeight":41,"mainColor":89},218503,"gui-qu-lai-ci-juan-2-li-gong-lin-218503","归去来辞卷-2","画面以白描勾勒归隐行舟之景，墨线如行云流水，于极简处见真章。船身轻捷，篷布纹理隐现，衣袂飘举间人物情态毕肖：舟中高士凭舷远眺，眉宇舒展似含释然；舟子撑篙划桨，动作从容如伴清风。水面微波淡扫，衬出船行的悠然。整幅画不着色彩，却以线条粗细疾缓传递《归去来辞》的超脱意韵——天地清旷，心向田园，每道笔触都浸透着归隐的闲适自在。观者仿佛随舟而行，闻桨声欸乃，见衣袂翻飞，于淡墨轻痕中触摸那份遗世独立的淡然心境。",[99,24,25,26,7,28,59,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecadbdbdb99b8cbda50307e6ef1e4b3e.jpg",[],{"id":4387,"slug":4388,"title":4389,"dynasty":75,"author":183,"museum":49,"description":4032,"tags":4390,"thumbUrl":4391,"material":141,"size":66,"collection":66,"collections":4392,"showCount":4327,"zanCount":11,"manualWeight":41,"mainColor":89},218103,"bai-mia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丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[23,99,24,25,243,54,53,7,28,58,409,121,1042,4502,4503,55,56],"烛台","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":4508,"slug":4509,"title":4510,"dynasty":94,"author":1915,"museum":49,"description":2190,"tags":4511,"thumbUrl":4512,"material":174,"size":175,"collection":66,"collections":4513,"showCount":4476,"zanCount":41,"manualWeight":41,"mainColor":89},228988,"bai-miao-luo-han-tu-juan-shi-tao-228988","白描罗汉图卷",[23,99,24,25,26,7,27,28,188,81,618,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9099139807f3e55a6295db547dc07a8.jpg",[],{"id":4515,"slug":4516,"title":4517,"dynasty":239,"author":3332,"museum":49,"description":4518,"tags":4519,"thumbUrl":4520,"material":66,"size":66,"collection":66,"collections":4521,"showCount":4476,"zanCount":41,"manualWeight":41,"mainColor":89},228257,"mo-hua-tu-juan-chang-juan-zhao-zhong-228257","墨花图卷长卷","此作用淡墨白描写就，分绘三种花卉，以清隽挺秀的笔线勾勒花叶轮廓，淡墨晕染出阴阳向背，不施丹青却尽现花卉娇柔雅致之态。芍药秾而不俗，水仙清逸出尘，玉簪幽淡含露，墨色清润柔和，将草木风姿描摹入微。\n\n三段皆配题诗，诗画相映，书卷气浓厚，以墨代色，以意写形，把文人幽淡的情思寄寓在一花一叶间，尽显简淡雅致的审美意趣，是水墨花鸟小品中的佳构。",[23,99,24,25,26,7,101,53,102,941,154,3535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83039bd32439ba7bcc1e7f007efb14a8.jpg",[],{"id":4523,"slug":4524,"title":4525,"dynasty":18,"author":76,"museum":820,"description":1295,"tags":4526,"thumbUrl":4527,"material":174,"size":175,"collection":66,"collections":4528,"showCount":4476,"zanCount":11,"manualWeight":41,"mainColor":70},226363,"ku-zhu-shi-nan-pi-yi-ming-226363","窟主室南披",[281,445,27,54,28,619,2548,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58e565c3539347a730c068fc3d245da.jpg",[],{"id":4530,"slug":4531,"title":4532,"dynasty":645,"author":3597,"museum":49,"description":3598,"tags":4533,"thumbUrl":4534,"material":174,"size":175,"collection":66,"collections":4535,"showCount":4476,"zanCount":41,"manualWeight":41,"mainColor":70},225295,"huo-tian-ben-dong-jing-zhen-hai-225295","火天(本-东京)",[23,24,25,243,27,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b3f9abef49f88f538da978b833e115.jpg",[],{"id":4537,"slug":4538,"title":4539,"dynasty":149,"author":2860,"museum":395,"description":4540,"tags":4541,"thumbUrl":4545,"material":3325,"size":4546,"collection":66,"collections":4547,"showCount":4476,"zanCount":11,"manualWeight":41,"mainColor":42},222375,"liu-mang-tu-juan-zhou-chen-222375","流氓图卷","此卷共绘人物12人，形态各异，或身背锣鼓，或手牵小动物，皆衣衫褴褛。作画背景是明武宗朱厚照统治时期，所谓的流氓多是因战争流离失所而逃难的百姓。也许他们有着正当的职业，稳定的收入，但战争降临后，一切都化为了乌有。逃难的人们为了生计想法设法赚钱，有能力的可以凭借自己的能力勉强果腹，没有能力的人连乞丐都不如。\n“流氓”的界定：流氓是指“脱离了古代社会最基本的生产资料——田地，因此没有正当的业务可恃且又愚昧无知的社会底层成员；而作为流氓之'流'的字义中，又可包涵或引申出向坏的方向嬗变以及放纵成弊等内容。合而言之，大致可以把'流氓'一词从词义上界定为：特指脱离生产不务正业而在社会上游荡，并以悖离传统道德文化和破坏社会秩序为基本行为特征的不良分子。 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七子过关图》，均辑入《中国历代名画集》。",[23,24,26,25,7,54,167,52,4683,3188,204,2432,201,3404,55,56],"萧翼赚兰亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5e4507f97cac7a1fafa57455dce2a.jpg",[],{"id":4687,"slug":4688,"title":4689,"dynasty":704,"author":4690,"museum":49,"description":4691,"tags":4692,"thumbUrl":4693,"material":174,"size":175,"collection":66,"collections":4694,"showCount":69,"zanCount":41,"manualWeight":41,"mainColor":70},287371,"luo-han-tu-li-zhou-guan-xiu-287371","罗汉图立轴","贯休","贯休（832年-912年），俗姓姜，字德隐，婺州兰溪（今浙江省兰溪市）人。唐末五代时期前蜀画僧、诗僧。\n贯休七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为“禅月大师”，赐以紫衣。\n贯休能诗，诗名高节，宇内咸知。尝有句云：“一瓶一钵垂垂老，万水千山得得来，”时称“得得和尚”。有《禅月集》存世。亦擅绘画，尤其所画罗汉，更是状貌古野，绝俗超群，笔法坚劲，人物粗眉大眼，丰颊高鼻，形象夸张，所谓“梵相”。在中国绘画史上，有着很高的声誉。存世《十六罗汉图》，为其代表作。",[23,24,99,243,27,28,1705,101,7,218,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F850f415514c5b17c276f65fbf2f02b43.jpg",[],{"id":4696,"slug":4697,"title":4698,"dynasty":94,"author":4699,"museum":49,"description":4700,"tags":4701,"thumbUrl":4702,"material":66,"size":66,"collection":37,"collections":4703,"showCount":69,"zanCount":41,"manualWeight":41,"mainColor":70},237940,"ren-ma-ye-fei-dan-xu-237940","人马页","费丹旭","字子苕，号晓楼、偶翁、环渚生，乌程（今浙江吴兴）人。工写照，如镜取影，尤精补景仕女，潇洒自然。兼工山水、花卉，以精灵雅沾之笔出之。偶作诗词，亦如其画。书法恽寿平，有韵致。卖画于江浙两省，寓杭州最久。道咸（一八二一至一八五零）间曾寓沪鬻画， 卒年四十九。有依旧草堂遗稿。",[24,25,7,28,315,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc96b52fee85089219cf472c59aba9ed.jpg",[37],{"id":4705,"slug":4706,"title":4707,"dynasty":94,"author":4708,"museum":49,"description":4709,"tags":4710,"thumbUrl":4712,"material":66,"size":66,"collection":66,"collections":4713,"showCount":69,"zanCount":41,"manualWeight":41,"mainColor":89},237590,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237590","王翚仿古山水册","王翚","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,1019,2716,408,7,100,60,811,122,139,2807,4711,157],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93ac8d5e23f56de21baeb4d646ef856.jpg",[],{"id":4715,"slug":4716,"title":4717,"dynasty":149,"author":4718,"museum":49,"description":4719,"tags":4720,"thumbUrl":4722,"material":66,"size":66,"collection":37,"collections":4723,"showCount":69,"zanCount":11,"manualWeight":41,"mainColor":70},236411,"er-xian-zhou-peng-shun-xiang-236411","二仙轴","彭舜乡","画面以淡赭铺底，枯木虬枝缀着寒蕊，晕开清寂幽远的林下氛围。\n\n长仙峨冠长髯，宽袍曳地，持拂尘垂眸含笑，神色悠然和煦，似在静听童子言语。赤足短褐的童子仰首抬望，憨态里满是敬慕，灵动身形衬出稚拙意趣。\n\n画作以顿挫写意的墨线勾勒衣纹，笔力苍劲洒脱，将布料垂坠褶皱尽显，人物神态刻画入微。仙风道骨与童真稚趣相映成趣，以简驭繁的水墨写意间，氤氲出飘然出尘的世外仙气，把高人隐士的闲适清雅铺陈开来，尽显传统人物画的写意神韵。",[24,25,243,101,54,28,1727,4721,81,188,7],"古代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb06d168bc0594d94200701bd45eefb2.jpg",[37,247],{"id":4725,"slug":4726,"title":4727,"dynasty":149,"author":4728,"museum":49,"description":4729,"tags":4730,"thumbUrl":4731,"material":66,"size":66,"collection":66,"collections":4732,"showCount":69,"zanCount":41,"manualWeight":41,"mainColor":89},234216,"bai-miao-jiu-ge-tu-juan-wu-gui-234216","白描九歌图卷","吴桂","《九歌》是屈原《楚辞》的篇名之一。此《九歌图》卷由元代张渥绘，褚奂隶书题词。画卷依次描绘了《九歌》的十一篇：东皇太一、云中君、湘君、湘夫人、大司命、少司命、东君、河伯、山鬼、国殇、礼魂。此卷现藏于美国克利夫兰艺术博物馆，约绘于元至正二十一年，拖尾有陆时化、叶恭绰、吴湖帆、吴华源、徐邦达等人跋。",[23,24,25,26,7,28,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b4805ad4afd40f680d4258ef202e2b.jpg",[],{"id":4734,"slug":4735,"title":4736,"dynasty":239,"author":4737,"museum":77,"description":3312,"tags":4738,"thumbUrl":4740,"material":457,"size":4741,"collection":66,"collections":4742,"showCount":69,"zanCount":41,"manualWeight":41,"mainColor":89},233717,"yu-lan-guan-yin-tu-zhou-cui-gao-233717","渔篮观音图轴","崔皋",[24,243,27,28,101,7,56,57,55,4739],"渔篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ea14bb4e2cf3950aa4d9d92fc4b7ba.jpg","82.1x32cm",[],{"id":4744,"slug":4745,"title":4746,"dynasty":239,"author":1273,"museum":49,"description":4747,"tags":4748,"thumbUrl":4751,"material":66,"size":66,"collection":66,"collections":4752,"showCount":69,"zanCount":41,"manualWeight":41,"mainColor":70},228077,"zhong-kui-ye-you-tu-yan-hui-228077","钟馗夜游图","此作用铁线游丝般的白描铺陈夜游盛景，开篇主角被鬼卒前呼后拥，伞盖高张、锣声隐隐，群鬼或扛矛开道、或携琴捧酒，狞怪形貌下藏着憨拙灵动的神态。画师以刚柔相济的墨线，勾勒出鬼物各异的怪谲身形，将幽冥出行的诡谲，化作带市井烟火气的诙谐游行。没有浓墨重彩，仅以枯淡墨痕衬出清冷幽冥的氛围感，把搜神题材的森然消解为戏谑意趣，尽显笔底奇思与线描功力，让这场夜游跳出幽冥的可怖，鲜活如人间市集的巡行。",[23,99,24,25,26,7,101,28,170,4749,4750],"武器","动作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c9e76964e6d5a4befe37e1f51e3f10.jpg",[],{"id":4754,"slug":4755,"title":4756,"dynasty":75,"author":518,"museum":49,"description":4757,"tags":4758,"thumbUrl":4759,"material":66,"size":66,"collection":66,"collections":4760,"showCount":69,"zanCount":41,"manualWeight":41,"mainColor":70},227829,"wen-dao-tu-ma-yuan-227829","问道图","《明戴进洞天问道图》是明朝画家戴进创作的绢本设色画。\n描绘了深山大川、弥散的云气、 的青松、激荡的水流等山中之景。\n作品现藏于 。\n此图描绘 黄帝至 向 问道的故事。\n画面左侧峰峦突起，直入云霄，右侧古松茂蔚，老干虬枝。\n山谷险道上，身着衮服的皇帝孤身赴洞天问道。\n山石用斧劈皴，人物作琴弦描。\n设色淡雅。\n画风学南宋[画体]而又有元人秀劲的特色，为戴氏前期比较精微优美的佳构。\n画中署有[同郡戴文进为德宣卿友制]。\n后钤[钱塘戴氏文进]、[文进]二。\n此画笔法劲秀，描写精工，皴染淹润，着色清淡，画面境界有一种神秘幽渺之感。\n整幅作品皴法繁密，有条不紊，理在其中，深远之处用墨稍重，皴擦紧密，传达出了空间深远之感。\n图中山谷险道通往洞天，左侧峰突兀，右边长松茂蔚。\n山石用斧劈皴，人物作琴弦描，结构严谨，笔法秀劲，系南宋院体画法，属于 前期比较精微、优秀的佳作。\n戴进（公元188—1462年），明代画家，《明商录》作名班，学文进，号静庵，父号玉泉山人。\n钱塘（今浙江杭州）人。\n少时作银工，所作钗朵精巧绝伦，以为得以传之久远，后见销银者所熔销之物即出已作，遂改学画。\n神像、人物、走善、花果，翎毛俱精绝。\n所作山水，师马远，夏理，并取法轮照、李唐，俱道劲苍洞，行管顿挫多变，设色敷积沉重出严。\n宜宗时与谢廷循等同为待识，因进绘朱农人垂钓而遭谗。\n放归穷死。\n世评戴进为“浙派”之祖，明朝画流第一。\n传世作品有《春山积翠图》轴、《南屏雅集图》卷等。",[23,99,24,25,101,7,54,28,367,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe614a528d695d5f88bfee95f233c5e03.jpg",[],{"id":4762,"slug":4763,"title":4764,"dynasty":18,"author":76,"museum":820,"description":1295,"tags":4765,"thumbUrl":4766,"material":174,"size":175,"collection":66,"collections":4767,"showCount":69,"zanCount":41,"manualWeight":41,"mainColor":70},226299,"ku-zhu-shi-bei-bi-yi-ming-226299","窟主室北壁",[281,445,27,54,7,28,29,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e8a5cbcecf2d06178ddce3dc7bed8f.jpg",[],{"id":4769,"slug":4770,"title":4771,"dynasty":94,"author":2580,"museum":49,"description":4772,"tags":4773,"thumbUrl":4775,"material":66,"size":66,"collection":66,"collections":4776,"showCount":69,"zanCount":41,"manualWeight":41,"mainColor":70},224115,"xian-chun-ru-yi-tu-qian-long-224115","先春如意图","此作以淡墨写就岁朝清供之景，素净瓷瓶斜插早梅，虬曲瘦枝缀着冰蕊，冷意里暗透早春暗香。下方朱柿圆润饱满、灵芝卷叶层叠、水仙含苞待放，暗合事事如意、福寿延绵的新春祈愿。\n\n全画笔墨清润雅致，瓶身晕染出莹润瓷光，梅枝苍劲见疏朗之态，蔬果花木写实生动，既有宋院画的精工雅致，又具文人墨戏的淡远意趣。右侧题诗笔致秀逸，诗画相映，将文人雅怀与世俗祈盼相融，淡和清雅间，晕开新春的温婉期许，是意趣俱佳的清供小品。",[24,25,101,7,53,138,409,55,4324,4774],"静物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1356a5120fad8c5835ba6f0bc99ddd19.jpg",[],{"id":4778,"slug":4779,"title":4780,"dynasty":75,"author":76,"museum":77,"description":4781,"tags":4782,"thumbUrl":4784,"material":538,"size":4785,"collection":470,"collections":4786,"showCount":69,"zanCount":41,"manualWeight":41,"mainColor":70},223361,"hui-chang-jiu-lao-tu-juan-yi-ming-223361","会昌九老图卷","此卷描绘的是唐会昌五年（845年）白居易居洛阳香山时与友人的“尚齿”之会。虽以人物为题材，但建筑部分不论整体还是细部都描绘得准确精微，水榭、房舍、板桥、河堤、护栏、石凳乃至屋内的陈设交代得一清二楚，可谓“咸取砖木诸匠本法，略不相背”，几乎可以按图构建。画家不仅对建筑的构造和做法至详至悉，而且已经开始注意通过高超的写实技巧和一定程度的透视画法在二维平面上更为真实地表现建筑物三维空间的立体感和通透感，达到使观者“望之中虚，若可蹑足”的艺术效果。尤为重要的是，图中的建筑采用北宋的界画手法，匀细的线条有利于刻画建筑物复杂的结构和构件的细部，这种水墨白描的建筑画法延续至元代并发展到了极致。",[23,99,24,26,365,7,101,28,29,187,4783,1109,4276],"房舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ade434f61458b68f926c3828411c458.jpg","纵40cm，横69cm",[470],{"id":4788,"slug":4789,"title":4790,"dynasty":149,"author":2974,"museum":184,"description":4791,"tags":4792,"thumbUrl":4793,"material":457,"size":4794,"collection":66,"collections":4795,"showCount":69,"zanCount":41,"manualWeight":41,"mainColor":89},222380,"shi-ba-luo-han-tu-ding-yun-peng-222380","十八罗汉图","该幅白描画十八罗汉，手中分持柱杖、念珠、如意、麈尾、金刚铃等，或行或坐。人物形貌有别，姿势各殊，生动自然。衣纹细劲流畅，并略施墨染，表现立体感。面目轮廓、须眉发丝，用笔纤细如缕，柔韧有力。由此观之，丁氏之作诚如画史所言，“丝发之间，而眉睫意态毕具”。",[23,99,24,25,26,27,7,101,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d1bfea05cbdf8b3e027a1ccd7d4949.jpg","该幅28.9x372.3公分",[],{"id":4797,"slug":4798,"title":4799,"dynasty":75,"author":464,"museum":694,"description":4800,"tags":4801,"thumbUrl":4802,"material":901,"size":4803,"collection":66,"collections":4804,"showCount":69,"zanCount":11,"manualWeight":41,"mainColor":70},221625,"xiao-ya-hong-yan-zhi-shen-tu-ma-he-zhi-221625","小雅·鸿雁之什图","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。\n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。",[24,25,26,7,54,57,28,81,64,60,157,1693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb39b1e043ef15aca59080d2812129.jpg","32.4 1304.9 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夏永创作的绢本墨笔画，现藏于美国波士顿美术馆。\n该图描绘中国名胜滕王阁的形势景色，画上并以细微楷写唐代王勃《滕王阁序》，用笔极为精细而不失矩度，堪称界画绝品。\n滕王阁位于江西 城外，唐高祖为其子 洪州刺史所建，元婴后封滕王故得名。\n此图用俯瞰法，视点高，同时显示多景的场面，已从纯粹描绘建筑物变成与自然环境结合的风景画面。\n高台之下，江坡浩渺，鱼舟往来，高低错落的楼阁亭台,殿内文士雅集，颇有园林趣味。\n如此规模的绘画景点，作者竟然在楼阁台基旁还描绘了陈设的精美古盆和盆景，一只高足束腰敞口渣斗式古盆，栽培着一棵 ，陈设在高阁空荡平台的中间。\n由此也可证实，当时社会时尚和作者艺术生活与美学观念的倾向。\n此图采用册页形式，取景重心偏置于画幅边角，以墨笔白描法表现著名楼阁。\n夏永擅画界画，喜绘滕王阁、岳阳楼、黄鹤楼，颇合营造规模，能迎合士夫趣味，画风对后世影响很大。\n此图用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n夏永（公元14世纪中）， 画家，字明远，钱塘（今浙江杭州）人，生卒年不详。\n擅长宫殿楼阁界画，师法王振鹏。\n所作《滕王阁图》、《 图》、《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n《花间笑语》云：“细若蚊睫，侔于鬼工。\n”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。\n传世作品有至正七年（147）作《岳阳楼图》册页，绢本，墨笔，纵25厘米，横26厘米，图右上书范仲淹《岳阳楼记》全文，款署“至正七年四月二十日，钱塘夏永明远画并题”；《丰乐楼图》册页，绢本，墨笔，纵25.8厘米，横25.8厘米，图中有夏永微楷书“十里挲平丰乐楼”长题，未署款，钤有“夏明远印”一方，现均藏故宫博物院；《岳阳楼图》页和《黄鹤楼图》页，尺寸相同，绢本，设色，纵27.厘米，横27.6厘米，藏 ；《滕王阁图》册页藏上海博物馆；《楼阁山水图》册页，绢本，设色，纵21.5厘米，横26.1厘米，藏美国高居翰教授景元斋。",[23,24,25,365,7,29,59,60,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e076c91b09ebf8640c247633824730.jpg",[],{"id":4911,"slug":4912,"title":4913,"dynasty":149,"author":4914,"museum":184,"description":4915,"tags":4916,"thumbUrl":4918,"material":354,"size":4919,"collection":66,"collections":4920,"showCount":4854,"zanCount":41,"manualWeight":41,"mainColor":89},222136,"liu-hai-xiang-liu-jun-222136","刘海像","刘俊","刘俊工画人物、山水、界画，用笔劲健，人物衣纹带方折，屋宇界画精细工整，构图平稳严谨，谓“入能品”。宪宗朱见深、孝宗朱祐樘两朝（1465-1505）供奉内廷，授锦衣都指挥。传世作品有《雪夜访普图》轴，绢本，设色，现藏故宫博物院；《刘海戏蟾图》轴，绢本，设色，藏河北省博物馆。另有《刘海戏蟾图》轴，绢本，设色，藏中国美术馆；《仙人像》轴，绢本，设色，现藏天津市历史博物馆。从艺活动约在成化、正德间。",[23,24,25,243,101,7,28,4917],"蟾蜍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb498bb77332db9347fb8c344e2966583.jpg","30X85厘米",[],{"id":4922,"slug":4923,"title":1690,"dynasty":75,"author":464,"museum":266,"description":4924,"tags":4925,"thumbUrl":4926,"material":354,"size":4927,"collection":66,"collections":4928,"showCount":4854,"zanCount":11,"manualWeight":41,"mainColor":70},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[23,24,99,26,7,101,25,55,60,28,63,81,188,29,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":4930,"slug":4931,"title":4932,"dynasty":239,"author":4933,"museum":694,"description":4934,"tags":4935,"thumbUrl":4936,"material":141,"size":4937,"collection":37,"collections":4938,"showCount":4854,"zanCount":11,"manualWeight":41,"mainColor":70},218313,"da-mo-du-jiang-tu-li-yao-fu-218313","达摩渡江图","李尧夫","这幅画表现的是达摩赤脚站立，脚踩一根细芦苇棍，身穿一件长长的风夹斗篷，双手交叠在袖子里，眼睛直视前方，面容慈祥。这幅画上刻有僧人一山一宁的名字。",[24,25,243,7,101,27,28,55,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a10fc45b7d44e87a1f225f8a3d28aa1.jpg","85.7x33.8",[37],{"id":4940,"slug":4941,"title":4942,"dynasty":149,"author":1665,"museum":184,"description":4943,"tags":4944,"thumbUrl":4945,"material":246,"size":66,"collection":37,"collections":4946,"showCount":4854,"zanCount":41,"manualWeight":41,"mainColor":70},218214,"luo-han-zhou-wu-bin-218214","罗汉轴","佛教修行中的最高果位是佛，其次为菩萨，然后是罗汉。宋代以前流传十六罗汉，之后又衍生出两尊，即降龙和伏虎，于是成为十八罗汉。降龙罗汉位列十八罗汉的第十七位，根据古印度的传说，降龙罗汉最初的原形是庆友尊者。相传古印度那竭国有恶魔煽动国人杀害出家的佛弟子，尽毁佛殿佛塔，劫掠经书。当时海龙王发动洪水，淹没了那竭国，并将佛经收藏于龙宫之内，等待有法力的僧人取回，最终庆友尊者完成大任，因此他被称为降龙罗汉。本图中的人物形象古朴，线条细劲绵长，设色浓丽。《图绘宝鉴续纂》记载吴彬：“善人物，奇行怪状，迥异旧人，自立门户。”",[24,25,243,27,28,7,101,55,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97586e62ce58f7792685bf295ee63f75.jpg",[37],{"id":4948,"slug":4949,"title":4950,"dynasty":75,"author":183,"museum":49,"description":4032,"tags":4951,"thumbUrl":4952,"material":141,"size":66,"collection":66,"collections":4953,"showCount":4854,"zanCount":11,"manualWeight":41,"mainColor":89},218108,"bai-miao-ren-wu-tu-ce-4-li-gong-lin-218108","白描人物图册-4",[23,99,24,25,100,7,28,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd61992ea8abf461e271a3e0927d269.jpg",[],{"id":4955,"slug":4956,"title":4957,"dynasty":75,"author":183,"museum":546,"description":547,"tags":4958,"thumbUrl":4959,"material":354,"size":66,"collection":66,"collections":4960,"showCount":4854,"zanCount":41,"manualWeight":41,"mainColor":70},218086,"luo-han-tu-ce-2-li-gong-lin-218086","罗汉图册-2",[23,24,25,100,7,101,27,28,62,157,122,549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef32533e0a8e2c73a9ac98b88eaed196.jpg",[],{"id":4962,"slug":4963,"title":4964,"dynasty":75,"author":76,"museum":395,"description":396,"tags":4965,"thumbUrl":4966,"material":141,"size":399,"collection":66,"collections":4967,"showCount":4854,"zanCount":41,"manualWeight":41,"mainColor":89},214977,"dao-zi-mo-bao-ren-wu-bai-miao-hua-5-yi-ming-214977","道子墨宝人物白描画-5",[23,24,25,7,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F746ad8cb15bcb71948f4536d83690d0d.jpg",[],{"id":4969,"slug":4970,"title":4971,"dynasty":75,"author":76,"museum":395,"description":396,"tags":4972,"thumbUrl":4973,"material":141,"size":399,"collection":66,"collections":4974,"showCount":4854,"zanCount":41,"manualWeight":41,"mainColor":89},214965,"dao-zi-mo-bao-ren-wu-bai-miao-hua-19-yi-ming-214965","道子墨宝人物白描画-19",[23,99,24,25,7,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043dc0b6de52e4682aa5d6e976446b89.jpg",[],{"id":4976,"slug":4977,"title":4978,"dynasty":149,"author":150,"museum":184,"description":4350,"tags":4979,"thumbUrl":4982,"material":83,"size":4983,"collection":37,"collections":4984,"showCount":4985,"zanCount":41,"manualWeight":41,"mainColor":89},290359,"bu-dai-he-shang-xiang-zhou-chen-hong-shou-290359","布袋和尚像轴",[24,243,167,7,54,2892,4980,4981,56,55],"布袋和尚","僧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe787d3bd3e14e7e1065913f4fe231dd3.jpg","65.3x40",[37],22,{"id":4987,"slug":4988,"title":1507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早年流入日本的中国禅画也因此备受日本人的珍视，被视为国宝级的文物。目前收藏在日本东京国立博物馆的《寒山拾得图》，就是这样一幅隐含机锋的禅机图。\n以寒山和拾得为主题的图画有许多版本，而最负盛名的禅画则是这幅元代画家因陀罗所作的《寒山拾得图》。此图为纸本、墨画，在画面最左边，题有楚石梵琦写的赞：“寒山拾得两头陀，或赋新诗或唱歌。试问丰干何处去，无言无语笑呵呵。”这幅画，描写寒山与拾得两位仙人席地坐于一株古树下，背依石丘，相对谈天说地，一副逍遥自在的样子。\n画中的寒山拾得蓬头光脚笑颜，一人双手相握，一人俟身向前。画面线条玲珑，浓淡衬托有力。虽寥寥数笔，但傲笑自若的禅僧形象已跃然纸上，流露出一种超脱物累、大智若愚、狂放不羁的精神。画家用了多种笔法来表现这一充满静谧禅机的场面：以吹墨法画头发，使之有蓬松自然之感；以阔笔焦墨画襟带，使之有临风而动的飘逸感；以渴笔画树石，使之有苍劲古逸之感。画意损深邃，画风简约，拙朴木纳，又不失活泼、诙谐。",[23,24,25,101,7,28,157,218,56,55,27,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa264b290c261cf662029c6b3e3ec36d8.jpg","墨本","纵35.2cm 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无上金玄上妙道德经卷手稿纸背","素纸残卷，墨痕留韵，墨线游走间铺展凡俗与神异交织的图景。左侧峨冠博带的世间众人，或伫立观瞻，或击鼓作乐，神态鲜活灵动。续而诸天异像次第铺陈：飞天舒袖凌虚，衣带如云曳动；力士怒目张拳，筋骨贲张尽显刚猛；鬼怪奇形百态，狞厉灵动兼具。线条或细劲如铁线，勾勒出衣褶肌理的层次；或奔放如飞白，挥洒出仙踪的飘逸超脱。岁月磨蚀的焦痕残边晕开旧时光的沧桑，整卷笔意通透洒脱，将凡俗烟火与神幻意境相融，尽显古雅传神的线描意趣。",[24,25,26,7,28,27,3696,5162,170],"神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48aba0df0ebc84850fa8a119d5d078da.jpg",[],21,{"id":5167,"slug":5168,"title":5169,"dynasty":239,"author":693,"museum":49,"description":3518,"tags":5170,"thumbUrl":5172,"material":174,"size":175,"collection":66,"collections":5173,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":89},290252,"da-ming-gong-tu-wang-zhen-peng-290252","大明宫图",[23,99,24,26,365,7,101,29,5171,2322,1737,2568],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9058769fd75a509a044ee8450afee9.jpg",[],{"id":5175,"slug":5176,"title":5177,"dynasty":75,"author":5178,"museum":49,"description":5179,"tags":5180,"thumbUrl":5181,"material":174,"size":175,"collection":66,"collections":5182,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":89},288936,"chun-guang-xian-dao-tu-wang-you-288936","春光先到图","王友","米芾在画史中提到：“赵昌、王友、镡黉辈，得之可遮壁，无不为少。”",[24,99,889,102,53,7,101,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb5ed83558fea61ce7df0f388fb6ba6.jpg",[],{"id":5184,"slug":5185,"title":5186,"dynasty":75,"author":183,"museum":49,"description":1040,"tags":5187,"thumbUrl":5188,"material":174,"size":175,"collection":66,"collections":5189,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":89},287964,"bai-miao-luo-han-tu-ce-li-gong-lin-287964","白描罗汉图册",[23,99,24,100,7,27,28,1705,244,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17296acc42853c345f7a96731f220b0.jpg",[],{"id":5191,"slug":5192,"title":5193,"dynasty":94,"author":1822,"museum":49,"description":5194,"tags":5195,"thumbUrl":5196,"material":66,"size":5197,"collection":66,"collections":5198,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":89},238028,"hong-ren-shan-shui-tu-ce-hong-ren-238028","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[24,25,101,60,100,408,7,188,81,373,4711,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12cd8e2a8b9ef7aa9b3c431dd9e276fe.jpg","50×36",[],{"id":5200,"slug":5201,"title":5202,"dynasty":149,"author":76,"museum":77,"description":5203,"tags":5204,"thumbUrl":5205,"material":66,"size":66,"collection":37,"collections":5206,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":70},237884,"ming-ren-cun-nv-cai-lan-tu-zhou-yi-ming-237884","明人村女采兰图轴","以淡墨轻勾人物轮廓，衣袂褶皱里似裹挟着郊野清风，鬓发间仿若沾着涧畔晨露。少女肩携小锄，挑着垂灯缓行在溪山小径，浅晕的坡岸野卉晕开清晨郊野的清寂。摒弃浓丽设色，以简淡笔墨勾勒出村女朴野清灵的情态，将采兰而归的恬然自适晕染绢素之上，把山野幽居的逸趣融在浅淡晕染间，尽显林下安然的乡野风致，笔墨清逸雅致，淡远幽静的郊野意趣扑面而来。",[24,25,243,7,54,28,153,188,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b35fa89f93f1b5a0e0fbff3bcceca1.jpg",[37],{"id":5208,"slug":5209,"title":453,"dynasty":149,"author":2410,"museum":77,"description":5210,"tags":5211,"thumbUrl":5212,"material":1987,"size":66,"collection":66,"collections":5213,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":89},234141,"lan-zhu-tu-wen-zheng-ming-234141","文征明（1470-1559），世称“文衡山”，明代画家、书法家、文学家。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。在诗文上，与祝允明、唐伯虎、徐真卿并称“吴中四才子”。在画史上与沈周、唐伯虎、仇英合称“吴门四家”。",[23,24,25,101,7,57,55,153,122,157,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd54efcd564c78baf1fe43aa7a6391a66.jpg",[],{"id":5215,"slug":5216,"title":5217,"dynasty":75,"author":1418,"museum":77,"description":5218,"tags":5219,"thumbUrl":5221,"material":538,"size":5222,"collection":66,"collections":5223,"showCount":5165,"zanCount":11,"manualWeight":41,"mainColor":89},234032,"san-gao-you-shang-tu-liang-kai-234032","三高游赏图","梁楷南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[75,24,101,7,1421,28,60,5220],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e1e51bf1b9c8f7cd1b7981873329e6.jpg","纵25.3厘米，横26厘米",[],{"id":5225,"slug":5226,"title":5227,"dynasty":149,"author":5014,"museum":49,"description":5228,"tags":5229,"thumbUrl":5230,"material":66,"size":66,"collection":66,"collections":5231,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":89},228890,"san-you-tu-juan-chen-gua-228890","三友图卷","此帧以水墨写就，老松虬曲苍劲，枯笔焦墨勾勒皴擦，尽显鳞皴老干的嶙峋古意。松针攒簇劲挺，如刃似戟。垂挂的藤萝以淡墨长线曳落，柔丝曼曼，和老干的刚硬形成绝妙反差。下方嫩竹亭亭，小篁数丛简淡清雅，寥寥数笔便把清拔姿态绘就。\n画面留白疏朗，水墨浓淡干湿相生相合，笔意纵恣却暗含法度，将岁寒之友的清逸孤傲风骨尽显，藏着文人写意的澹澹禅心，清雅脱俗，意韵悠长。",[5008,24,25,26,101,7,55,218,122,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43250ffaea547b9ef3fabbd4b5c2e4e.jpg",[],{"id":5233,"slug":5234,"title":5235,"dynasty":149,"author":964,"museum":49,"description":5236,"tags":5237,"thumbUrl":5238,"material":66,"size":66,"collection":66,"collections":5239,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":70},228758,"guan-hua-tu-zhang-lu-228758","观画图","这幅画作以巨松浓墨开篇，衬出山居小屋错落野趣。画面群像鲜活灵动：扶案老者凝目观画，村汉孩童攒头探看，窗内女子隔帘偷觑，各有神态，将乡野小民观画时的好奇热忱尽数铺展。\n\n笔意承袭浙派写意，线条粗粝劲健，衣纹顿挫利落，墨色浓淡铺陈拉开远近层次。以简括布景衬出盎然烟火，粗笔间藏着细腻情思，寥寥数笔便把俗世片刻的鲜活意趣定格，尽显明代人物画世俗化的鲜活风貌，将山野日常的闲适与观画时的热闹相融，质朴又传神。",[23,24,25,101,54,7,28,487,81,1306,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ac9c01422f9d12f5cf20f72d77ee8d.jpg",[],{"id":5241,"slug":5242,"title":5243,"dynasty":149,"author":1974,"museum":49,"description":5244,"tags":5245,"thumbUrl":5246,"material":66,"size":66,"collection":66,"collections":5247,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":89},228493,"pei-yue-xian-xing-tu-du-jin-228493","陪月闲行图","《陪月闲行图》是中国明代画家杜堇的国画作品。\n该画为纸本水墨，纵156.5厘米，横72.4厘米，现流落于（美）克里夫兰艺术博物馆。\n杜堇[明]十五—十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒人。\n丹徒（今江苏镇江）人，占籍燕京（今北京市）。\n宪宗成化（一四六五―一四八七）中试进士不第，绝意进取。\n工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。\n人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。\n弘治二年（一四八九）为吴原博（宽）作赏菊宴集图。\n《画史会要》、《图绘宝鉴续纂》、《无声诗史》、《艺苑巵言》 。\n杜堇的传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（15）由金琮（1449-151）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。\n《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《郡雍像》轴等，上述画均藏故宫博物院。\n从艺活动约在成化、弘治间。",[24,101,243,28,60,244,188,408,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d45025facb50d10416b1c61101165b.jpg",[],{"id":5249,"slug":5250,"title":2355,"dynasty":75,"author":76,"museum":77,"description":5251,"tags":5252,"thumbUrl":5253,"material":5254,"size":5255,"collection":66,"collections":5256,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":89},223338,"jiu-ge-tu-juan-yi-ming-223338","画卷根据屈原《楚辞·九歌》中的神话故事绘制而成。“九歌”原为传说中的一种远古歌曲的名称，《九歌》是屈赋中最精、最美、最富魅力的诗篇，它代表了屈原艺术创作的最高成就。",[23,24,99,26,7,53,28,171,618,619,61,188,81,673,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07bb572ae953b740fe54293fea95aea1.jpg","纸本，手卷，墨笔","纵37厘米、横845厘米",[],{"id":5258,"slug":5259,"title":5260,"dynasty":149,"author":964,"museum":135,"description":965,"tags":5261,"thumbUrl":5262,"material":66,"size":66,"collection":66,"collections":5263,"showCount":5165,"zanCount":11,"manualWeight":41,"mainColor":89},222517,"shen-xian-tu-ce-6-zhang-lu-222517","神仙图册6",[23,99,24,25,100,101,7,28,1727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd335e2d1ed4bc96ae99305478e6322.jpg",[],{"id":5265,"slug":5266,"title":5267,"dynasty":149,"author":964,"museum":135,"description":965,"tags":5268,"thumbUrl":5269,"material":66,"size":66,"collection":66,"collections":5270,"showCount":5165,"zanCount":11,"manualWeight":41,"mainColor":89},222512,"shen-xian-tu-ce-18-zhang-lu-222512","神仙图册18",[23,24,25,100,7,101,28,27,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557df45321eb26ba2815088ee1331857.jpg",[],{"id":5272,"slug":5273,"title":5274,"dynasty":75,"author":518,"museum":77,"description":5275,"tags":5276,"thumbUrl":5278,"material":777,"size":5279,"collection":66,"collections":5280,"showCount":5165,"zanCount":11,"manualWeight":41,"mainColor":70},221517,"han-shan-zi-tu-ma-yuan-221517","寒山子图","马远擅山水、花鸟、人物，其山水师法李唐，多画江浙山水，树木杂卉多用夹笔，用大斧劈皴带水墨画山石，方硬严整；构图取自然山水之一角，山峦雄奇峭拔，或峭峰直上而不见顶，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。马远艺术上克承家学而超过了他的先辈，他继承并发展了李唐的画风，以拖技的多姿形态画梅树，尤善于在章法大胆取舍剪裁，描绘山之一角水之一涯的局部，画面上留出大幅空白以突出景观。",[23,99,24,25,5277,7,101,28,55],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92de5fcd660f91864765bf62958c6c1.jpg","49x53",[],{"id":5282,"slug":5283,"title":5284,"dynasty":149,"author":1974,"museum":77,"description":5285,"tags":5286,"thumbUrl":5287,"material":141,"size":5288,"collection":37,"collections":5289,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":89},218519,"shao-yong-xiang-tu-du-jin-218519","邵雍像图","画面中的邵雍，身材高大，气质飘逸，身穿儒雅的衣服，头上戴着头巾，腰间系着宽大的腰带，手中拿着翎子，身穿宽大的外套和大袖子，衣带飘飘，目光炯炯，举止优雅而从容。",[23,24,25,7,101,28,57,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a21dcb547c24d1a23af186df58829c.jpg","67.3x27.4",[37],{"id":5291,"slug":5292,"title":5293,"dynasty":75,"author":183,"museum":49,"description":4032,"tags":5294,"thumbUrl":5297,"material":141,"size":66,"collection":66,"collections":5298,"showCount":5165,"zanCount":11,"manualWeight":41,"mainColor":89},218110,"bai-miao-ren-wu-tu-ce-3-li-gong-lin-218110","白描人物图册-3",[23,24,25,100,7,28,27,3697,5295,5296],"台座","蒲团","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd78354d7633afa33de473a6d942db459.jpg",[],{"id":5300,"slug":5301,"title":5302,"dynasty":75,"author":183,"museum":546,"description":547,"tags":5303,"thumbUrl":5304,"material":354,"size":66,"collection":66,"collections":5305,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":70},218085,"luo-han-tu-ce-3-li-gong-lin-218085","罗汉图册-3",[23,24,25,100,7,101,27,28,62,549,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c47d81aa18fa9c5185bb0398eef3e7.jpg",[],{"id":5307,"slug":5308,"title":5309,"dynasty":149,"author":76,"museum":339,"description":5310,"tags":5311,"thumbUrl":5312,"material":499,"size":66,"collection":66,"collections":5313,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":89},217941,"ming-ren-shan-shui-hua-ce-zhi-shi-yi-ming-217941","明人山水画册之(十)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[24,25,100,7,101,60,998,157,188,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe642084064b9a9dd6b35437b724efcfc.jpg",[],{"id":5315,"slug":5316,"title":5317,"dynasty":75,"author":76,"museum":395,"description":396,"tags":5318,"thumbUrl":5319,"material":141,"size":399,"collection":66,"collections":5320,"showCount":5165,"zanCount":41,"manualWeight":41,"mainColor":89},214961,"dao-zi-mo-bao-ren-wu-bai-miao-hua-22-yi-ming-214961","道子墨宝人物白描画-22",[23,99,24,25,7,365,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa8b29e8d220715a3857f7a7fd63a479.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图中女子的画法承袭了宋元以来的“白描”技法。作者以墨笔勾描人物面部及衣纹服饰。线条遒劲圆转，富有表现力度并有轻重缓急等诸多变化，显示出作者以线造型的精湛造诣。此外，作者还根据所绘物象的不同巧妙地运用了墨染法，人物的头部以浓墨晕染，芦荻、芙蓉叶等为深墨晕染，衣装饰带用淡墨晕染，深浅程度不同的墨韵无疑起到了扩大画面的层次和空间感的作用。此图不仅是张灵的代表作，亦是明代白描人物画的精品之作。 明代张丑《清河书画舫》在著录此图时言：“张梦晋《朝仙图》卷后有唐子畏题咏。”但目前此图并无唐寅的咏题，显然后世好事者在张丑目睹之后将唐寅的题咏割去而移作它用了，从而令原是书画合璧之作减色，使张灵与唐寅间的笔墨交往失去了重要的佐证。在唐寅的《六如居士补遗》中查到他为此图所作的题咏，名为《招仙曲》：“郁金步摇银约指，明月垂珰交龙绮。秋河拂树蒹葭霜，哪能夜夜掩空床。烟中滉滉暮江摇，月底纤纤露水飘。今夕何夕良宴会，此地何地承芳佩。”显然，唐寅的诗情与张灵的画意是完全吻合的。",[24,25,26,101,7,58,571,2276,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed1d30780fb498a81dae48abdae7351.jpg","纵29.8厘米，横111.5厘米",[],{"id":5384,"slug":5385,"title":5386,"dynasty":645,"author":3597,"museum":49,"description":5387,"tags":5388,"thumbUrl":5389,"material":174,"size":175,"collection":66,"collections":5390,"showCount":5342,"zanCount":41,"manualWeight":41,"mainColor":89},231617,"bai-miao-shi-er-tian-tu-xiang-huo-tian-zhen-hai-231617","白描十二天图像 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简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,24,26,101,53,7,55,28,4227,61,81,845,64,2130,60,1227,5726,5727,5728,2513,3232,59],"垂钓","渔网","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":5733,"slug":5734,"title":5735,"dynasty":149,"author":5736,"museum":77,"description":5737,"tags":5738,"thumbUrl":5739,"material":457,"size":66,"collection":66,"collections":5740,"showCount":5655,"zanCount":11,"manualWeight":41,"mainColor":89},234122,"lan-shi-tu-juan-ma-shou-zhen-234122","兰石图卷","马守真","中国古代女性画家的作品，虽然其艺术语言尚未超越男性画家，却始终是美术史中的一个重要组成部分。尤其明清两代女性绘画的空前发展，使她们在各自的才艺表述中，散发着独特魅力。其中明代马守真便是最为卓越而富有才情的女画家之一。\n马守真（1548-1604），小字玄儿、又字月娇，自号“湘兰”，因家中排行第四，人称“四娘”。幼年时沦落风尘的马湘兰，天资聪慧，多才多艺，且能诗善画，一生以兰花、竹、石、灵芝、水仙等为题创作了许多作品。在她以兰花为主题的传世作品中，有真亦有伪，且早期与晚期的画风也不尽相同，水平自然亦有高低。其间，马守真在1598年五十岁时所作的《兰石图》（图一）（现藏中国国家博物馆），堪称她绘画成熟期的经典之作。是图描绘了草坡之上的一丛野生兰，只见兰叶随意舒展、花儿含羞怒放、身后有修竹为伴，亦随风轻轻舞动。兰花伴以湖石、润笔勾出，与信手点染的苔草相映成趣。画家以没骨之法、细线勾勒出的兰叶，行笔劲挺流畅、张显了兰花恣意生长、野趣盎然。图中左上有画家款识：“戊戍仲冬日写”、“湘兰马守真”，钤印“湘兰”、“守真玄玄子”二方。图中右下有“曾藏锡芝兰堂”等收藏印二方。\n从湘兰所画兰花的笔法来看，她更多承袭了南宋赵孟坚（1199—1264） 的水墨兰花风格。曹寅评其画云：“兰法子固，竹法仲姬，俱能袭其韵。”赵孟坚，字子固、南宋宗室。他工诗善画，是兼具贵族、士夫与文人身份的画家。他首创的墨兰，“清而不凡、秀而雅淡”,深得后世文人推崇（图二）。万历三十二年（1604），湘兰在她五十七岁临终那一年画的《兰花图》卷（上海博物馆藏）（图三） 款题中写道：“甲辰夏日，在松院仿赵子固画兰赠彦可兄，湘兰马守真。”足见对赵孟坚画兰之风的追随。此画卷分为两段：前段双勾、后段水墨写意，浓淡变化，颇多意趣。画卷开首有杨法所题变体篆书云：“咀嚼兰蕙”。如果说赵孟坚笔下的兰花盛开，犹如翩翩起舞的彩蝶、春风得意，那么湘兰笔下的兰花则更像是娴静的少女，多了几分柔媚与清幽。\n湘兰一生画了很多兰花，水墨居多，而少颜色，如《兰花图》扇面（图四）、《兰石图》卷（故宫博物院藏）、《兰竹石图》轴等传世佳作。后人评：“其墨兰一派，潇洒恬雅，极有风韵”。图中兰花的左右，往往伴有湖石、墨竹、水仙、灵芝等清雅之物。湖石或润笔或皴擦、简淡天成，瘦竹则疏朗有致，与幽兰相应成趣。画风给人的感觉更像是一个文人士大夫的作品，而难想像乃出自金陵花街柳巷的一风尘女子之手。\n湘兰专注于兰，为此还特意在秦淮河畔边盖了一座小楼，栽满兰花，名为“幽兰馆”。她所喜好的兰花，也正是历代文人画家所热衷的“君子”题材。宋末元初的诗人画家郑思肖（1241-1318） 专绘“露根兰”，谓之“纯是君子，绝无小人”，以寄托亡国之恨。兰花由此被赋予了极强的人格意义，成为品德高洁的君子象征。明代苏州吴门大家文征明尤爱画兰，留有许多兰花竹石逸品，如《兰竹图》（台北故宫博物院藏）（图五）。陈元素周天球等江南文人亦以描绘清幽而芬芳的兰花为乐事（图六）。作为“秦淮八艳”之一的名妓，湘兰“性情轻侠”，为人豪爽，慕名求访者甚多，这其中自然不乏江浙地区的文人雅士、风流才子。而画兰之风在晚明江南一带的日渐昌盛，不能不说对马守真产生了重要影响。\n湘兰“姿首如常人”、相貌并不出众，但是她胜在才情，“神情开涤，濯濯如春柳早莺，吐辞流盼、巧伺人意”。她不仅善于绘事而且工于诗文，常常在兰绘图中自题诗句，留下“一叶幽兰一箭花，孤单谁惜在天涯”、“何处风来气似兰，帘前小立耐春寒”等诸多佳句。与文人士夫借物抒情，集文学、书法、绘画的艺术表达为一体的情趣相契合，湘兰画的兰花，也是“画中有诗”、“诗中有画”，充满了书卷气。\n文人画的产生与兴盛，在相当程度上是出于厌世的隐遁心理，寄情笔墨以寻求内心平衡。晚明时局动荡，又多了这样前途渺茫的文人画家。江南文人更以描写“梅兰竹菊”等水墨写意自娱，籍以淡薄名利甚至逃避险恶仕途。尽管湘兰的兰花与文人笔下的兰花有诸多相似之处，但是对于一个烟花女子来说，她画兰，显然与文人画兰潜藏着仕途失意与不满的政治诉求没有太多关系。除了自身的喜爱，更多的应该是对当时文人圈时尚的某种迎合以及自我人格的标榜。\n正如湘兰的诗句：“空谷幽兰独自香，任凭蝶妒与蜂狂”、“绝壁悬崖喷异香”，借兰花标榜自己的孤芳傲世而别于欢场中人。不仅如此，湘兰还独创有一叶兰，仅一抹斜叶，托着一朵兰花，以体现兰花清幽空灵，仿佛又带有一丝哀怨与孤寂，来倾诉自己的无依之情。清香的幽兰，暗自吐芳，也是画家一生的写照：湘兰在二十四岁时相识长洲（今苏州） 才子王穉登，并为他痴守一生、孤单终老。二人经常以兰花为题，诗文书画互动，出现在湘兰的作品中。王穉登曾以“一枝写出湘皋影，仿佛凌波解佩人”，将湘兰画中兰花比作她本人，赞其超凡脱俗与清高品质。就在抱病赶往姑苏为穉登置办七十寿筵返回金陵之后，湘兰一病不起，于是燃灯拜佛、沐浴更衣、端坐而逝。王穉登悲痛之余写下挽诗：“歌舞当年第一流，姓名赢得满青楼，多情未了身先死，化作芙蓉也并头。”可以说，湘兰如此执着于兰花的写照，与落魄文人王穉登的情感纠葛不无关系。值得一提的是，同时代的另一位女画家薛素素也是画兰高手，也曾与王穉登有过交集。\n湘兰的绘画，有着浓浓的文人情怀。比起文人画兰张显的自我意识与个性，她的兰花则多了几分女性的温婉与秀雅，也多了几分哀怨与孤寂。湘兰的传世作品数量极多，民间多于官方，虽然真伪混杂，却足见世人对她的喜爱。作为身份卑微的青楼女子，湘兰的兰花风格占据不了画坛主导，却也独具幽芳，惹人怜爱，同时成为一个特定时代与文化的折射，并对后世的墨兰创作带来了深远影响。",[24,25,26,101,7,153,139,1306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab683345673a977ba6b3af4ea9c4edd.jpg",[],{"id":5742,"slug":5743,"title":5744,"dynasty":18,"author":76,"museum":77,"description":5745,"tags":5746,"thumbUrl":5749,"material":538,"size":5750,"collection":66,"collections":5751,"showCount":5655,"zanCount":41,"manualWeight":41,"mainColor":89},234063,"fu-xi-nv-wa-xiang-ye-yi-ming-234063","伏羲女娲像页","此图上彩画人首蛇身男女二人，均着窄衫小袖绛红色胡装，二人腰相连，共着一条白裙。男居左，无须，头戴笼冠，张左手执矩，矩上有墨斗（已被腐蚀）。女居在右，束高髻，张右手执规。男女上身相拥，中间两臂相连，下尾盘曲相交四节成螺旋状。两人头上有圆轮，周画圆圈以象征日；尾下有下弯月牙一，周画圆圈以象征月。画面四周面遍布大小相等的圆圈，部分以线相连象征星辰。\n吐鲁番高昌国至唐西州国时期的墓葬出土了许多伏羲、女娲绢画,画面形式大致相似：人首蛇身，交尾相拥，伏羲持矩，女娲持规。绢画上方有日，下方有月，周围布满丝缕相连的星辰。整幅绢画上宽下窄，与棺形相似，常覆盖于棺上，也有盖于尸上或置于尸旁者，还有张挂或用木钉固定于墓顶的情况。\n故宫博物院所藏的伏羲女娲绢画系1963年4月出土于新疆吐鲁番阿斯塔那古墓，1963年12月由新疆博物馆拨交故宫博物院。据阿斯塔那古墓考古报告中所示，同期出土的此类绢画共有数十件。在墓室中一般都是画面朝下，用木钉钉在墓顶上。一般认为伏羲所执矩象征地，女娲所执规象征天，用以配合画面上的日月星辰，为墓室营造一个小宇宙。",[99,24,25,28,5747,54,7,168,5748],"蛇","星象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad372045cc9529359b55b04dc763a6c3.jpg","纵左222.5cm，右231cm，横上115cm，下94cm",[],{"id":5753,"slug":5754,"title":3834,"dynasty":94,"author":1591,"museum":694,"description":3835,"tags":5755,"thumbUrl":5756,"material":1564,"size":3838,"collection":66,"collections":5757,"showCount":5655,"zanCount":41,"manualWeight":41,"mainColor":89},233858,"mei-hua-ce-jin-nong-233858",[24,25,100,7,101,102,138,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697b9b210a11113f3a2283868babba80.jpg",[],{"id":5759,"slug":5760,"title":5761,"dynasty":645,"author":5762,"museum":49,"description":5763,"tags":5764,"thumbUrl":5765,"material":174,"size":175,"collection":66,"collections":5766,"showCount":5655,"zanCount":41,"manualWeight":41,"mainColor":89},230579,"ming-qing-fang-gu-fen-ben-ren-wu-hua-niao-juan-2-tu-zuo-bing-guang-lin-feng-230579","明清仿古粉本人物花鸟卷2","土佐并光琳风","此作以水墨写意绘就两帧人物，韵致截然不同。右侧观音以淡墨晕出圆光，衣袂线条清柔舒缓，持经垂眸，神态静穆慈悲，尽显禅意空灵。左侧文士以泼墨挥写袍服，笔力纵逸老辣，持笔展卷，面容诙谐灵动，文人气韵盎然。\n\n画师以浓淡墨色区分物象虚实，将静穆禅意与疏放文气并置，于极简笔墨中形神兼备，尽显东方水墨写意的精妙意趣，让两种气质在卷中相映成趣。",[23,24,25,26,101,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0d007e14851b9c8995e4bc5444b5db.jpg",[],{"id":5768,"slug":5769,"title":5770,"dynasty":149,"author":2410,"museum":49,"description":5771,"tags":5772,"thumbUrl":5773,"material":66,"size":66,"collection":66,"collections":5774,"showCount":5655,"zanCount":438,"manualWeight":41,"mainColor":89},228875,"chang-qing-jing-jing-lao-zi-lie-zhuan-wen-zheng-ming-228875","常清净经.老子列传","此作右幅白描老君，线条清劲简淡，勾勒出老者仙风道骨、超然出尘之态，形神兼备。左幅小楷精整秀雅，点画劲挺端稳，结体舒展端庄，笔墨间尽显平和冲淡之气，将道家澄心守静的意涵融于笔底。\n\n全卷朱钤错落，朱墨相映，书画印浑然一体，晕开古雅静穆的氛围，尽显文人清雅审美，把对道旨的敬慕化入毫端，是精工兼具文心的晚年佳作。",[23,24,25,26,7,101,1875,57,56,859,55,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e5331a756d311cefa90dd585e691c7.jpg",[],{"id":5776,"slug":5777,"title":5778,"dynasty":239,"author":76,"museum":49,"description":5779,"tags":5780,"thumbUrl":5781,"material":66,"size":66,"collection":66,"collections":5782,"showCount":5655,"zanCount":11,"manualWeight":41,"mainColor":70},228191,"nong-cun-jia-nv-tu-juan-yi-ming-228191","农村嫁女图卷","《农村嫁女图》，原名《瘤女图》，是 佚名画家创作的一幅淡设色画。\n此图原名《瘤女图》，后更名为《农村嫁女图》。\n全卷绘大小人物7人，分布疏密得当，自然形成四个段落，各段又有相对突出的重点人物的描写。\n首段以一骑牛披纱妇人为中心，众人目光多集于其身；次段是来宾与迎候者相见的场面，相对施礼的两位妇女为该段的中心；第三段表现两位身份较高的男性奉酒的场面；末段绘鼓乐、歌舞表演及围观者。\n各段虽有各自的主要人物，但次要人物的朝向、动作又使各段落间相互联系，构成一幅完整的画面。\n从画面表现的内容看，画的是否农村嫁女场面还有待商榷，图中吃奶的婴儿和扛于肩上的小童似与婚嫁主题不太相符，且骑牛女子似亦非新娘形象。\n笔者推测此图所表现的可能是一民女回乡省亲的场面，具体内容尚有待进一步考察。\n图中人物略施淡赭色，余则全以水墨为之。\n人物全用颤笔描加以表现，面部刻画也较为粗简，人物造型与南宋马远《踏歌图》有些相近之处。\n绘画艺术水平一般，但却生动地记录了宋元时期的现实生活场景。\n本幅无作者款印。\n钤有清“卢崇兴印”及清内府鉴藏印 5方。\n清初康熙时此卷为卢崇兴所有，乾隆时入内府，清末宣统年间佚出宫外，后为故宫博物院购藏。\n著录于《石渠宝笈·初编》卷三十五。",[23,24,99,26,7,54,28,315,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a4c8a922243dc7230811a7a4b5333e.jpg",[],{"id":5784,"slug":5785,"title":794,"dynasty":94,"author":1460,"museum":184,"description":5786,"tags":5787,"thumbUrl":5791,"material":54,"size":5792,"collection":66,"collections":5793,"showCount":5655,"zanCount":41,"manualWeight":41,"mainColor":89},223323,"wu-xing-er-shi-ba-xiu-shen-xing-tu-ding-guan-peng-223323","此《五星二十八宿神形图》卷据传为唐代梁令瓒绘。此图原分为上下两卷，描绘五星（岁星、荧惑、镇星、太白、辰星），以 及二十八星宿对应的人物神怪图像。每星宿一图，或人或兽，或人身兽首，每图前有篆书说明。今仅存上卷的五星和 “角” 至 “危” 十二宿。此内含三种卷本。\n“五星二十八宿” 中的 “五星” ， 亦可称五纬， 即中国古代天文学中的金、 木、 水、 火、 土五大行星。 其中， 金星古称明星， 又名太白金星；木星， 古称岁星； 水星， 古称辰星； 火星， 因其时明时暗， 行踪不定， 古称荧惑星； 土星， 古称镇星、 填星、 信星等。 “二十八宿” ， 源于道教文化。二十八宿， 其中东方青龙七宿是角、 亢、 氐、 房、心、 尾、 箕； 北方玄武七宿是斗、 牛、 女、 虚、 危、室、 壁； 西方白虎七宿是奎、 娄、 胃、 昴、 毕、 觜、参； 南方朱雀七宿是井、 鬼、 柳、 星、 张、 翼、 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的步态相得益彰，寥寥数笔便将其灵动气势与祥瑞神性尽显。简淡线条里蕴藏生动气韵，尽显早期白描的写意特质，拙朴之间带着古雅意趣，把瑞兽的雄姿勾勒得形神兼备。",[23,24,25,7,619,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fc17d38768c01bfc68e35f4a040b703.jpg",[],17,{"id":5876,"slug":5877,"title":5878,"dynasty":149,"author":2003,"museum":49,"description":2669,"tags":5879,"thumbUrl":5880,"material":174,"size":175,"collection":66,"collections":5881,"showCount":5874,"zanCount":41,"manualWeight":41,"mainColor":89},288004,"bai-miao-luo-han-tu-juan-shang-bu-chou-ying-288004","白描罗汉图卷(上部)",[23,99,24,26,7,28,27,1705,618,998,188,619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e592b366e3e837b966fe799cfea109.jpg",[],{"id":5883,"slug":5884,"title":5885,"dynasty":94,"author":4195,"museum":49,"description":5886,"tags":5887,"thumbUrl":5889,"material":174,"size":175,"collection":66,"collections":5890,"showCount":5874,"zanCount":41,"manualWeight":41,"mainColor":89},235528,"cai-sang-tu-zhou-min-zhen-235528","采桑图轴","闵贞（1730--1788年）字正斋，湖北武穴人，扬州八怪之一。其画学明代吴伟，善画山水、人物、花鸟，多作写意，笔墨奇纵，偶有工笔之作。人物画最具特色，线条简练自然，形神逼肖。传世作品有《蕉石图》《花卉图》等。",[24,243,101,7,28,811,423,5888],"桑叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6824a5da2c4646ec33ce68ffdaee5241.jpg",[],{"id":5892,"slug":5893,"title":5894,"dynasty":94,"author":76,"museum":49,"description":5895,"tags":5896,"thumbUrl":5898,"material":66,"size":66,"collection":66,"collections":5899,"showCount":5874,"zanCount":41,"manualWeight":41,"mainColor":89},235156,"hong-ren-shan-shui-ce-yi-ming-235156","弘仁山水册","这帧册页诗画合璧，题字清隽舒展，笔墨雅致，诗境画境相融相生。\n\n下方小品以淡墨写就林石秋景，枯木疏朗错落，姿态古拙清逸，枝桠虬曲暗含生机。坡石简淡勾勒，略施皴擦便见嶙峋质感，留白悠远空灵，烘托出江南秋后的清寥意韵。整体画风萧散简远，冷寂出尘，以极简笔墨营造幽远超脱的意境，尽显静穆淡远的文人雅韵，观之如临秋水林泉，涤荡俗尘。",[24,25,100,101,408,7,60,244,188,1306,5897],"岩壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b760ce36c1d513723846efb9e15a72.jpg",[],{"id":5901,"slug":5902,"title":5903,"dynasty":94,"author":1199,"museum":77,"description":5904,"tags":5905,"thumbUrl":5906,"material":1987,"size":66,"collection":66,"collections":5907,"showCount":5874,"zanCount":41,"manualWeight":41,"mainColor":89},234306,"hua-luo-han-ce-leng-mei-234306","画罗汉册","清代宫廷画家冷枚画罗汉册20开，每开右侧有张照题字，故宫博物院藏。\n冷枚（约1669-1742），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。\n张照（1691-1745），字得天、长卿，号泾南、梧窗、天瓶居士，清松江府娄县人。康熙四十八年（1709）进士，官至刑部尚书。书法早年学董其昌，得母舅王鸿绪亲授；后又学米芾，并受赵孟頫较大影响。但不一意守师法，而是努力创新，特别是率真之作，更显得变化多端，精彩动人。",[99,24,25,100,53,54,7,27,28,1705,1716,188,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ffa5f662044fc7647ba37921698a2ec.jpg",[],{"id":5909,"slug":5910,"title":5911,"dynasty":149,"author":2945,"museum":77,"description":3065,"tags":5912,"thumbUrl":5913,"material":2505,"size":66,"collection":66,"collections":5914,"showCount":5874,"zanCount":41,"manualWeight":41,"mainColor":89},234239,"luo-han-juan-li-shi-da-234239","罗汉卷",[23,24,25,26,27,7,101,28,1225,811,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95e683ca4c609b9d25fb50ba7fdf047.jpg",[],{"id":5916,"slug":5917,"title":5918,"dynasty":149,"author":5919,"museum":77,"description":5920,"tags":5921,"thumbUrl":5922,"material":457,"size":66,"collection":66,"collections":5923,"showCount":5874,"zanCount":41,"manualWeight":41,"mainColor":42},234114,"huan-ji-tu-juan-zhang-han-234114","宦迹图卷","张瀚","描绘了明中后期官至吏部尚书的张瀚的官宦生活。本文通过对此作图像内容的考证,在比对图文关系的基础上,对此图的原貌、作者及有关问题进行了初步研究。",[24,25,26,7,53,28,315,29,63,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47acd463b3a10bf258b2c33970af22e2.jpg",[],{"id":5925,"slug":5926,"title":5927,"dynasty":645,"author":76,"museum":49,"description":5928,"tags":5929,"thumbUrl":5932,"material":174,"size":175,"collection":66,"collections":5933,"showCount":5874,"zanCount":41,"manualWeight":41,"mainColor":89},231687,"ping-an-shi-dai-e-gui-cao-zhi-yi-ming-231687","平安时代 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。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。",[23,99,24,25,26,101,7,28,60,81,764,619,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4894a30ae63717fc0a21742c8b4efc20.jpg",[],{"id":5985,"slug":5986,"title":5590,"dynasty":18,"author":76,"museum":820,"description":1295,"tags":5987,"thumbUrl":5988,"material":174,"size":175,"collection":66,"collections":5989,"showCount":5874,"zanCount":41,"manualWeight":41,"mainColor":70},226362,"ku-zhu-shi-nan-bi-yi-ming-226362",[281,27,54,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfebe700aeb24c3afccab84817dec54.jpg",[],{"id":5991,"slug":5992,"title":5993,"dynasty":239,"author":693,"museum":5994,"description":5995,"tags":5996,"thumbUrl":5997,"material":538,"size":5998,"collection":470,"collections":5999,"showCount":5874,"zanCount":41,"manualWeight":41,"mainColor":89},221854,"yi-mu-yu-fu-tu-juan-bai-miao-quan-juan-wang-zhen-peng-221854","姨母育佛图卷白描全卷","波士顿美术馆","此幅中年幼的佛陀，即释达多王子，在其母摩耶皇后亡故之后由皇后之妹，即佛祖的姨母，摩诃波闻波提养育照顾。佛的同父异母兄弟提婆达多，即姨母亲子，正由侍女搀扶，从其母身边引领离开，提婆达多的小脚　　虽然踏向座榻的边缘，却依然不舍回望母亲。姨母对佛陀的照顾，却是心不二用，左手握寿桃一枚，右臂环护怀中的幼佛，佛之形象作中国婴孩状，见桃心喜，手舞足蹈，一意索取。　　王振鹏在画中并用界笔与铁线描，对图中繁杂的人与物加以精心勾勒，并以淡墨渲染衣纹幔褶、器物形状，及树石的肌理。画幅所显的屋舍之中悬挂珠宝璎珞，陈设异国珍玩，经营出一所想象中的印度皇宫内苑。\n细观察之下，在菩提树杆的下端，接近狮背之处有墨书小楷“振鹏”二字。王振鹏与与佛教的关系来自其信佛的家庭背景，兄王龙孙出家为僧，法名善集，其祖王挺亦以好佛为人所知。　　画卷前有明代杨承鲲（？-1589）所题《心经》。前隔水中有明代邢侗所题，曰：“此是龙眠画中台阁手，余家所藏楚骚《九歌》，是林薮笔，总之精诣已极，不妨并媺。弟从轻纹细墨处，自为磐薄高踪，是安可语神骏观也。八月初三日，济南邢侗敬题。”后有清人钱维乔、钱大昕、鲁爽良跋尾。另有近代完颜景贤鉴藏印，及“张氏清河”白文印记。",[23,24,25,26,7,27,28,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e49ea6b1b965fc93471f8f2e4723b9.jpg","整幅31.9*508cm，画芯31.9*94.9cm",[470],{"id":6001,"slug":6002,"title":6003,"dynasty":239,"author":76,"museum":3112,"description":6004,"tags":6005,"thumbUrl":6007,"material":141,"size":6008,"collection":37,"collections":6009,"showCount":5874,"zanCount":11,"manualWeight":41,"mainColor":89},218440,"bu-na-tu-yi-ming-218440","补衲图","这是德川美术馆收藏的三幅画中的中间一幅，描绘了禅宗大师朝阳用木西和胡乃夫等高僧的书写方式搓揉绳子的情景。",[23,24,101,954,28,157,326,6006,7],"补衲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03859ed5badbca0ed41251a09e4a152.jpg","80.3x32.1",[37],{"id":6011,"slug":6012,"title":6013,"dynasty":75,"author":183,"museum":546,"description":547,"tags":6014,"thumbUrl":6015,"material":354,"size":66,"collection":66,"collections":6016,"showCount":5874,"zanCount":41,"manualWeight":41,"mainColor":70},218079,"luo-han-tu-ce-8-li-gong-lin-218079","罗汉图册-8",[23,24,99,100,27,28,7,673],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d6599dbe381a3aae0b7393155c2101.jpg",[],{"id":6018,"slug":6019,"title":6020,"dynasty":94,"author":1460,"museum":184,"description":1498,"tags":6021,"thumbUrl":6022,"material":141,"size":66,"collection":66,"collections":6023,"showCount":5874,"zanCount":11,"manualWeight":41,"mainColor":89},217920,"tang-ming-huang-ji-ju-tu-3-ding-guan-peng-217920","唐明皇击鞠图-3",[2583,53,7,54,28,315,52,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F707210edeaf9e3501cf069c6e169843e.jpg",[],{"id":6025,"slug":6026,"title":6027,"dynasty":94,"author":1199,"museum":49,"description":1200,"tags":6028,"thumbUrl":6029,"material":457,"size":66,"collection":66,"collections":6030,"showCount":5874,"zanCount":41,"manualWeight":41,"mainColor":513},217100,"bai-miao-luo-han-18-leng-mei-217100","白描罗汉-18",[24,25,100,7,27,28,29,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0dfa8270f2f92e766010043e3e2cf90.jpg",[],{"id":6032,"slug":6033,"title":6034,"dynasty":75,"author":76,"museum":395,"description":396,"tags":6035,"thumbUrl":6036,"material":141,"size":399,"collection":66,"collections":6037,"showCount":5874,"zanCount":41,"manualWeight":41,"mainColor":89},214934,"dao-zi-mo-bao-ren-wu-bai-miao-hua-50-yi-ming-214934","道子墨宝人物白描画-50",[23,24,25,7,101,28,27,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bf23899979167f83e5e78857fe19f8.jpg",[],{"id":6039,"slug":6040,"title":6041,"dynasty":239,"author":76,"museum":49,"description":6042,"tags":6043,"thumbUrl":6045,"material":174,"size":175,"collection":66,"collections":6046,"showCount":6047,"zanCount":41,"manualWeight":41,"mainColor":70},291020,"hua-ting-qin-tu-zhou-yi-ming-291020","画听琴图轴","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， 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周帝打醮，但从人物旁边的手杖来看，这幅画描绘的是道教传说中的八仙之一的李铁拐。传说他是一个魁梧的人，在成为不朽的人之后，被赋予了一个饥饿的人的身体，因此他的外表很丑陋。明朝的一位宫廷画师也制作了类似的图像，用来驱除邪灵。",[23,99,24,25,100,53,7,54,28,998,188,2742,4069],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1584d50aced77bd7bb3f19029177fc.jpg","23.9x21",[37],{"id":6264,"slug":6265,"title":6266,"dynasty":239,"author":1713,"museum":49,"description":6267,"tags":6268,"thumbUrl":6270,"material":174,"size":175,"collection":66,"collections":6271,"showCount":129,"zanCount":41,"manualWeight":41,"mainColor":70},290616,"shi-liu-bi-da-shi-xiang-zhou-zhang-wo-290616","十六臂大士像轴","这是一幅白描画，一只似犬又似麒麟的动物（图2）乘云而来，法相庄严的十六臂观音端坐在莲台上。全作画得极为精细，人物轮廓和衣纹都用流畅的细线钩描，头发的发丝和莲瓣的纹理也描写入微，衣上和锦垫上的图案又绘制得一丝不苟。画幅右下角有张渥的款题，不过和张渥的真迹《九歌图》比较，发现这轴大士像的衣纹线条缺乏潇洒飘逸的韵致，应该不是张渥的亲笔。",[24,25,243,27,7,101,28,619,55,2892,6269],"大士像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfea0193712440e58a078090c6e290e.jpg",[],{"id":6273,"slug":6274,"title":592,"dynasty":75,"author":593,"museum":49,"description":6275,"tags":6276,"thumbUrl":6277,"material":174,"size":175,"collection":66,"collections":6278,"showCount":129,"zanCount":41,"manualWeight":41,"mainColor":89},289880,"luo-han-tu-li-yu-289880","李遹 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代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 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。李龙眠既李公麟，字伯时，祖籍安徽舒城， 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[1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,25,7,27,28,64,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f8b57923f0d9d9baf6d5b6213e862c.jpg",[],{"id":6706,"slug":6707,"title":3091,"dynasty":149,"author":6708,"museum":49,"description":6709,"tags":6710,"thumbUrl":6711,"material":66,"size":66,"collection":66,"collections":6712,"showCount":6562,"zanCount":41,"manualWeight":41,"mainColor":89},228366,"shi-liu-luo-han-tu-chen-xian-228366","陈贤","此作用笔极简却意韵悠长，淡墨勾勒罗汉衣袍，线条舒缓苍劲，将僧袍垂坠柔软的质感尽显无遗。罗汉面容刻画细腻入微，唇角含笑，神态恬然静定，安然的坐姿透着出尘的禅意。身旁盆栽兰草，寥寥数笔绘就舒展花叶，清雅脱俗，与罗汉气质相映成趣，烘托出静谧空寂的禅房氛围。\n\n画面以水墨写意见长，浓淡干湿自然过渡，不用浓艳敷色，以形传神，将高僧闲适安然的心境展露无余。右侧题字笔力苍劲古朴，与水墨画面气韵相融相合，尽显文人画以意驭笔的意趣，空灵悠远的禅境跃然纸上，是一件精妙的禅意小品。",[23,24,25,27,28,101,7,55,153,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb042f67db1eec218836dfc97590a62a.jpg",[],{"id":6714,"slug":6715,"title":6716,"dynasty":239,"author":5582,"museum":49,"description":5583,"tags":6717,"thumbUrl":6718,"material":174,"size":175,"collection":66,"collections":6719,"showCount":6562,"zanCount":11,"manualWeight":41,"mainColor":89},228025,"fan-qi-tu-juan-zhao-lin-228025","番骑图卷",[23,24,25,26,7,54,28,315,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a422fb91c6b267bc128150d1d205bb.jpg",[],{"id":6721,"slug":6722,"title":6512,"dynasty":75,"author":183,"museum":49,"description":6723,"tags":6724,"thumbUrl":6725,"material":66,"size":66,"collection":66,"collections":6726,"showCount":6562,"zanCount":41,"manualWeight":41,"mainColor":89},227608,"fa-hai-ling-shan-tu-li-gong-lin-227608","李公麟（1049年－1106年），北宋畫家。字伯時，號龍眠居士，舒州（今安徽桐城）人。\n\n進士出身，曆南康、長垣尉、泗州錄事參軍，官至朝奉郎。擅畫人物、佛道像，吸取曆代流派之長，自創一格，多用線描，筆法如行雲流水，而不設色，生動地表現了人物的神情意態，人稱“白描”；尤精擅畫鞍馬，常觀察群馬生活，求其變化，下筆形神兼備。注重寫生，畫技博取前人之長，承繼顧恺之、吳道子等人筆法，在新畫中表達新義。\n\n《十八羅漢渡江圖》畫中人物按未渡者、方渡者、已渡者三組依序進場，人物神態，栩栩如生。李公麟畫作時人評價甚高，宋徽宗曾贊他爲當朝最重要畫家。元符三年（1100年）病痹告老，隱居龍眠山，號龍眠居士。\n\n存世作品有《五馬圖》、《臨韋偃牧放圖》等。\n\n另外李公麟也擅長于考古，對于夏、商以來的銅器和印玺頗有研究，“聞一妙品，雖捐千金不惜。”。",[24,25,7,28,673,55,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdc61f3d01a0a9aa272d333e658adcc.jpg",[],{"id":6728,"slug":6729,"title":6730,"dynasty":239,"author":6731,"museum":266,"description":6732,"tags":6733,"thumbUrl":6734,"material":3680,"size":6735,"collection":66,"collections":6736,"showCount":6562,"zanCount":11,"manualWeight":41,"mainColor":89},221828,"zhu-lin-da-shi-chu-shan-tu-chen-jian-ru-221828","竹林大士出山图","陈鉴如","陈鉴如，元代画家，擅写照，被誉为肖像画第一家。据《安国志略》载,元代安南国王陈昑40岁时悟佛,舍位出家,入武林洞修行,号竹林大士。该图描绘的是竹林大士修成后,从武林洞出游邻国占城,国王得知后出来迎接的情景。",[23,99,24,25,26,27,7,28,421,81,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3f2a27be135dae27a59546b267a193.jpg","28x954.5厘米",[],{"id":6738,"slug":6739,"title":6740,"dynasty":75,"author":183,"museum":49,"description":1508,"tags":6741,"thumbUrl":6742,"material":457,"size":1511,"collection":66,"collections":6743,"showCount":6562,"zanCount":41,"manualWeight":41,"mainColor":89},221399,"fa-hai-ling-shan-tu-10-li-gong-lin-221399","法海灵山图10",[23,24,25,100,7,101,28,618,619,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F725f11f1ed26c5803d3d59bbefa94a81.jpg",[],{"id":6745,"slug":6746,"title":6747,"dynasty":75,"author":183,"museum":546,"description":547,"tags":6748,"thumbUrl":6749,"material":354,"size":66,"collection":66,"collections":6750,"showCount":6562,"zanCount":41,"manualWeight":41,"mainColor":70},218080,"luo-han-tu-ce-7-li-gong-lin-218080","罗汉图册-7",[23,24,25,100,7,101,27,28,60,244,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9c9716a8827b71f4348abdef37c88e.jpg",[],{"id":6752,"slug":6753,"title":6754,"dynasty":94,"author":1199,"museum":49,"description":1200,"tags":6755,"thumbUrl":6756,"material":457,"size":66,"collection":66,"collections":6757,"showCount":6562,"zanCount":41,"manualWeight":41,"mainColor":513},217105,"bai-miao-luo-han-12-leng-mei-217105","白描罗汉-12",[24,25,100,7,27,28,811,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95393cfe5fe55a3db717ccab367ef9e3.jpg",[],{"id":6759,"slug":6760,"title":6761,"dynasty":94,"author":1199,"museum":49,"description":1200,"tags":6762,"thumbUrl":6763,"material":457,"size":66,"collection":66,"collections":6764,"showCount":6562,"zanCount":41,"manualWeight":41,"mainColor":513},217104,"bai-miao-luo-han-16-leng-mei-217104","白描罗汉-16",[24,25,100,7,27,28,1440,1441,1442,1443,409,941,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebf8955d667d28d96f617c81f929a87.jpg",[],{"id":6766,"slug":6767,"title":6768,"dynasty":94,"author":1199,"museum":49,"description":1200,"tags":6769,"thumbUrl":6770,"material":457,"size":66,"collection":66,"collections":6771,"showCount":6562,"zanCount":41,"manualWeight":41,"mainColor":513},217098,"bai-miao-luo-han-20-leng-mei-217098","白描罗汉-20",[24,25,10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又辑历代妇女作品为《宫闺诗史》。其绘画师法宋代李公麟，尤擅长绘释道人物。特别是白描《观音大士图》形神兼备，许多人争相收藏。",[24,25,243,7,101,27,28,1108,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd44d435139ab21d8ba948030582f85a3.jpg",[],{"id":6862,"slug":6863,"title":4203,"dynasty":149,"author":2273,"museum":49,"description":6864,"tags":6865,"thumbUrl":6866,"material":66,"size":66,"collection":66,"collections":6867,"showCount":6820,"zanCount":41,"manualWeight":41,"mainColor":70},235563,"shou-xing-zhou-guo-xu-235563","这幅作品以淡墨晕染出悠然古雅的氛围。寿星宽袍博带，慈眉善目，笑意隐在松缓的面纹里，尽显长者温厚。仙鹿俯首亲昵依偎，憨态可掬，肩头捧桃童子悄然探身，暗合添寿吉意。\n\n衣纹以铁线描勾勒，笔力劲挺却不失柔婉，简练洒脱地勾勒出织物垂坠质感，虚实留白疏密相宜，淡墨铺陈衬出素雅古拙。题跋行书疏朗，笔意清逸，书画相映相融，不见祝寿俗套，将长生寄寓在日常悠然图景里，兼具笔墨意趣与吉祥寓意，是明代人物画中冲淡平和的文人意趣佳作。",[149,24,25,243,7,101,28,619,810,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe21837e52af718d4a19316650be5928.jpg",[],{"id":6869,"slug":6870,"title":6871,"dynasty":149,"author":76,"museum":49,"description":6872,"tags":6873,"thumbUrl":6874,"material":174,"size":175,"collection":66,"collections":6875,"showCount":6820,"zanCount":41,"manualWeight":41,"mainColor":89},235206,"wang-gu-xiang-zhu-lan-tu-shan-ye-yi-ming-235206","王穀祥竹兰图扇页","泥金笺底古雅沉静，以铁线白描写幽兰与棘枝。幽兰叶条舒展清劲，花瓣柔婉含露，寥寥笔意尽显空谷芝兰的疏澹气韵。棘枝瘦硬嶙峋，枯涩的线条与兰花柔润形成刚柔对照，暗合君子风霜里自持清雅的意趣。\n\n题款小字清雅隽秀，朱印点染泥金底色，古意愈浓。整幅笔致简净，不施丹青，纯以线条出神韵，将文人托物言志的意涵藏于极简笔墨间，淡而有味，简而意足，尽显文人小品画的清雅格调。",[99,24,25,889,7,101,153,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4d419803bceabe6b26f2daceee8814.jpg",[],{"id":6877,"slug":6878,"title":6879,"dynasty":94,"author":5410,"museum":77,"description":6880,"tags":6881,"thumbUrl":6886,"material":124,"size":6887,"collection":66,"collections":6888,"showCount":6820,"zanCount":11,"manualWeight":41,"mainColor":89},233874,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233874","西陂诗意图册","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[24,101,6882,7,2583,81,59,373,4711,6883,845,2513,6884,6885],"山水画","小船","水面景物","淡墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e43c4efc42a9b7fb86aea3f999be41c.jpg","纵32.8cm，横52.8cm",[],{"id":6890,"slug":6891,"title":6892,"dynasty":94,"author":2648,"museum":77,"description":6893,"tags":6894,"thumbUrl":6895,"material":1987,"size":6896,"collection":66,"collections":6897,"showCount":6820,"zanCount":11,"manualWeight":41,"mainColor":89},233449,"ren-wu-shan-shui-ce-luo-pin-233449","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[24,25,99,100,101,7,28,59,571,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8b8187910c9fca863f3381a4450720.jpg","纵24.2厘米，横30.7厘米",[],{"id":6899,"slug":6900,"title":6901,"dynasty":149,"author":6902,"museum":49,"description":6903,"tags":6904,"thumbUrl":6905,"material":457,"size":6906,"collection":66,"collections":6907,"showCount":6820,"zanCount":41,"manualWeight":41,"mainColor":89},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[23,24,25,26,101,7,408,55,56,57,60,157,81,244,373,6883,2807,423,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[23,24,7,6594,167,7107,824,55],"准提观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f220a14be730369faa5e4aa41c5d062.jpg",[],{"id":7111,"slug":7112,"title":5963,"dynasty":75,"author":5964,"museum":49,"description":7113,"tags":7114,"thumbUrl":7118,"material":174,"size":175,"collection":66,"collections":7119,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":70},288369,"jin-wen-gong-fu-guo-tu-li-tang-288369","此《晋文公复国图》卷为宋代画家李唐绘。全图分为六段，描绘了晋文公（重耳）被他父亲放逐在外十九年，最后回国即位的故事，每段左题据传为宋高宗赵构手书的《左传》中相关章节，卷末有乔篑成、石岩、吴宽等人的跋。此卷现藏于大都会艺术博物馆。",[23,99,24,25,26,167,7115,7,54,721,487,7116,7117],"历史画","林木","晋文公复国事件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd91db8876f688881b3c4cf82766bb82.jpg",[],{"id":7121,"slug":7122,"title":7123,"dynasty":94,"author":7124,"museum":49,"description":7125,"tags":7126,"thumbUrl":7127,"material":66,"size":66,"collection":111,"collections":7128,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":89},238995,"jiao-yang-shu-wu-zhou-xiang-kui-238995","蕉阳书屋轴","项奎","项奎（1623-1702）明末清初画家，〔清〕字天武、子聚，号东井、墙东子、墙东居士、水墨处士，秀水(今浙江嘉兴)人，元汴曾孙，德达孙，徽谟子，生卒年不详。幼承家学，善山水，兼长兰竹。山水喜用秃笔，秀雅枯淡，颇得元人枯淡之趣；所画兰竹亦逸秀可爱，年七十属友人撰生圹志，寿至八十",[24,25,243,101,7,408,57,60,3509,1108,81,188,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286bfda2e0e761bb51ae22ce879f272.jpg",[111,247],{"id":7130,"slug":7131,"title":7132,"dynasty":94,"author":76,"museum":49,"description":7133,"tags":7134,"thumbUrl":7137,"material":66,"size":66,"collection":37,"collections":7138,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":89},238638,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238638","平定苗疆战图册","全景式铺展西南崇山战事，左侧隘楼雄峙，苗民凭险据守，河谷中短兵相接，刀戈交错间硝烟翻涌，清军列阵衔枚疾突，将平乱鏖战的肃杀张力尽数铺陈。\n刀工笔触细致入微，山石褶皱、将士甲胄纹理皆清晰可辨，既还原了山地地貌的奇崛险峻，也将攻防拉锯的实景如实复刻。右上角御题诗文与战事图景相映，融纪实叙事与帝王题咏于一体，以铜版镂刻定格边疆平乱的宏大场面，兼具纪实史料价值与清代版画工艺之美。",[2583,7,53,408,100,60,28,315,29,188,81,6421,1276,7135,7136],"城墙","战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a5ad1038662987587c2d95a68d04a4.jpg",[37],{"id":7140,"slug":7141,"title":7142,"dynasty":94,"author":134,"museum":77,"description":7143,"tags":7144,"thumbUrl":7145,"material":66,"size":66,"collection":66,"collections":7146,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":89},236580,"lan-mei-ce-wang-shi-shen-236580","兰梅册","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[24,25,100,101,7,102,153,157,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75afab0c0c8808e41e6f709b7058276.jpg",[],{"id":7148,"slug":7149,"title":7150,"dynasty":94,"author":95,"museum":77,"description":7151,"tags":7152,"thumbUrl":7153,"material":2505,"size":66,"collection":66,"collections":7154,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":89},234248,"yi-zhu-zhai-juan-yun-shou-ping-234248","一竹斋卷","《一竹斋图》卷上的落款是“甲子春正月”，即为康熙二十三年二月（1684年），是恽寿平51岁时，于他人生中最后的一个十午岁月初始时，为他的好友一竹斋主人唐若营所画的命题创作。此图是一幅短小而精悍的横幅山水画作，画面中有作者的一段自题以及杨（雪臣）、蔡元宸和济永三家的题诗。画迹本身的尺寸并不长，不过画前引首处裱有一条和画幅几乎等大的暗黄色绢面的题额，",[23,24,25,26,101,7,57,1875,55,122,60,811,63,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79c676d0d4d8a8903713389711c9e2d.jpg",[],{"id":7156,"slug":7157,"title":7158,"dynasty":18,"author":76,"museum":77,"description":7159,"tags":7160,"thumbUrl":7161,"material":457,"size":7162,"collection":66,"collections":7163,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":70},233783,"yao-shi-ru-lai-xiang-ye-yi-ming-233783","药师如来像页","本幅所绘为药师佛，结跏趺坐于莲花宝座上，内着绿地红色团花僧祇支，外披红色田相袈裟。左手持药钵，右手执两股六环杖头锡杖。背后有身光、头光。背景图案中的团花用淡红、紫红、黑色、绿色等色彩层层晕染勾勒。",[24,25,100,54,7,27,28,824,445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d769ae7b7b551c0025fdbbf404fa68d.jpg","34×30cm",[],{"id":7165,"slug":7166,"title":7167,"dynasty":149,"author":7168,"museum":49,"description":7169,"tags":7170,"thumbUrl":7171,"material":66,"size":66,"collection":425,"collections":7172,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":89},233479,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233479","十竹斋五色笺谱册","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。",[24,25,100,7,101,60,81,188,187,61,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e3ee77b6e06a944cb23362a403e4847.jpg",[425],{"id":7174,"slug":7175,"title":7176,"dynasty":645,"author":76,"museum":49,"description":7177,"tags":7178,"thumbUrl":7179,"material":174,"size":175,"collection":66,"collections":7180,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":89},231688,"ping-an-shi-dai-di-yu-cao-zhi-yi-ming-231688","平安时代 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周継，1504年－1589年），日本室町时代后期的禅僧画家与艺术家，出生于今日本本州岛中部的茨城县。他充分学习中国绘画技巧，为16世纪前后日本著名的水墨画画家之一。",[23,24,25,243,7,101,54,28,122,157,1626,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841033e7db0128542364452f7261ea9f.jpg",[],{"id":7191,"slug":7192,"title":7193,"dynasty":645,"author":76,"museum":49,"description":7194,"tags":7195,"thumbUrl":7198,"material":174,"size":175,"collection":66,"collections":7199,"showCount":7100,"zanCount":11,"manualWeight":41,"mainColor":89},230525,"fu-hua-zhen-yan-tu-xiang-man-tu-luo-juan-quan-tu-yi-ming-230525","佛画真言图像曼荼罗卷全图","此卷以素绢为地，朱红、石青、泥金敷色，满铺神佛诸天、护法印相与卷草云纹，经文题识错落点缀其间。构图绵密却秩序分明，将密宗曼荼罗的严整仪轨，融入唐绘绮丽笔致之中。神佛形象饱满灵动，衣袂线条柔婉劲细，设色调和古雅，神圣的宗教氛围与装饰美感相融。繁复造像排布不显拥塞，云气纹串联画面，既有密教仪轨的庄严规整，又不失中古绘画的秀逸古雅，尽显宗教绘画的精致法度与肃穆气韵。",[23,26,27,54,53,28,7196,7197,7],"曼荼罗","佛教造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d244be1b25048fd6371229130cb0f5b.jpg",[],{"id":7201,"slug":7202,"title":7203,"dynasty":149,"author":7204,"museum":49,"description":7205,"tags":7206,"thumbUrl":7208,"material":66,"size":66,"collection":66,"collections":7209,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":89},228459,"pen-hua-ce-ye-sun-xue-ju-228459","盆花册页","孙雪居","此作用淡墨写意写就，构图疏朗空灵。兰叶以中锋淡墨缓缓写出，修长舒展，如君子临风，带着清逸灵动的姿态。花瓣以淡墨晕染，清浅雅致，不见繁复刻画却尽得幽兰柔婉之态。\n\n素盆简括勾勒，纹饰轻描淡写，素雅沉静，默默托衬花草。全画以少胜多，留白恰到好处，将文人画尚简重意的特质尽显。寥寥数笔便勾勒出盆中春兰的清雅之态，暗含文人寄情草木的幽怀，笔墨秀润简约，清隽耐看，尽显简淡雅致的审美意趣。",[24,100,101,7,7207,409,55],"兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F015bd455deed7390a0e21b3c659fa439.jpg",[],{"id":7211,"slug":7212,"title":7213,"dynasty":239,"author":76,"museum":49,"description":7214,"tags":7215,"thumbUrl":7216,"material":174,"size":175,"collection":66,"collections":7217,"showCount":7100,"zanCount":11,"manualWeight":41,"mainColor":70},228196,"lu-mei-niang-xiang-yi-ming-228196","卢媚娘像","无情似有情，却话又无声。漫拟桃花面，悠然何处行。卢媚娘是唐永贞年间的一位奇女子，先是以绣工被顺宗“谓之神姑”，而后“度为道士，放归南海”，神迁后“后人见往往乘紫云游于海上”。",[23,24,53,7,28,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ccf28dfa8f0d75e3455b23645c3794b.jpg",[],{"id":7219,"slug":7220,"title":7221,"dynasty":75,"author":183,"museum":49,"description":7222,"tags":7223,"thumbUrl":7224,"material":66,"size":66,"collection":66,"collections":7225,"showCount":7100,"zanCount":11,"manualWeight":41,"mainColor":70},227604,"wu-zhong-san-xian-tu-juan-li-gong-lin-227604","吴中三贤图卷","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\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。",[23,99,24,25,26,7,54,28,56,57,55,585,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a8d47955d7901c90829f8ca4228c24.jpg",[],{"id":7227,"slug":7228,"title":1450,"dynasty":75,"author":183,"museum":49,"description":7229,"tags":7230,"thumbUrl":7231,"material":66,"size":66,"collection":66,"collections":7232,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":70},227582,"xiao-jing-tu-juan-li-gong-lin-227582","李公麟，北宋著名画家，字伯时，号龙眠居士，北宋舒州(今桐城)人。其白描绘画为当时第一，《宣和画谱》第七卷评价他的作品曰：“(龙眠)尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、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。”\n\n《孝经》大约成书于公元前350-公元前200年，在北宋时被列入“十三经”，成为儒家经典之一。李公麟的话中加入了他对孝道的理解，作品将道德承载功用与书法功底结合，以及宋人以书法来翻译古人模拟自然的画法。",[23,99,24,25,26,7,101,28,29,63,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750ead0dcaa7216f7a4c885b5bc5545.jpg",[],{"id":7234,"slug":7235,"title":7236,"dynasty":18,"author":76,"museum":49,"description":7237,"tags":7238,"thumbUrl":7239,"material":66,"size":66,"collection":66,"collections":7240,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":70},227226,"jiang-mo-bian-yi-ming-227226","降魔变","【 唐 佚名 《降魔变文》 】卷，纸本设色，27.5×571.5cm，法国国家图书馆藏。此卷敦煌遗物在1908年被法国的希伯和所盗取。画面从笔墨和造型上看应当是真正的唐代人物宗教故事画，虽非名手所作，但也是珍贵的文物，为研究唐代人文宗教历史提供了第一手材料。\n画卷中的国王、外道和佛弟子的形象特征鲜明。描绘了外道如何向国王口出狂言，扬言自己本领高强，要取代佛弟子的地位。他们制造显现出离奇的景象、恐怖的物事、吓人的声音、惊惧的场面，企图威慑佛弟子；佛弟子则神态平静，在淡然默语之中，展现神通，一一予以粉碎、消除、化解、冲刷得干干净净。国王看到这一切，当然心悦诚服，欣喜异常。外道则黔驴技穷，一筹莫展，最终不得不遵从国王的旨意，归顺了佛弟子。",[23,24,25,26,27,54,53,7,28,619,171,64,81,188,1874,487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dd62430861a3914d1d4d7d6ab142ba.jpg",[],{"id":7242,"slug":7243,"title":7244,"dynasty":645,"author":76,"museum":820,"description":821,"tags":7245,"thumbUrl":7246,"material":174,"size":175,"collection":66,"collections":7247,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":89},226520,"jiu-mo-luo-shen-jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-226520","鸠摩罗什金刚般若波罗蜜经手稿",[27,56,859,1875,26,7,54,2545,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20afbc02f34d54a8b4b81f1b887565a2.jpg",[],{"id":7249,"slug":7250,"title":5597,"dynasty":18,"author":76,"museum":820,"description":1295,"tags":7251,"thumbUrl":7252,"material":174,"size":175,"collection":66,"collections":7253,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":70},226438,"ku-zhu-shi-dong-bi-yi-ming-226438",[281,27,54,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c01ba18086b037cf9db8d656e46b4.jpg",[],{"id":7255,"slug":7256,"title":7257,"dynasty":94,"author":974,"museum":49,"description":7258,"tags":7259,"thumbUrl":7260,"material":66,"size":66,"collection":66,"collections":7261,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":70},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉 。",[23,24,26,54,7,28,60,3507,367,370,62,549,29,61,1693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg",[],{"id":7263,"slug":7264,"title":889,"dynasty":94,"author":76,"museum":49,"description":7265,"tags":7266,"thumbUrl":7268,"material":7269,"size":7270,"collection":66,"collections":7271,"showCount":7100,"zanCount":41,"manualWeight":41,"mainColor":89},223472,"shan-mian-yi-ming-223472","图绘一女子与郊外采茶",[23,24,25,889,54,53,7,28,58,409,1020,188,106,7267],"鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155243ffb1d2bc268317032cb916a089.jpg","絹本设色","纵24.2 厘米横25.3 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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（1719年）至扬州鬻画，人争客之。\n雍正五年（1727年）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。\n乾隆十六年(1751年)黄慎的母亲去世，他又重游扬州，居住六年，才返故里，苦度晚年。\n乾隆三十三年（1768年）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[23,24,25,100,7,101,940,55,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef705fcbf5ff2df82c1954a51e8bbcbd.jpg",[111],{"id":7447,"slug":7448,"title":3552,"dynasty":75,"author":464,"museum":77,"description":3553,"tags":7449,"thumbUrl":7450,"material":901,"size":3556,"collection":66,"collections":7451,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":70},233998,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233998",[99,24,25,100,7,54,28,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7dfb1d4d8ceee81c76bc7a9cf5dfeb.jpg",[],{"id":7453,"slug":7454,"title":1590,"dynasty":94,"author":1591,"museum":77,"description":1592,"tags":7455,"thumbUrl":7456,"material":1596,"size":1597,"collection":66,"collections":7457,"showCount":223,"zanCount":11,"manualWeight":41,"mainColor":89},233395,"shan-shui-ren-wu-ce-jin-nong-233395",[24,25,100,54,7,101,60,28,62,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb161be310fe9e34df6500fcd1d828736.jpg",[],{"id":7459,"slug":7460,"title":6666,"dynasty":149,"author":2410,"museum":77,"description":6667,"tags":7461,"thumbUrl":7462,"material":457,"size":6670,"collection":66,"collections":7463,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":89},232960,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232960",[24,25,100,57,55,7,101,60,62,1306,188,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee28d2c156fc7135d314b5111aca8d44.jpg",[],{"id":7465,"slug":7466,"title":7467,"dynasty":75,"author":183,"museum":694,"description":7468,"tags":7469,"thumbUrl":7470,"material":7471,"size":7472,"collection":66,"collections":7473,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":89},232631,"xiao-jing-tu-juan-bai-miao-tu-li-gong-lin-232631","孝经图卷(白描图)","《孝经图》水墨绢画，被一致公认为是李公麟1085年绘真迹。此卷后有南宋汗漫翁题跋，明董其昌四次题跋，清代毕沅六次题跋。其他明清人题跋十五人，还有晚清重臣李鸿章一跋。作者是依据《孝经》经义，所绘十五段的图说式画卷，以行楷书方式书写《孝经》内容，在以线描笔法绘写配图，书画合璧。\n李公麟（公元1049~1106年）北宋画家。字伯时，号龙眠居士，舒州（今安徽潜山）人。好古博学，喜藏钟鼎古器及书画。宋神宗熙宁年间中进士，官至朝奉郎。居京师十年，不游权贵之门，以访名园荫林为乐。其天赋极高，又博学勤业，书法飘逸具晋人风韵，擅画人物、山水，尤精画鞍马，更以白描画法独步当世，被评者推为宋画第一。《孝经图》是北宋著名画家李公麟在约1085年创作的绢本水墨画。该画以《孝经》为内容配以插图，充分展现了李公麟绘画和书法的雄厚功底。",[23,99,24,25,26,7,28,60,487,29,63,55,56,1875,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1137c51b1df595b6c25246f4b4866b.jpg","水墨绢画","21.9 x 475.6 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重写生，画技博取前人之长，承继顾恺之、吴道子等人笔法，在新画中表达新义。 《十八罗汉渡江图》画中人物按未渡者、方渡者、已渡者三组依序进场，人物神态，栩栩如生。李公麟画作时人评价甚高，宋徽宗曾赞他为当朝最重要画家。元符三年（1100年）病痹告老，隐居龙眠山，号龙眠居士。\n\n存世作品有《五马图》、《临韦偃牧放图》等。",[23,24,25,26,7,60,28,29,64,157,63,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173ecc080401c62a94a56f59342ed64d.jpg",[],{"id":7543,"slug":7544,"title":7545,"dynasty":75,"author":76,"museum":49,"description":7546,"tags":7547,"thumbUrl":7548,"material":174,"size":175,"collection":66,"collections":7549,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":70},227340,"fo-jing-yi-ming-227340","佛经","佛教经典：统称；藏经，俗称；佛经，也叫《大藏经》，一般由经、律、论三部分组成。“ 经”是指释迦牟尼佛亲口所说，由其弟子所集成的法本，“律”是指佛陀为其弟子所制定的戒条，“论”是佛陀的弟子们在学习佛经后所得的心得。",[24,25,243,27,28,7,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e1c215fe28243622481e4fd5587d6c.jpg",[],{"id":7551,"slug":7552,"title":7553,"dynasty":149,"author":2974,"museum":96,"description":7554,"tags":7555,"thumbUrl":7558,"material":457,"size":7559,"collection":425,"collections":7560,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":70},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[23,24,25,99,243,7,53,101,28,27,998,1306,2977,572,2715,7556,7557,5574],"尊者","念珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[425,247],{"id":7562,"slug":7563,"title":2272,"dynasty":149,"author":2273,"museum":135,"description":2274,"tags":7564,"thumbUrl":7566,"material":457,"size":2278,"collection":66,"collections":7567,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":89},221928,"za-hua-ce-guo-xu-221928",[23,99,24,25,101,7,954,28,244,7565,206,55],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1b76eeeb2eeb356c8d3f1ed37d35a.jpg",[],{"id":7569,"slug":7570,"title":7571,"dynasty":75,"author":183,"museum":49,"description":1703,"tags":7572,"thumbUrl":7573,"material":457,"size":66,"collection":66,"collections":7574,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":89},218075,"bai-miao-luo-han-tu-ce-2-li-gong-lin-218075","白描罗汉图册-2",[23,24,25,99,100,7,101,27,28,618,619,188,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056df98bf4dfde0d8545d5a3d1022dd8.jpg",[],{"id":7576,"slug":7577,"title":7578,"dynasty":75,"author":183,"museum":49,"description":1703,"tags":7579,"thumbUrl":7580,"material":141,"size":66,"collection":66,"collections":7581,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":89},218073,"bai-miao-luo-han-tu-ce-3-li-gong-lin-218073","白描罗汉图册-3",[23,99,24,25,100,7,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c189255fad694d53706badb718b3cd7.jpg",[],{"id":7583,"slug":7584,"title":7585,"dynasty":75,"author":183,"museum":49,"description":1703,"tags":7586,"thumbUrl":7587,"material":141,"size":66,"collection":66,"collections":7588,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":89},218071,"bai-miao-luo-han-tu-ce-5-li-gong-lin-218071","白描罗汉图册-5",[23,99,24,25,100,7,27,28,1225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262b2b0f0629608c10091962dc2af4a5.jpg",[],{"id":7590,"slug":7591,"title":7592,"dynasty":18,"author":76,"museum":3649,"description":7593,"tags":7594,"thumbUrl":7595,"material":3653,"size":66,"collection":66,"collections":7596,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":70},217279,"jiang-mo-bian-dun-huang-tu-juan-9-yi-ming-217279","降魔变·敦煌图卷-9","泛黄的纸本晕染着时光的痕迹，墨迹古朴如唐风吹过。这里是降魔变的叙事现场：文字与线条交织，将舍利弗与六师斗法的紧张瞬间凝于卷上。质朴的笔触勾勒出鲜活神态——舍利弗沉静智慧，六师诡谲张扬，仿佛能听见当年变文讲唱的喧腾声息。\n\n作为敦煌变相图的缩影，它既是宗教故事的生动载体，也藏着唐代民间艺术的鲜活密码：世俗审美与宗教信仰在此交融，纸页间流淌着古人对善恶对决的朴素认知，更见证着敦煌艺术超越石窟的广阔表达。岁月沉淀下的不仅是墨迹，更是一段鲜活的文化记忆。",[99,24,25,26,27,7,54,28,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b3cebf0ddb56113254c3a2e7b517cfc.jpg",[],{"id":7598,"slug":7599,"title":7600,"dynasty":94,"author":1199,"museum":49,"description":1200,"tags":7601,"thumbUrl":7602,"material":457,"size":66,"collection":66,"collections":7603,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":513},217091,"bai-miao-luo-han-29-leng-mei-217091","白描罗汉-29",[24,25,100,7,27,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10064c31ec259d2e552000ad3d19646e.jpg",[],{"id":7605,"slug":7606,"title":7607,"dynasty":149,"author":2974,"museum":49,"description":2993,"tags":7608,"thumbUrl":7609,"material":246,"size":66,"collection":66,"collections":7610,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":89},217045,"bai-miao-ying-zhen-tu-14-ding-yun-peng-217045","白描应真图-14",[24,25,26,27,365,7,28,171,1716,5008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28c29db30895a5c6ff31b7affc79fcf.jpg",[],{"id":7612,"slug":7613,"title":7614,"dynasty":149,"author":1429,"museum":49,"description":7615,"tags":7616,"thumbUrl":7617,"material":499,"size":66,"collection":66,"collections":7618,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":89},216339,"xi-xiang-ji-cha-ye-13-min-qi-ji-216339","西厢记插页-13","八角灯架玲珑而立，镂空棂格间禽鸟振翅欲飞，灯内人物顾盼含情，似藏《西厢》里的朦胧情愫。纤细线条勾勒缠枝纹饰的婉转，也刻画出人物姿态的生动，明代版画的精工韵致藏于每一处细节。灯顶瑞兽昂首，底座流苏轻垂，器物之美与文学意境交织。光影流转间，仿佛能触到灯影里的温柔私语，让静态画面漾开故事的涟漪，尽显传统艺术“以物传情”的巧思，是版画与古典叙事相融的雅致之作。",[24,25,7,53,28,64,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8dacaf4d5553bc244dacc7d84e9242.jpg",[],{"id":7620,"slug":7621,"title":7622,"dynasty":149,"author":150,"museum":49,"description":7623,"tags":7624,"thumbUrl":7625,"material":141,"size":66,"collection":66,"collections":7626,"showCount":223,"zanCount":41,"manualWeight":41,"mainColor":70},216318,"xi-xiang-ji-zhen-ben-tu-ce-5-chen-hong-shou-216318","西厢记真本图册-5","墨线如铁线盘桓，勾出虬枝的苍劲与兰草的疏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[1] 与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败后隐居江淮一带。代表作有《秋江别思图》《松石图》《山水图》等等。 万寿祺为人风流倜傥，工书画，精于六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其后裔第十六代后人万中华，在当今书画界也享有一定的声誉。",[5008,101,7,408,8176,55,60,998,28,188,2807,2572],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2162ccf18dc85ed28b0971b24faa8c9.jpg",[],{"id":8180,"slug":8181,"title":8182,"dynasty":94,"author":1915,"museum":49,"description":2190,"tags":8183,"thumbUrl":8184,"material":66,"size":66,"collection":66,"collections":8185,"showCount":333,"zanCount":41,"manualWeight":41,"mainColor":89},234650,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234650","原济金陵十景图册",[24,25,100,7,101,60,29,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6ae281bab731ccb23526b7cc5efbf0.jpg",[],{"id":8187,"slug":8188,"title":8189,"dynasty":94,"author":7812,"museum":77,"description":7813,"tags":8190,"thumbUrl":8191,"material":66,"size":66,"collection":66,"collections":8192,"showCount":333,"zanCount":41,"manualWeight":41,"mainColor":89},234464,"zhu-shi-qiu-mu-tie-luo-shen-zhen-lin-234464","竹石秋木贴落",[24,25,101,7,408,122,139,62,157,60,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a82ab16ca030e25d29957577dca4f05.jpg",[],{"id":8194,"slug":8195,"title":2918,"dynasty":94,"author":557,"museum":77,"description":8196,"tags":8197,"thumbUrl":8198,"material":2505,"size":66,"collection":66,"collections":8199,"showCount":333,"zanCount":41,"manualWeight":41,"mainColor":89},234323,"shan-shui-ren-wu-tu-ce-huang-shen-234323","黄慎，我国清代杰出书画家，福建宁化人，初名盛，字恭寿，恭懋，号瘿瓢子，别号东海布衣，“扬州八怪”之一。黄慎以人物画最为突出，也擅山水、花鸟。他的人物画多以神仙故事为题材，初学上官周，以工笔画居多，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，气象雄伟。黄慎的草书，学自“二王”，更有怀素的笔意。\n“笔一枝，墨一斗，兴酣笔跃墨亦走。笔有神，墨无痕，山重水复蛇龙奔”。所形容的状态与意境，用来形容黄慎的书风十分贴切，疏景横斜，苍藤盘结，具有“字中有画”之趣。\n此外，他的花鸟画宗法徐渭，笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。他虽“不以山水名”，但大幅和小景都各尽其妙，潇洒有致。",[24,101,7,28,55,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5263bc7ea04db8193900e7a1fb7a8c3.jpg",[],{"id":8201,"slug":8202,"title":8203,"dynasty":149,"author":8204,"museum":77,"description":8205,"tags":8206,"thumbUrl":8207,"material":2505,"size":8208,"collection":66,"collections":8209,"showCount":333,"zanCount":11,"manualWeight":41,"mainColor":89},234255,"lian-hua-lao-tu-juan-zhou-guan-234255","莲花落图卷","周官","周官，今江苏苏州人，生卒年不想，大约生活在明中期，善画人物，精于白描。画中后面的那个人个子较高，目盲，背着琵琶，由前面一人用一根细杆牵引；前面那个人正回顾后者，他身上搭着布包，屈腰前行。\n莲花落是一种流传于民间的说唱曲艺艺术。表演者位一人或多人，自说自唱，用以伴奏的乐器称为“七件子”，即右手执两片大竹板，左手执五片小竹板。莲花落，一作莲花乐，源于唐、五代时的“散花月”，最早位僧侣募化时所唱的宣传佛教教义的警世歌曲，宋代开始流行于民间，盛行于明清，大多为盲人表演。",[23,24,25,26,7,101,28,57,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c1d952ce2747d5d22f310a8a0a1e7a.jpg","纵22厘米 横42.7厘米",[],{"id":8211,"slug":8212,"title":8213,"dynasty":94,"author":2648,"museum":49,"description":8214,"tags":8215,"thumbUrl":8216,"material":1987,"size":66,"collection":66,"collections":8217,"showCount":333,"zanCount":41,"manualWeight":41,"mainColor":89},234191,"xiang-mu-zhi-bu-jing-xiong-di-zhu-lin-xiang-juan-luo-pin-234191","项穆之补景兄弟竹林像卷","罗聘(1733—1799年)，字遯夫，号两峰，又号花之寺僧等。原籍安徽歙县，其先辈已迁居扬州。博闻好学，20余岁随金农学画，常为之代笔。曾三赴京师，因画《鬼趣图》轰动当时文坛，其才华横溢。人物、花鸟、山水兼善，画法受金农、石涛、华岩等人的影响，笔力雄厚，以清奇、拙奥、生冷见长。他所画人物造型准确，尤精于画鬼，借以揭露世态。花鸟尤以梅花突出，其妻方婉仪及子均工画梅，被称为罗家梅派。",[23,24,25,26,101,7,28,122,811,55,57,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47abff1d1b94387afac381e7af98b587.jpg",[],{"id":8219,"slug":8220,"title":8221,"dynasty":149,"author":8132,"museum":77,"description":8222,"tags":8223,"thumbUrl":8224,"material":457,"size":66,"collection":66,"collections":8225,"showCount":333,"zanCount":41,"manualWeight":41,"mainColor":89},233854,"shi-hua-he-bi-ce-zhou-yong-233854","诗画合璧册","周用（1476—1547，一作1476-1548），字行之，号伯川，南直隶苏州府吴江县（今江苏省苏州市吴江区）人。弘治十五年（1502）进士，授行人。正德初，迁南京兵科给事中，进言谏迎佛事及镇守江西中官不法事，迁广东布政司参议。嘉靖中，历官南京工部、刑部尚书。九庙灾，自陈致仕。后以工部尚书总督河道，官至吏部尚书。\n周用，字行之，吴江人。弘治十五年进士。授行人。正德初，擢南京兵科给事中。父忧服阕，留补礼科。已，乞南。改南京兵科。谏迎佛乌斯藏及以中旨迁黜尚书、都给事中等官，且请治镇守江西中官黎安罪。出为广东参议，预平番禺盗，有功。历浙江、山东副使。擢福建按察使，改河南右布政使。代监司鞫南阳滞狱，狱为之空。嘉靖八年擢右副都御史，巡抚南、赣。召协理院事。历吏部左、右侍郎。以起废不当，尚书汪鋐委罪僚属，乃调用南京刑部。就迁右都御史，工、刑二部尚书。九庙灾，自陈致仕。用端亮有节概。既罢，中外皆惜之，频有推荐。久之，以工部尚书起督河道，数月，改漕运。未上，召拜左都御史。二品九年满，加太子少保。二十五年代唐龙为吏部尚书。明年卒官。赠太子太保，谥恭肃。曾孙宗建，自有传。\n用掌宪时，慎自持而已，无所献替。其后宋景、屠侨继之，大略皆廉洁，与用相似。景未久卒，而侨居职八年。属严嵩柄政，风纪不振。议丁汝夔狱，受杖不能去。",[24,25,100,101,408,7,54,60,28,157,62,2572,3176,673],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b239f8f751456574441785c55cb076.jpg",[],{"id":8227,"slug":8228,"title":8229,"dynasty":149,"author":7168,"museum":49,"description":7169,"tags":8230,"thumbUrl":8231,"material":66,"size":66,"collection":66,"collections":8232,"showCount":333,"zanCount":11,"manualWeight":41,"mainColor":89},233251,"shi-zhu-zhai-pu-ce-hu-ri-cong-233251","十竹斋谱册",[24,25,100,7,101,102,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5231aa42ae5e14010d10a4f2bdf01a2c.jpg",[],{"id":8234,"slug":8235,"title":8236,"dynasty":645,"author":8237,"museum":49,"description":8238,"tags":8239,"thumbUrl":8241,"material":66,"size":66,"collection":66,"collections":8242,"showCount":333,"zanCount":41,"manualWeight":41,"mainColor":89},231759,"huang-jing-tu-shou-gao-li-zhou-yi-teng-gui-jie-231759","黄精图手稿立轴","伊藤圭介","此作用色清浅柔润，淡绿晕染黄精修长茎干与舒展叶片，将草木舒展的天然意态细腻铺陈，叶片虽未细勾脉络却生机自显。右侧以淡墨轻描黄精素花，雅致恬淡。\n\n画面配搭题跋书法，笔意清隽，书画相映，兼具本草写生的严谨与文人雅趣，笔墨克制简净，带着温婉静穆的格调，将寻常本草绘出雅致意韵，文画相衬间尽显冲淡平和的写生之美。",[23,24,25,243,54,53,7,8240,55,56],"黄精","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd54c43f2fd846dd0981ff954e5ce586.jpg",[],{"id":8244,"slug":8245,"title":8246,"dynasty":94,"author":1915,"museum":49,"description":8247,"tags":8248,"thumbUrl":8249,"material":66,"size":66,"collection":66,"collections":8250,"showCount":333,"zanCount":41,"manualWeight":41,"mainColor":89},228990,"bai-kai-luo-han-tu-21-shi-tao-228990","百开罗汉图21","《石涛大士百页罗汉画册》是 于21年出版的图书。\n石涛（164—177），原名朱若极，又名原济，一作元济。\n别号大涤子、清湘老人、苦瓜和尚、瞎尊者、石道人、痴纯、若极等，朱元璋侄子朱文正子靖江王朱守谦十世孙。\n生于明崇祯十三年（164）。\n①顺治二年（1645）夏，清军攻入南京，福王朱由菘等为清军所擒。\n黄道周、郑芝龙等拥立唐王朱聿键在福州称帝，石涛的父亲朱亨嘉也在桂林自称监国。\n广西巡抚瞿式耜因为朱亨嘉非皇室嫡系，没有资格称帝，暗中遣人报唐王朱聿键，朱聿键遣军攻之，朱亨嘉为其所俘，执至福州，囚禁而死。\n石涛当时年仅5岁，由内宫太监携带逃亡，遁入佛门，太监法号喝涛，朱若极法号石涛，二人以师兄弟相称。\n朱若极遂以石涛知名于世。\n石涛幼年聪颖，喜读书。\n既通晓佛典，复好诗文，并喜爱书画，十余岁时即描摹兰草花卉，小有所成。\n未成人，随师兄喝涛北上，游历荆楚岳阳、武昌一带。\n丁酉年春，复由荆楚云游江浙。\n这一时期，是石涛初学书画的时期。\n于前人书法独喜颜真卿，而没有随着当时风气学习董其昌。\n康熙丁未（1667），石涛至宣城。\n在之后的十多年中，石涛以宣城为中心，往返于宣城、太平和黄山之间，并多次游历黄山。\n得黄山烟云变幻之助，画境日进。\n当时所与游者，有著名画家梅清，曹冠五、半山和尚、黄燕思、梅庚、施闰章、江注、吴震伯等。\n诸人既以诗文相酬唱，复以画艺相切磋。\n而梅清对石涛的影响尤其巨大。\n三游黄山，更对石涛的山水绘画产生了巨大影响。\n石涛这一时期留下的绘画作品如藏于日本泉屋博古馆的《黄山八胜图》、北京故宫博物院所藏的《黄山图》21帧等，就带有明显的新安画派风格，清秀淡雅，多用淡墨枯笔，许多画面可以与黄山风景相对应。\n因此石涛曾题画云：“黄山是我师，我是黄山友。\n心期万类中，黄峰无不有。\n” 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咸丰三年（1853）太平天国克扬州，迁邵伯，又迁郭村，逾年返扬。有请画南北斗星君像，乃诣蕃厘观图其塑像为稿本，其虚心若此。篆刻效法汉印，为画名所掩。卒年八十四。",[24,54,53,7,28,58,409,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72005b8310f49ccaed03fd6d822042fb.jpg",[],{"id":8533,"slug":8534,"title":8526,"dynasty":94,"author":8527,"museum":49,"description":8528,"tags":8535,"thumbUrl":8536,"material":174,"size":175,"collection":66,"collections":8537,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":89},235125,"hua-hua-yan-shi-nv-tu-ce-wang-su-235125",[24,25,100,54,7,28,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b66a86dacf93f51f2083475ec47aedb.jpg",[],{"id":8539,"slug":8540,"title":8541,"dynasty":94,"author":8542,"museum":77,"description":8543,"tags":8544,"thumbUrl":8546,"material":1987,"size":66,"collection":66,"collections":8547,"showCount":178,"zanCount":11,"manualWeight":41,"mainColor":89},234764,"huang-shan-tu-ce-jiang-zhu-234764","黄山图册","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,25,100,7,101,60,188,81,8545,57,56],"泉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d4c6cd51f6b34db21d2b508f7f395.jpg",[],{"id":8549,"slug":8550,"title":8182,"dynasty":94,"author":1915,"museum":49,"description":2190,"tags":8551,"thumbUrl":8552,"material":66,"size":66,"collection":66,"collections":8553,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":89},234652,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234652",[24,25,100,101,7,60,61,59,28,29,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd166cb66c4d93605eac1451ef52090.jpg",[],{"id":8555,"slug":8556,"title":8557,"dynasty":94,"author":8558,"museum":49,"description":8559,"tags":8560,"thumbUrl":8561,"material":66,"size":66,"collection":66,"collections":8562,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":89},234374,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234374","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[24,25,100,7,52,620,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9479227ffbc72ede71b0affa4c5a4c9.jpg",[],{"id":8564,"slug":8565,"title":3552,"dynasty":75,"author":464,"museum":77,"description":3553,"tags":8566,"thumbUrl":8567,"material":901,"size":3556,"collection":66,"collections":8568,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":70},233996,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233996",[24,99,25,100,7,54,28,8469,315,367,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a75c5a92be8096b6eefb899962094d0.jpg",[],{"id":8570,"slug":8571,"title":8572,"dynasty":239,"author":8573,"museum":77,"description":8574,"tags":8575,"thumbUrl":8576,"material":8577,"size":8578,"collection":66,"collections":8579,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":70},233962,"cao-chong-ye-zang-xiang-qing-233962","草虫页","臧祥卿","本幅墨笔，未见著录。\n臧良（生卒年不详），字祥卿，钱塘（今杭州）人。善画花竹翎毛，风格师法王渊。",[24,100,7,53,4900,102,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c4ce5c5006a48501bcb25ae4c892b8.jpg","绢本 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他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[28,8606,5543,7,4276,5788,121,8607,8608],"肖像","羽毛","衣领","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9812e97ced11b5252ce7686fb9b1c4.jpg",[],{"id":8612,"slug":8613,"title":8445,"dynasty":75,"author":183,"museum":49,"description":8614,"tags":8615,"thumbUrl":8616,"material":174,"size":175,"collection":66,"collections":8617,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":513},228897,"bai-miao-fo-xiang-di-shi-san-zun-zhe-li-gong-lin-228897","“十八罗汉”的说法最早出现于北宋，图中器物造型风格接近宋代，每页有“卢椤枷进”款，从墨色辨认为后添款。因此本册非出自唐人之手，应是宋人所为。",[23,24,25,7,27,28,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd880a90f8361c742feb6ef65c59a1fdc.jpg",[],{"id":8619,"slug":8620,"title":5673,"dynasty":75,"author":183,"museum":49,"description":8614,"tags":8621,"thumbUrl":8622,"material":174,"size":175,"collection":66,"collections":8623,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":513},228896,"bai-miao-fo-xiang-di-liu-zun-zhe-li-gong-lin-228896",[23,99,24,25,1345,243,7,27,28,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb788f00296ac5d48da8978cb51801823.jpg",[],{"id":8625,"slug":8626,"title":8627,"dynasty":149,"author":76,"museum":49,"description":8628,"tags":8629,"thumbUrl":8630,"material":66,"size":66,"collection":66,"collections":8631,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":89},228818,"tao-qian-yi-shi-tu-yi-ming-228818","陶潜轶事图","此作为白描人物长卷，以清劲秀逸的铁线描勾勒群像，线条匀净流畅，将魏晋风神凝于笔端。\n\n画卷分数个片段铺展：首处宾主晤谈情态融融，继而策杖行游，衣袂飘然尽显出尘之姿，而后临案酌酒、凭榻闲憩，朴雅的酒坛、案几衬出林下幽居的疏淡日常，末段仆从备物，细致描摹隐逸生活的闲雅细节。各个人物神态鲜活，长者的温旷、童子的灵动跃然纸上，无敷色却形神兼备，以极简笔墨刻画出冲淡隐逸之趣，尽显六朝名士安贫乐道、放达自然的林下风流。",[23,24,26,7,28,3067,708,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5bbdf635468df936358a4518d62b6cc.jpg",[],{"id":8633,"slug":8634,"title":8635,"dynasty":239,"author":3150,"museum":49,"description":8636,"tags":8637,"thumbUrl":8638,"material":66,"size":66,"collection":66,"collections":8639,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":89},228259,"ti-ni-zan-xiang-juan-zhang-yu-228259","题倪瓒像卷","画面右侧，倪瓒安坐榻上，面容清癯沉静，尽显林下风致。侍从侍立左右，案头清供文玩错落，屏风山水淡远空疏，晕染出幽寂脱俗的隐士居停氛围。\n\n卷后多段题跋，诸家书法风格各异，诗句咏叹倪瓒生平品格，书画合璧，将其孤高清介的文人风骨具象呈现。整卷清雅萧散，尽显元代文人崇尚的隐逸雅趣，以肖像配题咏的形式，定格了倪瓒的精神气韵，是元人诗画交融的佳作。",[23,24,25,26,7,101,54,28,60,81,55,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6266ca5922eabd9fc66a7133b8ca469.jpg",[],{"id":8641,"slug":8642,"title":8643,"dynasty":239,"author":76,"museum":49,"description":8644,"tags":8645,"thumbUrl":8646,"material":66,"size":66,"collection":66,"collections":8647,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":89},228085,"jin-que-xuan-yuan-tai-shang-lao-jun-ba-shi-yi-hua-tu-juan-yi-ming-228085","金阙玄元太上老君八十一化图卷","这是一幅图文合璧的经卷长幅，开篇版画场面宏阔，帝尊环于仪仗之中，人物排布错落有致，殿宇规制、衣袂褶皱皆刻画入微，尽显刊刻版画的精湛水准，将崇道仪典的庄重威严尽数铺展。\n\n后半段以端稳方正的楷书镌录御序经文，笔力劲挺舒展，排布齐整肃穆，将崇道之心融于刀笔之间。图文呼应，让宗教肃穆与世俗礼制浑然相融，是释道文化与皇权威仪结合的典型载体，尽显刻绘工艺的深厚造诣与时代奉道风尚。",[23,26,7,27,28,29,60,56,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e5c89f7636ca90a970e9abed49bb16.jpg",[],{"id":8649,"slug":8650,"title":8651,"dynasty":75,"author":76,"museum":49,"description":8652,"tags":8653,"thumbUrl":8654,"material":66,"size":66,"collection":66,"collections":8655,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":89},227538,"wu-gong-ma-tu-juan-yi-ming-227538","五贡马图卷","北宋，佚名（李公麟款)。画内为宋元佑初年天驷监中的五匹西域名马，五匹名马依次为“风头骢”、“锦膊骢”、“好头赤”、“照夜白”、“满川花”。",[23,99,24,25,26,7,54,315,28,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da9fadedef4d3ff60e1157eaee1c333.jpg",[],{"id":8657,"slug":8658,"title":5590,"dynasty":18,"author":76,"museum":820,"description":1295,"tags":8659,"thumbUrl":8669,"material":174,"size":175,"collection":66,"collections":8670,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":70},226400,"ku-zhu-shi-nan-bi-yi-ming-226400",[281,27,54,28,7,6163,823,8660,3697,8661,8662,8663,8664,167,8665,8666,2546,8667,8668],"传统壁画技法","供养人","胁侍","彩绘","宗教题材","壁画艺术","设色壁画","线描技法","唐代壁画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504e28daa20a77fcb3630a3df744a492.jpg",[],{"id":8672,"slug":8673,"title":8674,"dynasty":645,"author":76,"museum":49,"description":8675,"tags":8676,"thumbUrl":8677,"material":66,"size":66,"collection":66,"collections":8678,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":89},223898,"mo-hua-zhu-zi-xiang-yi-ming-223898","墨画朱子像","此作以淡墨白描写就，细劲墨线勾勒衣袍，线条简练却贴合身形，将宽袍的古朴垂坠质感尽显。对人物面容描摹入微，眼角纹路、鬓边褶皱皆细致刻画，传神烘托出主人公温和沉静的儒雅风骨，尽显大儒的沉稳气度。旁侧题字清雅端方，与画像相得益彰。整幅画面底色古雅泛黄，晕染出厚重的岁月质感，无过多修饰，以极简笔墨承载内敛意蕴，尽显传统肖像画写实传神的特质，将东方古典美学的含蓄沉静融入其中。",[99,24,25,100,7,101,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff358068395cf5685346f594ef45313bd.jpg",[],{"id":8680,"slug":8681,"title":8682,"dynasty":239,"author":76,"museum":184,"description":8683,"tags":8684,"thumbUrl":8685,"material":8686,"size":8687,"collection":66,"collections":8688,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":70},223588,"hua-yuan-ming-gui-qu-lai-ci-yi-ming-223588","画渊明归去来辞","画中陶渊明策杖归来，有两位僕人随行，一人携带古琴，一人背负著酒罈，前方则是种植有五株柳树的家园，象徵他「五柳先生」的自号。此幅旧传为赵孟頫，不过以衣纹用笔，可能是出自元代其他追随李公麟风格的画家笔下。",[23,24,7,26,28,62,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2b984b69e1a4206610cd399581893c.jpg","绢本，浅没色","27x72.5cm",[],{"id":8690,"slug":8691,"title":8692,"dynasty":75,"author":76,"museum":77,"description":8693,"tags":8694,"thumbUrl":8695,"material":901,"size":8696,"collection":66,"collections":8697,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":70},223370,"ba-xiang-tu-yi-ming-223370","八相图","这幅《八相图》并未出现于古代书画文献著录中，在其他文集中也不曾记载。民国时期故宫博物院珂罗版《故宫书画集》中亦无收录。二十世纪六十年代，文化部文物局成立中国古代书画鉴定组对全国各大博物馆藏画进行鉴定、编录，其成果《中国古代书画图目》中影印了此幅《八相图》，并在卷末附有基本信息。二十一世纪初编纂的《故宫博物院藏文物珍品大系》中有余辉主编的《晋唐两宋绘画·人物风俗》，其中再次收录了此卷，并附有相关介绍信息，释读出题跋，在此基础上辨别出八位名相，并对画作的特点作了简单概括。近年浙江大学、浙江文物局承担编纂的《宋画全集》再次收录了该幅作品的高清图版，并附有图版说明，但基本为《晋唐两宋绘画·人物风俗》中的内容。\n该幅作品所描绘的“八相”，《晋唐两宋绘画·人物风俗》中识读为周公旦、张良、魏徵、狄仁杰、郭子仪、韩琦、司马光和周必大。学界对此并未提出疑义，笔者先前也基本认定该作所画为此八相。许浩然《一幅南宋绍兴年间的秦桧画像—故宫博物院藏〈八相图卷〉考辨》一文，首次提出了第八位名相为秦桧的观点，并作了相关考辨。\n对这样一幅名款残损、图章全无、又乏古代文献著录的作品，目前仅有基本识读和一篇研究性论文。而该作还有许多疑问尚未解决，如画作名称、画作的作者、创作年代等。本文不揣冒昧，对这几个问题以初步考证。\n虽然《晋唐两宋绘画·人物风俗》已经有对画作题跋的释读，但个别识读有错误，对八相的识别也并未给以推导过程。故本文重新抄录，加以句读，再作分析。现将画作中文字内容从右至左分为十个部分，依次标注为一至十。\n第一部分文字不可辨识。画作自右向左打开，画心部分起首四字由上而下书写。前两字残损超过三分之二，后两字虽存右半部分，但与左边之间有重新装补的痕迹，虽然裂痕形状勉强和左边吻合，但不可辨识，汉字中并无此二字。与周边对照，右半部分绢片明显为他处所有。推测或是画商牟利，将他处残片置于此处;亦或为当时重新装裱的失误。\n第二部分文字内容为：“文王之子，武王之弟;下视成王，叔父之贵;师表万民，吐握待士;思兼三王，经制毕备;群叔汹汹，流言纷至;天威彰显，闻望无愧;盛德元勋，下蟠上际;式图丹青，昭□(示?)□(后)□(世);若揭日月，诏彼稚昧。”\n文字描述的主人公是 “文王之子、武王之弟、成王之叔”，为西周时期的周公旦，记录他握发吐哺求贤若渴、创立典章制度、摄政并平定叛乱、威德远布四方人的事迹。绘此画作的目的是向四方昭示他的德行并起到示范作用。该部分内容第四行的最后三字处有残缺。经查找，其残损部分仍保留在画作上，只是被错误地装补到了第一部分文字处。\n第三部分文字内容为：“巨飚扇海洪波翻，指鹿为马无腆颜;泗上亭长起应天，子房杖策来自韩;圯上老人书一编，佐汉兴王无后艰;客有为□(我)□(橈)楚权，请借前箸输忠谈;南宫偶语事寝阑，即日劝驾西都关;羽翼已成储嗣安，愿与赤松求神仙;高名万世长铿鍧，再拜清风何所言;望之俨然即之温，奇伟魁梧焉足论。”\n根据史书记载，可知本部分文字描述称赞的主人公是汉留候张良。写秦朝末年张良来自韩国，借助圯上老人黄石公所赠《太公兵法》，辅佐刘邦起事。这里选取了他的几个事迹：反驳郦食其的策略、建议奖赏有功之臣、劝服刘邦移驾长安、帮助吕后和太子孝惠巩固地位、功成名就后隐退等。赞扬他的万世高名，虽为妇人之貌，却远胜奇伟魁梧的大丈夫。本部分文字第三行倒数二、三字有残损，但是根据史书记载可补足，模糊二字分别是“我”“橈(桡)”。\n第四部分文字内容为：“自期稷卨，致君尧舜;愿为良臣，展尽底蕴;正观之治，几于成康;外户不闭，行不赍粮;想其堂堂鹗立，犯颜进谏;虽逢帝怒，神色不变;信乎百世之下，论世尚友;雄姿凛凛，传于不朽。”\n这部分文字称颂的是贞观时期的名臣魏徵。谈及魏徵如稷卨这样的名臣，“贞观之治”堪比“成康之治”，记录在魏徵治理之下有夜不闭户而远行时又不必携带粮食的淳朴世风，以及他堂堂正正犯颜进谏的诤臣风范，这些皆传于不朽。\n第五部分文字内容为：“宇宙雰雺兮孰与清，日月薄蚀兮孰与明，清而明之兮，命世之英;大厦将欹兮，其谁支;神器将坠兮，又谁举之;支而举之兮，命世之奇英;与奇兮惟梁公，为子孝兮为臣忠;北斗以南兮，人谁与同;取日虞渊兮，洗光咸池;授五龙兮，夹以飞蒙;耻济谋兮，功盖一时;貌图丹绘兮，如玉如金;风度温然兮，贻后人;十袭之藏兮，爰丕显于斯辰。”\n翻检史书，我们会发现这里面描述的国之栋梁、忠臣孝子、忍辱负重规劝武则天将庐陵王李显立为太子使政权又回到唐代宗室手中的一代英豪是“梁公”狄仁杰，描绘梁国公之画像，目的是将他的风采传递后人，这样的图载值得珍藏。\n第六部分文字内容为：“唐德中否，群兇肆起;尚父鹰扬，于彼朔方;克复两京，三河肃清;整我六师，大振威灵;单骑见虏，压以至诚;忠贯日月，德通神明;二十四考，中书政成;式图貌像，仰止仪形;英姿粹蕴，凛凛如冰;维昔方虎，中兴周室;诗人歌之，二雅纪德;再造唐祚，汾阳允武;用垂颂声，以绍厥绪。”\n被封为朔方节度使收复长安、洛阳两京，平定河东、河西、河南叛军，单骑免胄见回纥，为中书令期间主持官吏的考绩二十四次而被尊为“尚父”的是唐朝的郭子仪。绘画者希望能够像当年纪念中兴周朝的方叔、召虎一样，给郭子仪“式图貌相”，让后人赞颂他，并完成他未竟的事业。\n这一部分的文字残缺甚多，根据内容判断所描绘的主人公颇有难度。而判断这段文字所描述的主人公，主要是依照第十部分的文字内容。通过排除法，可得知这段文字所颂赞的是韩琦。史书记载，韩琦任官期间敢于诤言谠议;严肃的外貌却给人温和的感觉，如玉如水;家中藏书颇丰，所写文章品格不凡。\n第八部分文字内容为：“于皇上帝，降祚炎宋;爰锡真儒，郁为时楝;真儒伊河，时维司马;如柱如石，克建大厦;退居西洛，十有五年;著书立言，成名自天;既相君实，欢声洋溢;农安于田，妇安于室;复我良法，式循祖宗;进良退奸，坐致融融;四方仰止，图像克肖;饮食必祝，家至户到;食采温国，著名凌烟;元勋巨德，英图莫传。”\n这一赞文描述的是北宋司马光。北宋时期的良才为伊河之地的司马光，进为栋梁之才，退则著书立说，再次拜相时又一次辅佐君王造就了繁荣安定的景象。因此，理应为司马光传图写照，受到后人尊重。\n第九部分文字内容为：“太师公相画像赞。天之苍苍，其命灼然;将兴太平，必生真贤。堂堂益公，起江之东;受天间气，出建大功;节义凛然，归秉国均;建万世策，交欢宝邻;长乐正位，清朝偃共;四时协和，万邦咸宁;道大不器，德全难名;高勋巍巍，日月并明;皇帝神圣，师臣赞襄;多历年所，相得益章;图形凌烟，褒赞有光;其永相予，雍容庙堂;风采德威，外传四方;真汉相矣，岂惟王啇;南山之高，岩岩其石;民怀姬公，师保之德;千载具瞻，与山无极。”\n根据文字内容，这描述的是太师公相画像，他被封为益国公，其功勋可比日月，且与皇帝交往融洽，品德风采足可与山川一样长久影响后人。先前识读者根据文字内容的第一行“太师公相画像赞”及第三行“堂堂益公”确定此主人公是同为益国公、太师的周必大。在许浩然的文章中，他提出此主人公是秦桧而非周必大的四点理由：第一，“起江之东”与周必大原出河南郑州管城的籍贯不符;第二，周必大卒后赠太师，而非“太师公相”;第三，在宋代身任宰相、官太师、封益国公，同时又为江东之人者仅有秦桧;第四，“节义凛然，归秉国均;建万世策，交欢宝邻”是言其被俘金国，后回南宋担任宰相并主张议和等经历。\n基本来说，许浩然之文考辨的是有道理的，只是第一点中提到的“起江之东”，也与周必大有关系，周必大出生于江东长洲(今苏州)。学者们之所以会混淆周必大与秦桧，是因二者信息比较接近，在相貌上又无确切描绘。故宫博物院南熏殿旧藏周必大像与该画作中的秦桧像或可作一对比，周必大面相仁厚，秦桧似显城府。",[23,99,24,25,26,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae42577c6a1c131396fab8d2cb999a6c.jpg","纵36.5厘米，横246.2厘米",[],{"id":8699,"slug":8700,"title":2272,"dynasty":149,"author":2273,"museum":135,"description":2274,"tags":8701,"thumbUrl":8703,"material":457,"size":2278,"collection":66,"collections":8704,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":89},221930,"za-hua-ce-guo-xu-221930",[23,24,25,100,7,101,28,1276,8702,121],"器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b83ed8dc0c4e0e40df2ac76f5ce7a48.jpg",[],{"id":8706,"slug":8707,"title":2272,"dynasty":149,"author":2273,"museum":135,"description":2274,"tags":8708,"thumbUrl":8709,"material":457,"size":2278,"collection":66,"collections":8710,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":89},221927,"za-hua-ce-guo-xu-221927",[23,24,25,100,101,954,7,28,619,56,55,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b9c8d51985fa1f5c88c9c1b2cef819.jpg",[],{"id":8712,"slug":8713,"title":8714,"dynasty":75,"author":464,"museum":77,"description":8715,"tags":8716,"thumbUrl":8717,"material":538,"size":8718,"collection":66,"collections":8719,"showCount":178,"zanCount":11,"manualWeight":41,"mainColor":70},221622,"zhou-song-min-yu-xiao-zi-zhi-shen-tu-juan-quan-juan-ma-he-zhi-221622","周颂·闵予小子之什图卷全卷","《周颂·闵予小子之什》是诗经“风”“雅”“颂”中的颂篇之一，有11篇，为先秦时代的汉族诗歌。《诗经》是汉族文学史上第一部诗歌总集。对后代诗歌发展有深远的影响，成为中国古典文学现实主义传统的源头。",[23,99,24,25,26,54,7,53,28,29,63,81,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31474a2d2a121ee01e02e1291be9e63a.jpg","27.7x713cm",[],{"id":8721,"slug":8722,"title":8723,"dynasty":75,"author":183,"museum":49,"description":1508,"tags":8724,"thumbUrl":8725,"material":457,"size":1511,"collection":66,"collections":8726,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":89},221402,"fa-hai-ling-shan-tu-4-li-gong-lin-221402","法海灵山图4",[23,5277,24,25,7,101,27,28,315,619,673],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dc8ae31066e200f62d122a2dd929a5.jpg",[],{"id":8728,"slug":8729,"title":8730,"dynasty":18,"author":76,"museum":3649,"description":8731,"tags":8732,"thumbUrl":8733,"material":54,"size":66,"collection":66,"collections":8734,"showCount":178,"zanCount":41,"manualWeight":41,"mainColor":70},217893,"guan-yin-jing-bian-tu-juan-13-yi-ming-217893","观音经变图卷-13","这卷经变图以图文交织的方式铺陈观音救难故事，分段场景中人物情态鲜活：持械相搏者动作刚劲，躬身祈愿者神情虔诚，显化处的光影似含慈悲之力。线条流畅如行云，既勾勒衣袂飘举之姿，又刻画出兵器锐利质感；残存的矿物颜料虽已斑驳，朱红与石绿的底色仍透出唐人设色的浓丽。每段图文相契，将经文中的救苦义理转化为鲜活的人间图景，既是宗教艺术的生动载体，也藏着唐人信仰与生活的细腻印记，尽显唐代绘画叙事与造型的精妙功底。",[24,25,26,27,28,53,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F509b9ed6b35c84bfb67a63a1483acaa6.jpg",[],{"id":8736,"slug":8737,"title":8738,"dynasty":18,"author":76,"museum":3649,"de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[明]字质夫，吴（今江苏苏州）人。师文嘉（一五0一―一五八三）钱谷\n为入室弟子，有出蓝之美。候懋功、朱朗之流亚。按画体元诠有金陵殳质，字质甫，工山水。是否一人，待考。《无声诗史、弇州续稿》",[24,25,100,101,7,60,549,62,157,373,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13cbd4a038b4f123be0cf94c7ef4a46.jpg",[],{"id":9337,"slug":9338,"title":3552,"dynasty":75,"author":464,"museum":77,"description":3553,"tags":9339,"thumbUrl":9340,"material":901,"size":3556,"collection":66,"collections":9341,"showCount":114,"zanCount":41,"manualWeight":41,"mainColor":70},233997,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233997",[99,24,25,7,101,53,408,188,81,64,62,3537,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e5aa785732da9a4f5ab32275a9bd7d.jpg",[],{"id":9343,"slug":9344,"title":5778,"dynasty":239,"author":76,"museum":77,"description":9345,"tags":9346,"thumbUrl":9347,"material":2027,"size":9348,"collection":66,"collections":9349,"showCount":114,"zanCount":41,"manualWeight":41,"mainColor":70},233180,"nong-cun-jia-nv-tu-juan-yi-ming-233180","此图原名《瘤女图》，后更名为《农村嫁女图》。全卷绘大小人物37人，分布疏密得当，自然形成四个段落，各段又有相对突出的重点人物的描写。首段以一骑牛披纱妇人为中心，众人目光多集于其身；次段是来宾与迎候者相见的场面，相对施礼的两位妇女为该段的中心；第三段表现两位身份较高的男性奉酒的场面；末段绘鼓乐、歌舞表演及围观者。各段虽有各自的主要人物，但次要人物的朝向、动作又使各段落间相互联系，构成一幅完整的画面。从画面表现的内容看，画的是否农村嫁女场面还有待商榷，图中吃奶的婴儿和扛于肩上的小童似与婚嫁主题不太相符，且骑牛女子似亦非新娘形象。笔者推测此图所表现的可能是一民女回乡省亲的场面，具体内容尚有待进一步考察。\n图中人物略施淡赭色，余则全以水墨为之。人物全用颤笔描加以表现，面部刻画也较为粗简，人物造型与南宋马远《踏歌图》有些相近之处。绘画艺术水平一般，但却生动地记录了宋元时期的现实生活场景。",[99,24,26,7,28,315,367,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa772f058d46d74fa4ba5a5d9ffc20222.jpg","纵22.5厘米，横131厘米",[],{"id":9351,"slug":9352,"title":9353,"dynasty":239,"author":76,"museum":395,"description":9354,"tags":9355,"thumbUrl":9356,"material":457,"size":9357,"collection":66,"collections":9358,"showCount":114,"zanCount":41,"manualWeight":41,"mainColor":89},231888,"lu-ye-da-mo-tu-yi-ming-231888","芦叶达摩图","亲近佛道的人，除了兴趣，往往都有自救的动机和解脱的渴望——他们对心中迷乱挣扎有着更真切的体会和更迫切的出离愿望。但常听人问起如何才能心不乱、到底应该如何去修等问题，先圣经典对此讲说甚多而明明白白，为什么还有这么普遍的困惑呢？除了法门太多而无从抉择的原因，更多的恐怕还是很多法门都太高妙，自己找不到实在的下手处。\n法门的选择上，先圣早已明言：“佛说一切法，为治一切心；若无一切心，何须一切法”、“一门深入，即可成就”。一切法门都是为适应众生不同根机的方便，实相和本源皆在言外法下，纠结于名相或盯在高低优劣，都是不解乃至大违圣意。正确的路子，是依自己适合的而抉择，然后笃定地做下去便是。\n无从下手则是实实在在的难处，强求不了。到底有没有既深契高妙又可真正下手的法门？我能想到的最好的答案是菩提达摩的32字心法，记载于《景德传灯录》中。\n达摩是禅宗西天第二十八祖，东土初祖。他的名号在中国可谓无人不知无人不晓，他的教法了解的却恐怕不多。禅宗的发展是向着越来越玄妙、越来越难以把握去的，因为祖师们觉得一切把握都等同于妄，非得透一切名相而直契本源不可，只是其中超妙非利根而不得入。禅宗是否一向如此呢？不是的，至少不完全是——在达摩祖师的时代，教法上不仅有着禅宗一贯的宗旨，下手上也是朴实直接的。这点其实一直到六祖慧能也还保留着，我们看《坛经》中的接引，也都是实实在在的。\n32字心法的内容是：“外息诸缘，内心无喘。心如墙壁，可以入道。明佛心宗，等无差误。行解相应，名之曰祖。”它有两个重大处，一是不是孤立提出，而是在达摩祖师总结的入道二门——理入和行入的基础上提出来的。行入又包括四行，是入道的四个可以真正下手处，称之为“四行观”，“其余诸行，悉入此中”。二是理入与行入之间，还暗含一大玄机，乃一切法门的总纲所在，可称根本心法，却少为人注意。\n只是这理入的玄机，非详知四行而不得解。所以达摩虽将理入安立在行入之前，并大有如此安排的深意，却需要先从四个可以真正下手处说起。",[23,24,243,27,28,7,101,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa936cbcd0ef7ed62fe770ec635c672.jpg","175×38.5厘米",[],{"id":9360,"slug":9361,"title":9362,"dynasty":645,"author":76,"museum":49,"description":9363,"tags":9364,"thumbUrl":9376,"material":174,"size":175,"collection":66,"collections":9377,"showCount":114,"zanCount":41,"manualWeight":41,"mainColor":42},231706,"lian-cang-shi-dai-tu-zhi-zhu-cao-zhi-hua-juan-yi-ming-231706","镰仓时代 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，刻画细腻。\n衣纹以线条为骨，古拙而流畅。\n图中坚硬的山石以湿墨皴擦出形，秀挺的青竹以浓淡墨相衬晕染，朦胧有致。\n石与竹烘托出像主的中心位置，同时，以物托志，标示出像主高致朗逸的内在情怀。\n款署 ：“癸巳冬十一月，云柯先生属写。\n晓楼费丹旭。\n”钤“子苕”朱文印。\n鉴藏印有 “ 印”、“石雪斋秘笈印”等共4方。\n“癸巳”是道光十三年(18年)，作者时年岁。",[99,24,25,243,7,101,54,28,122,188,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae970ae071e04f94b8ee705744f033d.jpg",[],{"id":9847,"slug":9848,"title":7779,"dynasty":94,"author":832,"museum":49,"description":9849,"tags":9850,"thumbUrl":9851,"material":66,"size":66,"collection":66,"collections":9852,"showCount":250,"zanCount":41,"manualWeight":41,"mainColor":89},235079,"shan-shui-tu-ce-hua-yan-235079","此作取平远小景，几株清松瘦劲挺拔，荫蔽茅舍矮篱，空庭静立，浅坡覆着细草，淡墨晕染出幽寂的秋日郊野。笔致松秀简淡，以干笔轻皴，略施淡墨晕染，全然舍去浓丽设色，只以素净笔墨勾勒出萧散清旷的意境。左侧题诗与画境相合，诗画共生，将幽居的闲静隐逸融入山水之间。整体无繁复铺陈，于极简布景中尽显文人画淡泊清远的意趣，淡而有味，简中见深，把寄情丘壑的隐逸心境铺陈在尺幅之中，是意韵悠长的山水小品佳作。",[24,25,100,101,7,60,81,4596,188,5099],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e8b2b5a55526836adfcf20b9553f596.jpg",[],{"id":9854,"slug":9855,"title":8557,"dynasty":94,"author":8558,"museum":49,"description":8559,"tags":9856,"thumbUrl":9857,"material":66,"size":66,"collection":66,"collections":9858,"showCount":250,"zanCount":41,"manualWeight":41,"mainColor":89},234370,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234370",[24,25,100,52,7,101,102,2698,844,4140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfcfcd0efb63eeb8e0c3ab93999fc652.jpg",[],{"id":9860,"slug":9861,"title":3552,"dynasty":75,"author":464,"museum":77,"description":3553,"tags":9862,"thumbUrl":9863,"material":901,"size":3556,"collection":66,"collections":9864,"showCount":250,"zanCount":41,"manualWeight":41,"mainColor":70},233993,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233993",[24,25,100,7,28,811,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2126e3550c0e04627398b8fab3cb01c9.jpg",[],{"id":9866,"slug":9867,"title":3552,"dynasty":75,"author":464,"museum":77,"description":3553,"tags":9868,"thumbUrl":9869,"material":901,"size":3556,"collection":66,"collections":9870,"showCount":250,"zanCount":41,"manualWeight":41,"mainColor":70},233989,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233989",[99,24,25,100,7,101,54,28,63,62,188,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6335300d6c06ab16b07654d665d0d6f7.jpg",[],{"id":9872,"slug":9873,"title":4510,"dynasty":239,"author":255,"museum":49,"description":9874,"tags":9875,"thumbUrl":9876,"material":174,"size":175,"collection":66,"collections":9877,"showCount":250,"zanCount":41,"manualWeight":41,"mainColor":89},232833,"bai-miao-luo-han-tu-juan-zhao-meng-fu-232833","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[23,99,24,25,26,27,7,28,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985a756bb7fba498c697a86c800475dd.jpg",[],{"id":9879,"slug":9880,"title":9881,"dynasty":645,"author":8603,"museum":49,"description":8604,"tags":9882,"thumbUrl":9892,"material":174,"size":175,"collection":66,"collections":9893,"showCount":250,"zanCount":41,"manualWeight":41,"mainColor":89},232515,"he-er-bai-yin-174-he-er-bai-yin-232515","荷尔拜因174",[27,28,7,5543,243,5545,9883,4069,9884,9885,9886,9887,5574,2548,9888,9889,4749,9890,9891],"恶魔","天平","怪兽","翅膀","铠甲","底座","神话生物","称量工具","竖幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397e2eb2133791e351d36266ae48288e.jpg",[],{"id":9895,"slug":9896,"title":9897,"dynasty":645,"author":8603,"museum":49,"description":8604,"tags":9898,"thumbUrl":9902,"material":174,"size":175,"collection":66,"collections":9903,"showCount":250,"zanCount":41,"manualWeight":41,"mainColor":89},232377,"he-er-bai-yin-36-he-er-bai-yin-232377","荷尔拜因36",[99,5543,7,28,9899,8333,386,9900,9901,54],"女性","头饰","线条勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f408a25d80139337dbfd0d5e958124c.jpg",[],{"id":9905,"slug":9906,"title":9907,"dynasty":645,"author":8603,"museum":49,"description":8604,"tags":9908,"thumbUrl":9911,"material":174,"size":175,"collection":66,"collections":9912,"showCount":250,"zanCount":41,"manualWeight":41,"mainColor":89},232355,"he-er-bai-yin-14-he-er-bai-yin-232355","荷尔拜因14",[28,7,5543,8606,9909,9901,9910],"男性","明暗表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0b5523c4679b538470b5347c50c2be3.jpg",[],{"id":9914,"slug":9915,"title":9916,"dynasty":645,"author":9917,"museum":49,"description":9918,"tags":9919,"thumbUrl":9925,"material":66,"size":66,"collection":66,"collections":9926,"showCount":250,"zanCount":41,"manualWeight":41,"mainColor":89},231827,"xiao-xian-he-ge-tu-juan-1-ku-tian-zheng-heng-231827","消闲和歌图卷-1","堀田正衡","这是一卷诗书画合璧的写意佳作，以淡赭素纸为底，大写意笔墨铺陈雅趣。浓淡干湿的墨色晕染出瑞兽、墨龙、折枝桃果、竹篮清供、幽草灵蛇与寒梅，笔意简劲纵逸，寥寥数笔便得物象神韵。日式和歌书法错落穿插于画幅之中，行笔舒展随性，与画作相映成趣。整体意境侘寂清雅，将文人消闲的幽远禅意融于笔墨之间，空灵疏朗，尽显随性自在的东方雅韵。",[23,24,25,26,101,54,7,57,55,954,2376,4543,9920,3524,998,955,2276,9921,5747,171,9922,9923,28,155,1716,9924,619],"盘子","桃子","水果","猴子","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0668c72e7438d7eaf0064a20e69d82f.jpg",[],{"id":9928,"slug":9929,"title":9930,"dynasty":645,"author":76,"museum":49,"description":9931,"tags":9932,"thumbUrl":9933,"material":174,"size":175,"collection":66,"collections":9934,"showCount":250,"zanCount":41,"manualWeight":41,"mainColor":89},231810,"kuang-seng-cao-zhi-tu-juan-yi-ming-231810","狂僧草纸图卷","以纯臻白描铺展长卷，铁线爽利洗练，不着一色却尽揽烟火躁动。从巷陌行伍到廊舍嬉闹，再转至烈焰惊惶，全景式铺陈出喧嚷乱象。屋宇架构以界画工整流利排布，衬出人物跳脱狂放。\n\n画中人物形神各异，或桀骜持械、恣肆狷狂，或仓惶奔逃、面露惊惶，将凡俗众生的情态一一铺陈。整卷叙事流畅自然，呼喝、惊呼仿佛随线条涌出，以极简笔墨勾勒出饱满鲜活的群像张力，尽显白描线条的叙事表现力与传神功力。",[23,24,25,26,7,365,28,29,619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a599632024e0b5216cd04eb2ced3.jpg",[],{"id":9936,"slug":9937,"title":9938,"dynasty":645,"author":9939,"museum":49,"description":9940,"tags":9941,"thumbUrl":9942,"material":174,"size":175,"collection":66,"collections":9943,"showCount":250,"zanCount":41,"manualWeight":41,"mainColor":89},231678,"lian-cang-shi-qi-gong-jia-lie-ying-tu-teng-yuan-xin-shi-231678","镰仓时期 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ption":10795,"tags":10796,"thumbUrl":10798,"material":66,"size":66,"collection":66,"collections":10799,"showCount":273,"zanCount":41,"manualWeight":41,"mainColor":10800},203264,"hua-hui-tu-ce-wang-shi-shen-203264","花卉图册","枝头桃花次第绽放，细劲线条勾勒花瓣轮廓，淡墨晕染叶片，清雅脱俗。枝干用笔简练却含苍劲之态，与娇柔花朵相映成趣。旁附题诗与朱红印章，诗书画印浑然一体，尽显文人画的雅致情韵，观之如嗅花香，沁人心脾。",[24,100,7,54,102,942,10797],"印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a03bbd1025fa7db4488739a83766c9c.jpg",[],"e9c08b",{"id":10802,"slug":10803,"title":10804,"dynasty":94,"author":8527,"museum":135,"description":10805,"tags":10806,"thumbUrl":10807,"material":66,"size":66,"collection":66,"collections":10808,"showCount":273,"zanCount":41,"manualWeight":41,"mainColor":10809},202457,"zhong-kui-xiang-zhou-wang-su-202457","钟馗像轴","画面中钟馗虬髯戟张，宽袍博带间憨态尽显，似醉非醉的神情打破传统肃穆。侍女们或持灯暖照，光晕隐现；或捧砚执毫，纤姿温婉；或侧身低语，衣袂轻扬。笔墨上，钟馗衣纹以浓墨写意，洒脱不羁；侍女则细劲白描勾勒，灵动雅致，浓淡对比间见韵致。设色淡雅，仅依墨色层次区分物象，文人画清逸之气扑面。左上题跋与人物相映，文情并茂，更添古朴。整体以柔媚侍女衬钟馗人性化一面，别开生面，尽显笔墨妙趣与人文意涵。",[24,28,101,7,54,243,2110,1440,1443,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809bb59638cc1c1034f55a868e3b35e6.jpg",[],"c5b5a1",{"id":10811,"slug":10812,"title":10813,"dynasty":149,"author":150,"museum":135,"description":10814,"tags":10815,"thumbUrl":10816,"material":66,"size":66,"collection":66,"collections":10817,"showCount":273,"zanCount":41,"manualWeight":41,"mainColor":10818},202366,"pu-die-shi-nv-tu-zhou-chen-hong-shou-202366","扑蝶仕女图轴","画面中仕女造型奇崛，身姿略带变形却古雅有致。线条如铁线般刚劲凝练，勾勒出衣纹的流转与人物的情态：手持花枝者温婉娴静，扑蝶者动态俏皮。设色清雅，于简约中见精妙。陈洪绶以独特艺术语言，将仕女娇态与高古之韵相融，画面虽简却意境悠远，尽显其人物画的奇逸风格。",[24,243,28,58,53,7,54,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4238512c4708356b2b292cb666894f48.jpg",[],"9a8c6c",{"id":10820,"slug":10821,"title":10822,"dynasty":94,"author":10823,"museum":135,"description":10824,"tags":10825,"thumbUrl":10826,"material":66,"size":66,"collection":37,"collections":10827,"showCount":273,"zanCount":41,"manualWeight":41,"mainColor":10828},201568,"li-bai-yin-shi-tu-zhou-que-lan-201568","李白吟诗图轴","阙岚","古树虬枝掩映，石案横陈，中心人物踞案前，眉宇间尽展才思飞扬之态，似正吟哦佳句。侍女数人环立，或凝神谛听，或轻执器物，衣袂飘举间线条婉转流畅。全图以淡墨勾勒为主，兼施少许晕染，工细雅致中见灵动。人物神态刻画入微，主角的洒脱与侍女的温婉相映成趣，古树苍劲与场景静谧烘托出诗意氛围，尽显古典雅韵。画面构图疏密有致，树木的虬曲与人物的轻盈形成对比，笔墨简练却意蕴悠长，将文人雅集的诗意情境生动呈现。",[24,53,7,28,62,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73aff2a261309f0f6cca6fed7908e94c.jpg",[37],"7b7162",{"id":10830,"slug":10831,"title":10832,"dynasty":94,"author":4448,"museum":49,"description":10833,"tags":10834,"thumbUrl":10835,"material":174,"size":175,"collection":66,"collections":10836,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},290562,"ying-zhen-zhou-xu-yang-290562","应真轴","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[24,243,7,101,28,27,1705,619,998,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074e75dfd197e9c350cdd57ed7003a47.jpg",[],{"id":10838,"slug":10839,"title":9245,"dynasty":645,"author":76,"museum":49,"description":10840,"tags":10841,"thumbUrl":10842,"material":174,"size":175,"collection":66,"collections":10843,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},289582,"xian-miao-qian-fo-xiang-yi-ming-289582","此作为木刻千佛残片，以四方界格规整排布造像。每尊佛陀皆以铁线描勾勒，顶覆圆光，结跏趺坐于莲台之上。线条洗练质朴，将衣袂褶皱的柔润、莲瓣的舒展凝练精简，诸佛仪轨严整却各有微妙神态差异，同中存异。纸面泛黄残损，却更衬出刀刻痕迹的清晰锐利，带着岁月摩挲过的厚重质感，把千佛的庄严沉静凝缩在方寸界格中，尽显质朴虔诚的宗教张力，静静传递出跨越时光的肃穆禅意。",[23,7,823,27,2892,3697,28,25,509,2544,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef02ea49c1bb228331c78c5687d440c5.jpg",[],{"id":10845,"slug":10846,"title":10847,"dynasty":645,"author":76,"museum":49,"description":10848,"tags":10849,"thumbUrl":10851,"material":174,"size":175,"collection":66,"collections":10852,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":70},288750,"school-of-michelangelo-buonarroti-the-last-judgment-yi-ming-288750","School of Michelangelo Buonarroti--The Last Judgment","振臂矗立的裸躯是裁决的锚点，振起的手势劈开混沌。周遭群像如惊涛攒动扭结，有人在明暗褶皱里惊惧回望，有人挣扎着沉浮于幽晦之间。炭笔粗粝的线条带着沉郁力量，晕染出炼狱般的压抑氛围，将灵魂终末时分的惶惑、救赎与沉沦揉进纸面。每一道皴擦都拉扯着末世的张力，仿佛能听见灵魂的呼号在纸间震荡。虽为素描稿，却把终审判罚的磅礴戏剧感凝缩于此，雄浑的力道晕开人文锋芒，让神性威严与凡俗焦灼在方寸间碰撞激荡。",[27,28,5543,7,10850],"审判场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46dec5acad506df162387ee30aae3cf0.jpg",[],{"id":10854,"slug":10855,"title":10856,"dynasty":645,"author":76,"museum":49,"description":10857,"tags":10858,"thumbUrl":10859,"material":174,"size":175,"collection":66,"collections":10860,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":70},288484,"ren-wu-shou-gao-yi-ming-288484","人物手稿","此作为白描佛画稿，五尊圣像对称排布，主尊居中，胁侍分置两侧，章法匀整肃穆。画师以铁线描勾勒，线条遒劲流畅，衣袂褶皱流转自然，将织物柔滑垂坠的质感尽显无遗。\n\n诸圣顶覆圆光，安坐莲台，神情庄静悲悯，形神兼具。上方宝幔垂络，纹饰精巧，烘托出佛国清净庄严的氛围。虽无设色，仅以素线造型，却将佛、弟子与菩萨的仪轨气度刻画入微，简淡线条中具足沉静慈悲的宗教感染力，尽显传统宗教绘画精湛的线描功力。",[23,24,25,7,27,2892,28,2893,1705,824,820,8070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a39df624f079c69ad50f39c2145e060.jpg",[],{"id":10862,"slug":10863,"title":10864,"dynasty":94,"author":10865,"museum":49,"description":10866,"tags":10867,"thumbUrl":10868,"material":66,"size":66,"collection":470,"collections":10869,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},239916,"yu-ti-fu-lian-shang-shi-ye-ceng-yu-239916","与惕甫莲裳诗页","曾燠","曾燠（yù 1759-1831），字庶蕃，一字宾谷，晚号西溪渔隐。江西南城人。官至贵州巡抚。清代中叶著名诗人、骈文名家、书画家和典籍选刻家，被誉为清代骈文八大家之一。 曾廷澐之子。",[94,24,25,57,7,153,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb323c021d758be0a8e4ff2c28d097b.jpg",[470],{"id":10871,"slug":10872,"title":10873,"dynasty":94,"author":10874,"museum":49,"description":10875,"tags":10876,"thumbUrl":10877,"material":174,"size":175,"collection":66,"collections":10878,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},239471,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-ren-wu-ce-ye-zhu-cheng-239471","清初十四家书画集锦册-人物册页","朱澂","朱澂-清吴县(今江苏苏州)浒墅人。字天鉴。朱嘉遇长子。诸生。康熙中曾任江南石埭县教谕,廉洁持己,训课有方。后改授湖广江陵县丞。",[24,25,100,7,101,57,55,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6e2c4b6c14897f98d17866192398bb.jpg",[],{"id":10880,"slug":10881,"title":10882,"dynasty":94,"author":10883,"museum":49,"description":9471,"tags":10884,"thumbUrl":10885,"material":174,"size":175,"collection":66,"collections":10886,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},239372,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239372","画载月十咏诗意册","永瑢",[24,25,100,101,54,365,7,60,63,62,549,571,187,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60223ec76359aa218bac089dcfe6d84f.jpg",[],{"id":10888,"slug":10889,"title":3293,"dynasty":94,"author":3532,"museum":49,"description":10890,"tags":10891,"thumbUrl":10892,"material":66,"size":66,"collection":66,"collections":10893,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},238988,"shan-shui-ce-yang-jin-238988","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,25,100,7,101,60,811,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33eccdaf604891e33ec07307c37d26a0.jpg",[],{"id":10895,"slug":10896,"title":10242,"dynasty":94,"author":8100,"museum":49,"description":10897,"tags":10898,"thumbUrl":10899,"material":66,"size":66,"collection":66,"collections":10900,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},238737,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238737","此作以郊野饯别入画，淡墨绘就柳丝依依，荒坡浅溪蜿蜒迤逦。主客对揖作别，侍童牵马静立旁侧，萧疏景致暗合离人愁绪。线条清隽秀雅，皴擦简淡空灵，以水墨晕染出春日郊野的柔寂氛围。搭配题诗与朱红印章，诗画相映，将古人惜别心绪融于笔底。整幅书卷盎然，雅致清和，以极简笔墨烘托出缱绻离情，尽显含蓄韵致，淡远中藏着深长的送别意趣。",[24,25,100,7,101,28,315,811,188,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1102aa8993808b49edb1f67b105d02.jpg",[],{"id":10902,"slug":10903,"title":8099,"dynasty":94,"author":8100,"museum":49,"description":10904,"tags":10905,"thumbUrl":10906,"material":66,"size":66,"collection":66,"collections":10907,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},238733,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238733","此作用淡晕轻皴铺展江月夜色，远山衔着孤月，云气在峰峦间缓缓晕染，江天化作一片烟水空蒙，不见艳色，只余水墨清寂。近岸老木虬枝盘曲，槎桠错落，将萧索秋意藏在枝桠皴纹里。白衣文士独立岸畔，凝望着浩渺江波，把羁旅怀人的怅惘尽数融在眼底。\n\n右上角题诗笔意清隽，和水墨山水呼应着诗作里的迟暮怅惋，将文辞幽思与山水空寂相融，淡墨绘就的不仅是江天夜色，更是藏在山月江波里的飘零愁绪，简淡疏朗间，清冷孤高的诗意漫溢开来，尽书人事聚散无常的叹惋。",[24,101,60,28,571,244,62,100,408,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2a703d5dc4d9676ff7299a37840bc0.jpg",[],{"id":10909,"slug":10910,"title":8099,"dynasty":94,"author":8100,"museum":49,"description":10911,"tags":10912,"thumbUrl":10913,"material":66,"size":66,"collection":66,"collections":10914,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},238729,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238729","此作为诗画合璧，左书右绘。书法笔致清隽，寄怀别绪。画面以淡墨铺陈，春柳垂丝轻拂岸渚，江波澹澹远景空濛，晕染出缱绻怅惘的送别氛围。\n\n驿卒牵马侍立，友人执手揖别，人物衣纹以铁线描勾勒，简练挺括，将离情藏于无言的仪态间。通幅不施重彩，留白衬出别意悠长，笔墨秀润简淡，将古典送别诗的含蓄况味融于方寸，于简净之中见深情，平淡笔墨里尽显雅致文心，把黯然销魂的离别意绪，化作具象悠远的画中意境。",[24,25,100,7,101,28,315,2513,62,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6190c8367222c6b72051a5edd0966b90.jpg",[],{"id":10916,"slug":10917,"title":8099,"dynasty":94,"author":8100,"museum":49,"description":10918,"tags":10919,"thumbUrl":10920,"material":66,"size":66,"collection":66,"collections":10921,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},238725,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238725","此作以水墨晕开春日水居雅景，柳丝垂绦依依拂岸，二人临石闲坐，抬目遥览远汀。柔波萦回水畔，凫雁群游浅沙，远空禽鸟振翅列队掠过长天，将春日清和生机铺展卷上。淡墨晕出空濛水色，细笔勾出柳丝轻飏之态，人物意态萧散恬然，尽显闲居悠游之趣。题诗与绘景相生相融，笔墨简淡却意韵悠长，将春日水滨的澹澹清宁晕染尽致，把闲淡诗意铺展为眼前画卷。",[24,101,7,100,57,55,28,64,2513,61,157,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf25d862aa5bf02732ec2c8fdc99f40.jpg",[],{"id":10923,"slug":10924,"title":8099,"dynasty":94,"author":8100,"museum":49,"description":10925,"tags":10926,"thumbUrl":10927,"material":66,"size":66,"collection":66,"collections":10928,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},238710,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238710","以淡墨皴擦晕出清润底色，线条秀雅劲挺，勾勒出土筑城楼、错落村舍与层叠田垄。城楼上士人凭栏远眺，乡野间农夫驱牛耕作，柴扉半掩的村舍隐在疏林之中，淡远烟岚晕开山野轮廓。诗画相生相融，将仕宦闲情与耕读野趣揉为一处，笔意兼具整饬雅致与文人逸韵，铺展出太平乡居的安和图景，晕染出中式文人心中的隐逸悠然意趣。",[24,25,100,7,101,28,29,60,81,373,315,3508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bb97338ef48cfb16c2566c974c93e60.jpg",[],{"id":10930,"slug":10931,"title":10932,"dynasty":94,"author":10933,"museum":49,"description":10934,"tags":10935,"thumbUrl":10936,"material":66,"size":66,"collection":66,"collections":10937,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},238523,"shan-shui-xiao-ce-qian-wei-cheng-238523","山水小册","钱维城","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[24,25,100,101,408,60,187,81,188,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae25243995859bfe1b4a03fd7cc7351.jpg",[],{"id":10939,"slug":10940,"title":2272,"dynasty":94,"author":10257,"museum":49,"description":10258,"tags":10941,"thumbUrl":10942,"material":174,"size":175,"collect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[1] 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Sōtatsu，生卒年不詳），從安土桃山時代到江戶時代初期（1596年至1643年間）的17世纪前后，活躍於京都的町繪師（艺术家及画家）。",[23,99,24,25,1532,101,54,7,60,29,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e61b918d0f67402f832a80d79722e76.jpg",[],{"id":11151,"slug":11152,"title":11153,"dynasty":645,"author":76,"museum":49,"description":11154,"tags":11155,"thumbUrl":11156,"material":174,"size":175,"collection":66,"collections":11157,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},231675,"qi-lv-tu-li-zhou-yi-ming-231675","骑驴图立轴","此作用笔极简写意，以淡墨勾勒骑驴老僧与毛驴。寥寥数笔便捕捉住驴蹄轻抬的灵动姿态，老僧佝偻安坐，宽袍以大片墨色晕染，神态悠然澹定，尽显世外高士物我两忘的自在。\n画面留白疏朗，搭配题字朱印，禅意悠悠，以极简笔墨传递出萧散超脱的山野意趣，笔简却形神兼备，将任情自适的林下风流尽显无余，尽显东方水墨空灵淡远的独特韵味。",[23,24,25,243,101,7,28,2386,55,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa866662591a5e19fb80238175ea9a1ed.jpg",[],{"id":11159,"slug":11160,"title":11161,"dynasty":645,"author":76,"museum":49,"description":11162,"tags":11163,"thumbUrl":11164,"material":174,"size":175,"collection":66,"collections":11165,"showCount":193,"zanCount":41,"manualWeight":41,"mainColor":89},231637,"ping-an-shi-dai-bai-miao-dong-da-si-jie-tan-yuan-fei-hui-tu-nai-liang-yi-ming-231637","平安时代 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David--Two Women in Day Dresses Preparatory drawing","这幅素描以圆形构图定格亲昵瞬间，女神与小爱神相互依偎，小爱神环住女神肩头，亲昵姿态晕开缱绻温情。创作者以细腻柔和的线条勾勒出人体舒展的柔美曲线，用极简排线轻绘明暗起伏，精准描摹出肌肤温润质感与衣料垂坠褶皱的韵律。\n\n淡笔铺绘的翻卷浪涛托举起二人，暗合爱神从海水中诞生的古典意象。没有繁复修饰，却将神性揉进松弛互动里，草稿独有的灵动随性让神祇褪却距离感，满溢温柔的古典浪漫，将脉脉爱意藏在克制笔触之间。",[5543,7,167,2796,11910,5545,6292,3104],"裸女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b8b346dd9196382930938f7b49986a.jpg",[],{"id":11914,"slug":11915,"title":11916,"dynasty":645,"author":76,"museum":49,"description":11917,"tags":11918,"thumbUrl":11920,"material":174,"size":175,"collection":66,"collections":11921,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288884,"giovanni-battista-tiepolo-illustration-for-a-book-soldier-yi-ming-288884","Giovanni Battista Tiepolo--Illustration for a Book 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Christ","这幅素描以圆形构图框定这场神圣时刻，细密排线与淡墨晕染交织铺陈氛围。手托圣婴的老者面容悲悯，缓缓铺开仪式的庄重感。围绕的众人神态各异，或垂眸致意，或低语慨叹，右侧侍从静立旁观，沉静的姿态平衡了画面重心。\n劲挺利落的衣褶线条勾勒出人物身份差异，浅淡明暗衬出逼仄小屋的空间纵深感。整作以克制写实的笔调，将这场圣典仪式的肃穆与温情定格，带着早期素描质朴的表现力，让宗教叙事的神圣感顺着笔尖漫溢开来，尽显内敛沉静的古典宗教绘画面貌。",[27,167,7,11950,11951,9909,532,5930],"基督受割礼","宗教仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55bd63aba6418745280fe5b65b91168.jpg",[],{"id":11955,"slug":11956,"title":11957,"dynasty":645,"author":76,"museum":49,"description":11958,"tags":11959,"thumbUrl":11963,"material":174,"size":175,"collection":66,"collections":11964,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288701,"workshop-of-gilles-marie-oppenord-study-for-a-garden-capriccio-yi-ming-288701","Workshop of Gilles-Marie Oppenord--Study for a Garden 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Kneeling","整体以怪诞柱式为核心，拟人女像承托茛苕缠枝纹样，衔接徽章、垂幔，将古典装饰语汇揉入奇幻构思。左侧的翼人跪姿与翼龙草稿搭配潦草标注，是灵感迸发时的速记痕迹。\n\n线条兼具蚀刻般的严谨排线与草稿特有的松弛即兴感，既带着文艺复兴装饰艺术的规整韵律，又满溢天马行空的实验趣味，清晰展现出从脑海奇想到设计底稿的构思脉络，是古典装饰美学与怪诞奇想交融的珍贵创作遗存。",[7,5543,8070,171,28,11982,11983,11984],"装饰柱","奇幻形象","装饰画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ed1c9c0f5ce3965180847325f11730.jpg",[],{"id":11988,"slug":11989,"title":11990,"dynasty":645,"author":76,"museum":49,"description":11991,"tags":11992,"thumbUrl":11995,"material":174,"size":175,"collection":66,"collections":11996,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288689,"attributed-to-andre-s-de-melgar-grotesque-masks-and-birds-recto-vertical-grotesques-yi-ming-288689","attributed to Andrés de Melgar--Grotesque Masks and Birds (recto); Vertical Grotesques","这张素描以即兴的线条织就诡谲奇想。画面中央的人面禽鸟，将狞恶的人形五官与禽鸟躯体糅合，细腻排线晕出蓬松羽色，衬出面容上骇人的戏谑笑意，怪诞又充满张力。\n\n四周散落的异相面具，或是须发如卷草般涡旋舒展，或是扭曲出乖张神情，把中古怪诞装饰的暗黑趣味尽数铺陈。利落的草稿线条松弛又精准，寥寥数笔便锚定每一张异相的邪魅神情，空白纸面里漫溢出妖异浪漫，将臆想中的异界生灵凝于方寸，牵引观者坠入一场诡谲幻梦。",[7,5543,8070,11993,64,765,10192,11994],"怪诞形象","奇幻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4624e16c998605eba036a58dfd6e2202.jpg",[],{"id":11998,"slug":11999,"title":12000,"dynasty":645,"author":76,"museum":49,"description":12001,"tags":12002,"thumbUrl":12006,"material":174,"size":175,"collection":66,"collections":12007,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288687,"attributed-to-andre-s-de-melgar-grotesque-of-winged-female-term-and-bird-creature-yi-ming-288687","attributed to Andrés de Melgar--Grotesque of Winged Female Term [] and Bird - Creature","这幅蚀刻素描以怪诞装饰风格铺陈，左侧翼状女像丰腴柔美，舒展羽翼与右侧禽首异兽遥相呼应，二者以悬饰牵系，暗生巧趣。茛苕卷草蜿蜒盘绕，人面涡纹与花苞点缀其间，将人形、异兽与古典茛苕纹样拆解重组。\n\n线条刚柔并济，既勾勒出女像的柔润肌理，又刻画出异兽的诡谲张力，涡旋律动的构图让画面满溢华丽怪诞的浪漫气息，将古典幻想的绮丽因子融于方寸之间，织就出一场幻梦般的古典奇景。",[7,823,5543,12003,9889,12004,12005,2548],"怪诞风格","带翼女性","鸟形异兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0205a9a1b0aab0de189dc2831cf3e149.jpg",[],{"id":12009,"slug":12010,"title":12011,"dynasty":645,"author":76,"museum":49,"description":12012,"tags":12013,"thumbUrl":12016,"material":174,"size":175,"collection":66,"collections":12017,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288685,"attributed-to-andre-s-de-melgar-grotesque-with-a-cat-yi-ming-288685","attributed to Andrés de Melgar--Grotesque with a Cat","这幅装饰手稿以端坐的猫咪作为视觉锚点，跳脱常规怪诞纹样的神性表达，糅入软萌生机。对称排布的禽鸟牵起垂坠布幔，为画面铺陈出仪式感。\n\n层叠舒展的茛苕涡旋、拟人化面具顺着纵向延展，灵动小兽攀附卷草藤蔓，底部葡萄纹样晕开自然野趣。速写式的线条松弛随性，将严谨的对称构图揉化出鲜活温度，肃穆的古典装饰语言与稚拙的即兴笔触感奇妙碰撞，把庄重怪诞风格晕染出俏皮意趣。",[6355,64,619,7,5543,12014,12015,8070,11984,25],"怪诞纹样","古典装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4312bcad97a45aa578fc907226a457f6.jpg",[],{"id":12019,"slug":12020,"title":12021,"dynasty":645,"author":76,"museum":49,"description":12022,"tags":12023,"thumbUrl":12028,"material":174,"size":175,"collection":66,"collections":12029,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288684,"attributed-to-andre-s-de-melgar-grotesques-with-q-r-in-cartouche-at-left-s-p-q-r-at-right-yi-ming-288684","attributed to Andrés de Melgar--Grotesques, with Q.R. in Cartouche at Left, S.P.Q.R. at Right","整幅以银笔铺就，是充满即兴张力的装饰草图。左侧茛苕涡卷垂落花饰与帷幔，托举纹章框，带着古典形制的规整肃穆；右侧则游走奇幻怪诞形象：羽身萨堤尔踞坐拨弄里拉琴，人面融于缠枝茛苕，古典标识隐现其间，潦草手注留存构思的鲜活痕迹。\n\n线条松弛灵动，揉合文艺复兴晚期怪诞装饰风格，将古典神话形象与程式化卷草交织，未完成的笔痕间，兼具古典符号的庄重感与奇幻形象的戏谑生机，复刻出装饰设计初始构思的蓬勃生命力。",[7,11984,12014,28,12024,12025,12026,1171,12027],"翼兽","卷草纹","纹饰","古典纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee151b05fb0259bae6305ed42907ff43.jpg",[],{"id":12031,"slug":12032,"title":12033,"dynasty":645,"author":76,"museum":49,"description":12034,"tags":12035,"thumbUrl":12036,"material":174,"size":175,"collection":66,"collections":12037,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288681,"attributed-to-andre-s-de-melgar-seated-satyr-holding-a-shell-dragon-horizontal-yi-ming-288681","attributed to Andrés de Melgar--Seated Satyr Holding a Shell - Dragon [horizontal]","这张手稿以灵动线条勾勒出怪诞绮丽的奇想世界。半人半兽的形象虬须怒张，神态沉郁威严，健硕躯体带着蛮荒野性，臂间环缠的龙形异兽尖牙利爪，身姿蜿蜒张扬，与古典涡旋饰纹缠绕交织，将神异怪趣与建筑装饰性融为一体。\n\n排线明暗精准晕出肌肉张力与构件体积，硬朗的建筑结构和柔媚飘带、虬曲异兽形成刚柔对冲，在静态纸面下仿佛涌动着诡谲生机，把奇诡幻想与装饰工艺的精致韵律揉合为一，尽显奇想与工巧的绝妙平衡。",[7,2796,171,619,28,5543,11984],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c79ef2c258f158f524238dbd49b668b.jpg",[],{"id":12039,"slug":12040,"title":12041,"dynasty":645,"author":76,"museum":49,"description":12042,"tags":12043,"thumbUrl":12045,"material":174,"size":175,"collection":66,"collections":12046,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288678,"attributed-to-andre-s-de-melgar-term-and-seated-satyr-grotesque-holding-shell-yi-ming-288678","attributed to Andrés de Melgar--Term and Seated Satyr - Grotesque Holding Shell","这幅素描以矫饰怪诞的幻想图景铺陈叙事，半人半兽的萨堤尔、龙形异兽与茛苕涡卷纹缠绕共生，将古典神话母题拆解重组。流畅的墨线勾画出蓬松肌理与灵动曲线，细腻排线晕出毛发褶皱的真实质感，回旋往复的线条牵拉着视觉游走，让妖异动感溢满纸面。庄严的古典形象被消解为绮丽戏谑的装饰元素，众神异兽仿佛沉溺在一场隐秘的异世界狂欢里，把装饰性与幻想精妙揉合，尽显对古典美学的破格重构。",[7,168,28,619,171,11984,10194,12044],"贝壳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F772afc931b1b140dd6bdca87ec570029.jpg",[],{"id":12048,"slug":12049,"title":12050,"dynasty":645,"author":76,"museum":49,"description":12051,"tags":12052,"thumbUrl":12055,"material":174,"size":175,"collection":66,"collections":12056,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288668,"attributed-to-francesco-allegrini-cavalry-charge-yi-ming-288668","attributed to Francesco Allegrini--Cavalry Charge","这帧速写以近乎狂放的线条，定格骑兵对冲的炽热瞬间。迅疾的笔触勾勒出奔马昂扬的轮廓，肌肉的紧绷感顺着笔锋流淌。骑手们姿态各异，或挥械猛进，或俯身控马，战马扬蹄嘶鸣的悍野冲破纸面。\n\n没有繁复的铺陈，飞白与线条的留白将战场的喧嚣藏于笔意之间，潦草却精准的落点锚定住混战里的张力，把对冲间的混乱与悍勇尽数定格，每一道线条都裹挟着奔涌的战意，将即兴捕捉到的战场野性留存，让观者仿佛能听见马蹄震地的轰鸣。",[5543,6378,7,28,12053,6422,9761,12054],"战马","战斗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b52196d2b169235bb49f998dec2b346.jpg",[],{"id":12058,"slug":12059,"title":12060,"dynasty":645,"author":76,"museum":49,"description":12061,"tags":12062,"thumbUrl":12063,"material":174,"size":175,"collection":66,"collections":12064,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288667,"attributed-to-francesco-allegrini-cavalry-charge2-yi-ming-288667","attributed to Francesco Allegrini--Cavalry Charge2","这幅速写以极具张力的线条，将骑兵冲锋的瞬间定格。奔放潦草的笔触勾勒出骑手挥臂挺矛、战马昂首腾跃的姿态，粗粝却精准地抓住了厮杀前紧绷的动感，晕开的线条揉碎边界，渲染出战场的混乱与野性。仿佛能听见马蹄轰鸣、兵刃相击的呼号，笔触带着临场的仓促与热烈，将古战场的热血喷张尽数凝固于纸面，不加修饰的原始生命力扑面而来，寥寥数笔就让观者沉浸式触碰冲锋时刻的磅礴气势，把那份悍勇粗犷的战地氛围永远封存在方寸纸间。",[7,5543,28,12053,6422,12054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4efd981ec4d289584e301f1404879fea.jpg",[],{"id":12066,"slug":12067,"title":12068,"dynasty":645,"author":76,"museum":49,"description":12069,"tags":12070,"thumbUrl":12071,"material":174,"size":175,"collection":66,"collections":12072,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288650,"attributed-to-francesco-allegrini-horse5-yi-ming-288650","attributed to Francesco Allegrini--Horse5","这匹骏马扬蹄回身，鬃尾肆意翻飞，将野性张力凝于纸面。利落洗练的排线铺陈出肌肉轮廓，肩胛、后胯的块面起伏遒劲饱满，精准勾勒出骏马蓄力迸发的体态。淡墨晕染模糊了背景地面，让视线全然聚焦于奔马雄健身姿之上。粗粝线条带着未经雕琢的生猛意气，将骏马挣脱束缚的桀骜野性尽数释放，寥寥几笔就定格下生灵蓬勃的生命力，带着速写独有的即兴鲜活质感，粗朴间满是震撼人心的力量美感。",[315,619,5543,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24c98bf4ebafb805a21c4207110035d.jpg",[],{"id":12074,"slug":12075,"title":12076,"dynasty":645,"author":76,"museum":49,"description":12077,"tags":12078,"thumbUrl":12082,"material":174,"size":175,"collection":66,"collections":12083,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288621,"jean-jacques-franc-ois-le-barbier-design-for-a-torche-re-yi-ming-288621","Jean-Jacques-François Le Barbier--Design for a 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Urn","这幅古典壁饰稿本，以棕调晕染铺陈复古质感。左侧翼女踏金球静立，神情肃穆矜贵。中央两位仕女身姿柔婉慵懒，一人支颐回望，一人背手垂首，环绕雕花古瓮，蛇形饰件盘绕瓮沿，明暗线条勾勒出衣褶垂坠的韵律，复刻出古罗马湿壁画的典雅意趣。右侧菱形饰板内，托举的女神与卷草浮雕呼应整体氛围，构图对称均衡，将神话意象与装饰美学相融，细腻笔触尽显人体柔美与装饰纹样的精巧，静穆中流淌着文艺复兴复古风格的诗意庄重。",[5543,7,11984,28,58,5545,12102,12081],"瓮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8425550542be6db46f14990aec77825f.jpg",[],{"id":12106,"slug":12107,"title":12108,"dynasty":645,"author":76,"museum":49,"description":12109,"tags":12110,"thumbUrl":12112,"material":174,"size":175,"collection":66,"collections":12113,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},288556,"after-wenceslaus-hollar-four-heads-yi-ming-288556","After Wenceslaus Hollar--Four 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肤的肌理，皆在毫尖流转出温度。没有浓墨重彩，却将街头买卖人的生计日常，凝作帧帧生动剪影——那是旧时光里，烟火气漫过街巷的模样，每一笔都在诉说平凡日子里的鲜活与韧性，让远去的市井声息，仍能透过纸页触手可及。",[23,2583,7,100,28,409,1444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec192b64a8c453d7172c27c470544ff.jpg",[],{"id":13238,"slug":13239,"title":13240,"dynasty":94,"author":76,"museum":49,"description":13241,"tags":13242,"thumbUrl":13243,"material":457,"size":66,"collection":66,"collections":13244,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},215506,"bai-miao-jie-tou-mai-mai-hua-ce-51-yi-ming-215506","白描街头买卖画册-51","素纸之上，墨线如流。长衫人物俯身案前，指尖轻触器物的瞬间，似凝住了市井的细碎时光。两张木桌错落，案上物件简素，旁侧小字隐约勾连起买卖的日常肌理。\n\n线条洗练却藏真意：衣褶的垂坠随墨线起伏，木桌纹理隐于淡笔之间，人物神态虽简笔勾勒，却透着专注与平和。无浓墨重彩，仅以素墨勾勒，便定格清代街头买卖的鲜活瞬间——仿佛能听见街角软语，嗅到旧时光里的烟火气，淡而绵长。\n\n这幅小品以无声白描，藏着最生动的生活温度，如陈茶浅啜，尽是岁月滋味。",[23,94,24,25,100,7,28,1444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb8bbac86ba425158cae83d66e395cf.jpg",[],{"id":13246,"slug":13247,"title":13248,"dynasty":94,"author":76,"museum":49,"description":13249,"tags":13250,"thumbUrl":13251,"material":457,"size":66,"collection":66,"collections":13252,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},215504,"bai-miao-jie-tou-mai-mai-hua-ce-53-yi-ming-215504","白描街头买卖画册-53","清劲白描线条勾勒出市井一角，人物憨朴踞凳，裸足细节透着烟火气。身前器物似待修整，专注姿态藏着谋生的认真。没有华彩渲染，却以简练笔触捕捉生活本真——长凳的纹理、衣褶的起伏，皆如时光刻痕。百年前街头的生计日常，在寥寥几笔中鲜活如初，每一道线条都牵起旧时光里的人间烟火，让平凡瞬间成了岁月的生动注脚。那专注的神情，似能听见街头隐约的吆喝与风声，将寻常生计绘成动人的时代切片。",[23,24,25,100,7,28,1444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f02d236b74c62cc618efbee3ee5ded9.jpg",[],{"id":13254,"slug":13255,"title":13256,"dynasty":94,"author":76,"museum":49,"description":13257,"tags":13258,"thumbUrl":13259,"material":457,"size":66,"collection":66,"collections":13260,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},215502,"bai-miao-jie-tou-mai-mai-hua-ce-54-yi-ming-215502","白描街头买卖画册-54","淡墨线条勾勒出市井商贩的鲜活身影，扁担横肩，一头悬着叠摞的精巧物件，一头垂着几架木凳，赤脚的脚步似沾着街巷尘土的温度。眉眼间带着生计奔波的从容，短衫褶皱、扁担弧度、物件错落，皆以简练笔触晕染出生活质感。无浓彩渲染，却以线的疏密、形的拙朴，将百年前街头买卖的日常片段定格。线条如行云流水，牵着观者目光走进巷陌，听那未闻的叫卖声，触那真实的人间烟火气，让静止画面流动着鲜活的市井声息。",[23,7,100,28,409,9548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36b5d488d366d6264317b341af15c51.jpg",[],{"id":13262,"slug":13263,"title":13264,"dynasty":94,"author":76,"museum":49,"description":13265,"tags":13266,"thumbUrl":13267,"material":457,"size":66,"collection":66,"collections":13268,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},215501,"bai-miao-jie-tou-mai-mai-hua-ce-55-yi-ming-215501","白描街头买卖画册-55","素纸之上，线条如行云流水，勾勒出市井买卖人的鲜活姿态。挑担横肩，一端垂挂着竹笼与器物，一端随步态微晃，衣袂褶皱间藏着生活的肌理。手中轻摇的扇柄，似在驱散暑气，又像漫不经心的等待——或许刚歇脚于巷口，或许正待主顾的招呼。\n\n白描的妙处，在于以简胜繁：无需浓墨重彩，仅用粗细疏密的线条，便撑起人物的神态与担物的质感。竹担的坚韧、衣物的柔软、笼器的镂空纹路，都在寥寥数笔中浮现。挑担的身影里，藏着旧时光的烟火气，每一道线条都在诉说街头巷尾的平凡日常，将百年前的市井热络，凝作素净却生动的瞬间。",[23,24,25,100,7,28,1444,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9c876e8acd35cf43b8d5f539be007.jpg",[],{"id":13270,"slug":13271,"title":13272,"dynasty":94,"author":76,"museum":49,"description":13273,"tags":13274,"thumbUrl":13275,"material":457,"size":66,"collection":66,"collections":13276,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},215499,"bai-miao-jie-tou-mai-mai-hua-ce-58-yi-ming-215499","白描街头买卖画册-58","素笺上，线条如缕织就市井商贩的鲜活模样。斗笠遮日，布衫轻垂，赤脚行于途的姿态里藏着生活的朴实质感。左手挽篮，篮纹细密似含烟火；右手持一圆器，轮廓婉转可触。衣褶的起伏、器物的纹理，皆以白描勾勒，无华彩却见匠心。人物眉眼间带着平和暖意，仿佛能听见旧时街头的叫卖声穿过时光漫溢开来。这幅画以极简笔墨定格平凡瞬间，让烟火气在素纸上流转，成为岁月里温柔的注脚。",[23,100,7,28,3232,121,409,1444,9548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a7309cbc382c7e539182b29c3162f8.jpg",[],{"id":13278,"slug":13279,"title":13280,"dynasty":94,"author":76,"museum":49,"description":13281,"tags":13282,"thumbUrl":13283,"material":457,"size":66,"collection":66,"collections":13284,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},215498,"bai-miao-jie-tou-mai-mai-hua-ce-60-yi-ming-215498","白描街头买卖画册-60","墨线轻描的素纸间，藏着一段鲜活的市井旧影。斗笠覆顶的商贩站姿稳健，衣袂随微风轻垂，一手扶着两侧的货箱，一手托着方盒，似正展货招揽。货箱格栅细密，铜环系带隐约，仿佛能窥见内里待售的细碎物件。白描笔触简洁却传神，人物眉眼间透着质朴与坚韧，沿街叫卖的声息似在纸页外浮动。整幅画以素雅之姿，定格清代街头的寻常一刻，烟火气在寥寥线条中漫溢，让平凡的买卖场景，成了时光里温热的剪影。",[23,7,100,28,121,1444,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb47fcbc91d9ad512a27d62422a6376.jpg",[],{"id":13286,"slug":13287,"title":13288,"dynasty":94,"author":76,"museum":49,"description":13289,"tags":13290,"thumbUrl":13291,"material":457,"size":66,"collection":66,"collections":13292,"showCount":438,"zanCount":41,"manualWeight":41,"mainColor":89},215496,"bai-miao-jie-tou-mai-mai-hua-ce-61-yi-ming-215496","白描街头买卖画册-61","清劲墨线织就市井小景，赤膊男子身形敦实，立于木桌旁，手间动作似正与买客应答。案上器皿错落，隐见食物轮廓，背景人影淡描，更衬小摊前的热闹近切。白描不施华彩，却以简练笔触塑出形神——摊主的憨朴、买卖的热络，都在线条的轻重转折里鲜活。墨线如语，轻诉旧时光里的平凡日常：阳光洒在赤膊的肩头，木桌纹路藏着岁月痕迹，路过的人或许正接过一份热食，烟火气便在这帧小画里漫开，成了触手可及的温暖旧忆。这帧小画如一扇窥旧窗，将清代街头的平凡日常凝作鲜活的岁月切片。",[23,24,25,100,7,28,1444,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febfa6fc7476104a4065d8600464bbde3.jpg",[],{"id":13294,"slug":13295,"title":13296,"dynasty":94,"author":76,"museum":49,"description":13297,"tags":13298,"thumbUrl":13299,"material":457,"size":66,"collection":66,"collectio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Greater","棕墨晕染的纸面之上，殉道时刻的庄严被定格。前景里圣徒舒展臂膀，在天使的环绕之中，从容直面死亡，肌肉贲张的侩子手正举刀落向他的颈项，侧旁的士兵漠然旁观。\n\n上方云气翻涌盘旋，簇拥着天使们自天国降临，急切前来接引殉道者的灵魂。利落遒劲的线条勾勒出衣袍褶皱，带着极强的动感张力，明暗晕染铺陈开凡世与天国的层次对比，将殉难的悲壮与神性升遐的神圣感相融，笔触里浸着浓郁的戏剧感染力，把信仰的坚毅传递得淋漓尽致。",[27,28,5545,487,7,5543,13939,13940],"圣经故事","圣雅各斩首","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a47acf5439866b3ad92ab9d052042ba.jpg",[],{"id":13944,"slug":13945,"title":13946,"dynasty":645,"author":76,"museum":49,"description":13947,"tags":13948,"thumbUrl":13951,"material":174,"size":175,"collection":66,"collections":13952,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289527,"aureliano-milani-an-old-man-on-his-deathbed-tempted-by-demons-yi-ming-289527","Aureliano Milani--An Old Man on His Deathbed Tempted by Demons","画面以逼仄卧房承载了临终前的精神炼狱。狞恶恶灵将濒死老人团团围住，有的俯身拉扯老人躯体，有的挥鞭恫吓，角落小魔怪煽风造势，床侧邪祟探爪攫取，连天花板都隐现魅影。\n作者以利落排线铺陈明暗，粗粝线条刻画出恶魔扭曲形貌，阴影将空间揉成压抑囚笼，把信徒临终前的精神拉扯具象到极致，让观者直面邪祟与神性的激烈对峙，将濒死之际的恐惧、挣扎全盘铺展，沉郁诡谲的氛围浸透纸面，直白诉说着灵肉博弈的终极试炼。",[5543,7,167,27,9883,170,13949,13950],"病床","室内","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36337968697098e1e262b560cbab1941.jpg",[],{"id":13954,"slug":13955,"title":13956,"dynasty":645,"author":76,"museum":49,"description":13957,"tags":13958,"thumbUrl":13961,"material":174,"size":175,"collection":66,"collections":13962,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289524,"aurelio-lomi-saint-hyacinth-receiving-the-dominican-habit-yi-ming-289524","Aurelio Lomi--Saint Hyacinth Receiving the Dominican Habit","这幅素描以棕褐笔线铺陈，打稿网格可见创作时的严谨构思。画面下方是仪式核心，主教抬手肃穆授衣，圣徒躬身垂首，虔敬神态顺着沉坠的衣褶漫溢而出，围观者或凝神瞩目、或私语侧望，神态各有章法。\n云端的天使环伺环绕，灵动舒展的身姿与下方的庄重氛围形成柔刚对冲，角落嬉闹的小天使，为这场神圣晕染出鲜活暖意。\n线条兼具力量感与柔润度，精准勾勒出人物的体态情绪，将宗教仪式的庄严肃穆，与天国的轻盈灵动自然糅合，在素朴的稿纸上晕开虔诚又不失温度的氛围感。",[27,28,7,5543,11951,5545,13959,2546,13960],"神职人员","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf256756d9c52e15306495e73c6da00.jpg",[],{"id":13964,"slug":13965,"title":13966,"dynasty":645,"author":76,"museum":49,"description":13967,"tags":13968,"thumbUrl":13969,"material":174,"size":175,"collection":66,"collections":13970,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289513,"bartholomeus-spranger-diana-and-actaeon-yi-ming-289513","Bartholomeus Spranger--Diana and Actaeon","以淡褐与浓墨线条铺陈画面，虚实错落。嶙峋崖壁将场景分层，仙灵与狩猎者错杂其间，众神舒展肢体，或腾跃空中，或纵情歌舞，野性欢愉冲破纸面。\n\n线条狂放又精准，寥寥几笔便勾勒出肌肉张力与衣袂飘动感，未作过多修饰，却将林间狂欢的迷乱氛围尽致挥洒。浅晕色调晕染出朦胧山野底色，让众神的肆意灵动愈发鲜活，潦草笔触里留存即兴创作的鲜活张力，将这场神话邂逅的迷狂瞬间永远定格。",[5543,7,167,12090,11910,4286,5545,423,10419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04060903bc6d4b37ff57482a46d02328.jpg",[],{"id":13972,"slug":13973,"title":13974,"dynasty":645,"author":76,"museum":49,"description":13975,"tags":13976,"thumbUrl":13980,"material":174,"size":175,"collection":66,"collections":13981,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289510,"bartolome-carducho-st-jerome-penitent-recto-accounts-verso-yi-ming-289510","Bartolomé Carducho--St. Jerome Penitent (recto); Accounts (verso)","枯瘦的苦修者垂立林下，骨节毕现的躯体浸满忏悔的沉郁，左手托住骷髅，右手垂落器物，隐在浓墨晕开的树荫里。远景牧群淡如烟痕，右侧的小人仓皇趋走，淡墨晕染的林野朦胧漫漶。\n\n钢笔淡墨的笔触粗粝松弛，枯笔勾画出苦修者的清癯虔诚，明暗晕染带着即兴的张力。潦草却精准的笔意，将苦修的孤寂揉入荒疏野境，未完成的随性笔触里藏着克制的悲悯，把虔敬的忏悔和荒野的沉寂融为一体，肃穆的苦修氛围跃然纸上。",[6594,28,7,5543,13977,13978,13979,2546],"忏悔","荒野","羊群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d7177b1bcf49deb825f274f463dba4.jpg",[],{"id":13983,"slug":13984,"title":13985,"dynasty":645,"author":76,"museum":49,"description":13986,"tags":13987,"thumbUrl":13989,"material":174,"size":175,"collection":66,"collections":13990,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289509,"bartolome-carducho-the-cornation-of-esther-by-ahasuerus-yi-ming-289509","Bartolomé Carducho--The Cornation of Esther by Ahasuerus","这幅素描以网格起稿，精准锚定群像布局。左侧男子背身静立，将视线引向画面中心的加冕仪式：施冕者俯身垂首，动作庄重克制，跪坐的受冕者恭顺低垂头颅，虔诚毕现。右侧观礼人群神态各殊，或凝神注目仪式全程，或交握双手流露敬畏。细密排线勾勒衣物褶皱，利落线条衬出织物厚重质感，明暗晕染让群像层次分明。作为稿本，未加过多修饰却精准捕捉典仪的肃穆神性，潦草却鲜活的笔触，将这场仪式的庄严氛围尽数铺展，让观者仿佛亲临庄重时刻。",[5543,7,167,6594,13988,13939,13960,10194],"加冕仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad8cac3cb958fcc52a1a40beb71377d7.jpg",[],{"id":13992,"slug":13993,"title":13994,"dynasty":645,"author":76,"museum":49,"description":13995,"tags":13996,"thumbUrl":13999,"material":174,"size":175,"collection":66,"collections":14000,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289506,"battista-franco-drawing-of-cartouche-with-bearded-man-left-young-man-crowned-yi-ming-289506","Battista Franco--Drawing of Cartouche with Bearded Man Left, Young man crowned","这幅素描是兼具装饰性与人文意趣的饰框设计稿，利落精准的排线勾勒出饱满生动的形象。左侧虬髯壮汉身形孔武，带着古朴的劳作粗粝质感，右侧束发戎装青年英挺威严，带着古典武士的冷峻气场。\n\n上方涡卷萦绕的留白饰框，由灵动的小天使簇拥环绕，卷草纹章与孩童俏皮的姿态相映成趣。明暗笔触细腻交代出肌肉张力与织物褶皱，在庄重的古典人文底色中，糅合出矫饰主义的华丽动感，留白区域预留出填充纹章铭文的空间，手稿随性的线条里藏着精巧的构图巧思，将神话意趣与装饰美学相融，尽显复古雅致的设计匠心。",[7,823,167,12015,13997,11971,4819,13998],"纹章","老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb4ab7e311e860ff297a0b583f2b4f1.jpg",[],{"id":14002,"slug":14003,"title":14004,"dynasty":645,"author":76,"museum":49,"description":14005,"tags":14006,"thumbUrl":14011,"material":174,"size":175,"collection":66,"collections":14012,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289503,"battista-franco-the-unrepentant-thief-on-the-cross-study-of-a-child-s-head-yi-ming-289503","Battista Franco--The Unrepentant Thief on the Cross, Study of a Child's Head","炭笔排线精准利落，顺着肌肉走势勾勒出盗贼紧绷的躯体，被缚手臂拉伸的线条带着濒死仍未磨灭的桀骜，每一寸起伏的肌理都涌动着不甘挣扎的气力。粗粝随性的衣袍褶皱，与光洁紧实的躯干形成冷暖对照，烘托出粗莽的原始生命力。\n\n左下角孩童头像草稿寥寥数笔却鲜活灵动，稚拙神态和主形象的悍劲形成奇妙对冲，让画面多了一丝松弛的余韵。明暗排布精准撑起人体体积，潦草笔触藏着极强的造型控制力，将未悔改盗贼的倔强与野性封存在泛黄纸面中，尽显古典人体写生的写实造诣。",[5543,167,8664,14007,14008,14009,14010,7],"基督教","十字架","男性人体","孩童头像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5b446a4de65c4c72540ef094452d0b3.jpg",[],{"id":14014,"slug":14015,"title":14016,"dynasty":645,"author":76,"museum":49,"description":14017,"tags":14018,"thumbUrl":14020,"material":174,"size":175,"collection":66,"collections":14021,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289496,"bernard-van-orley-the-resurrection-yi-ming-289496","Bernard van Orley--The Resurrection","画面以细密的蚀刻线条铺陈神迹，复活的基督周身圣光迸发，右手高举昭示新生，左手紧握十字宝杖踏于石间。下方守卫的士兵们惊骇溃散，狼狈的姿态与基督的沉静庄严形成强烈反差，肌肉的虬结线条、衣袍褶皱的凌厉刻画，尽显躯体张力与慌乱情绪。\n左侧小景补绘守墓士兵目击亡灵显现的片段，补全复活叙事的侧面视角。整幅作品以冷峻写实的笔法，借明暗层次烘托出超自然的神圣氛围，将宗教神迹的威严与凡人面对神性时的惶惑，细腻铺陈在刀笔线条之间，尽显宗教版画的叙事张力与人文写实质感。",[6594,2543,7,14019,2546,10414,188,487],"耶稣复活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff20b438980189013fb7e376ba2eff79c.jpg",[],{"id":14023,"slug":14024,"title":14025,"dynasty":645,"author":76,"museum":49,"description":14026,"tags":14027,"thumbUrl":14029,"material":174,"size":175,"collection":66,"collections":14030,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289494,"bernardino-poccetti-saint-antoninus-kneeling-before-the-crucifix-yi-ming-289494","Bernardino Poccetti--Saint Antoninus Kneeling before the Crucifix","这幅素描以克制却灵动的线条铺陈教堂内的虔敬图景。穹顶之下的礼拜堂中，左侧信众列队垂首静立，姿态沉凝庄重，中央跪伏的身影向着祭台苦像全心祷祝，简练笔触将敬慕与赤诚传递尽致。右侧妇孺依偎观望，柔缓的线条晕开寻常信众的平和安然。作品以疏密有致的排线交代空间纵深，利落轮廓清晰区分群像与祭台陈设，未以繁复敷色修饰，仅凭借明暗层次，便烘托出圣堂静谧庄严的氛围，将宗教场域的肃穆虔敬藏于每一处线条起落，尽显素描语言叙事传情的力量。",[27,7,5543,167,14008,14028,10204,5930,2546],"跪拜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34839885bd23d52532b53256e5a94bf9.jpg",[],{"id":14032,"slug":14033,"title":14034,"dynasty":645,"author":76,"museum":49,"description":14035,"tags":14036,"thumbUrl":14041,"material":174,"size":175,"collection":66,"collections":14042,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289491,"bernardo-bellotto-padua-from-the-east-with-san-francesco-and-the-salone-yi-ming-289491","Bernardo Bellotto--Padua from the East, with San Francesco and the Salone","以松弛简练的钢笔线条铺展城郊全景，近坡的小人物与野趣植被开篇，晕开日常烟火气。错落的屋舍顺着地势铺陈，教堂尖顶利落刺破天际，撑起画面骨架。空阔的天际间，云絮以疏淡线条漫卷，留白处烘托出老城舒展松弛的氛围。\n\n没有繁复晕染，仅以线条疏密区分建筑体量与草木层次，将漫步途中偶遇的片刻风景随性定格，质朴留存下老城平缓慵懒的日常质感，带着随手速写的鲜活意趣，把宁静松弛的老城烟火藏进每一笔线条中。",[7,5543,14037,14038,649,14039,12569,28,14040],"城镇风景","宗教建筑","天空","郊外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9dd0608b18d1940cced02dd4d44b00.jpg",[],{"id":14044,"slug":14045,"title":14046,"dynasty":645,"author":76,"museum":49,"description":14047,"tags":14048,"thumbUrl":14051,"material":174,"size":175,"collection":66,"collections":14052,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289485,"bertoia-god-the-father-with-four-angels-yi-ming-289485","Bertoia--God the Father with Four Angels","这幅素描以穹顶构图铺陈天界图景，棕褐笔调晕染出朦胧神性。天父居于画面中心，苍劲排线刻画出衣褶的厚重垂坠感，蓬松卷曲的须发烘托出威仪庄重的神性气场。环绕的天使姿态各异，灵动细线勾勒出孩童躯体的软嫩轻盈，与天父的沉郁厚重形成鲜明反差，或虔诚静立、或携持圣物穿梭云间。朦胧晕染的云雾将众神托举，模糊了天界边界，晕出缥缈圣洁的氛围感。画面以线造型，虚实共生，粗粝排线与细腻勾勒并存，既保留宗教题材的肃穆感，又借灵动笔意揉入浪漫柔美，神性与天真融为一体，尽显古典宗教创作的张力与氛围感。",[6594,167,7,5543,14049,5545,1716,14050],"圣父","神话题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F001467e632a483037b47413c94eb5504.jpg",[],{"id":14054,"slug":14055,"title":14056,"dynasty":645,"author":76,"museum":49,"description":14057,"tags":14058,"thumbUrl":14060,"material":174,"size":175,"collection":66,"collections":14061,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289483,"biagio-pupini-the-transfiguration-after-raphael-yi-ming-289483","Biagio Pupini--The Transfiguration, after Raphael","画面以上下分层铺陈神迹时刻，上方圣人身姿舒展，衣褶线条沉厚肃穆，神性的威严感呼之欲出。下方凡人信众动态各异，或跪拜惶惑，或交头接耳，满是直面神迹的震撼无措。\n\n创作者以细腻排线晕染明暗，勾勒出凡俗与神圣的鲜明界限，把显圣瞬间的张力藏在笔锋之中，复刻出原作的庄严悲悯。明暗对比拉扯出超脱的氛围感，将信仰降临的悸动定格，让观者仿佛能窥见那一刻的敬畏与震颤。",[6594,167,5543,7,52,2546,14059],"基督变容","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb5715511ef148606aa826d25de2732.jpg",[],{"id":14063,"slug":14064,"title":14065,"dynasty":645,"author":76,"museum":49,"description":14066,"tags":14067,"thumbUrl":14071,"material":174,"size":175,"collection":66,"collections":14072,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289476,"canaletto-man-smoking-a-pipe-recto-standing-man-and-two-studies-yi-ming-289476","Canaletto--Man Smoking a Pipe (recto); Standing Man and Two Studies","利落的棕褐线条精准捕捉住抽烟男子的松弛神态，简练笔意勾勒出敦实憨厚的体态。画家以随性朴拙的笔法铺陈服饰细节，领口袖口的排扣、腰间垂饰都带着市井日常的鲜活质感，男子垂手叼烟的姿态闲适自然，仿佛正沉浸在片刻休憩之中。寥寥数笔便将人物形神尽数拿捏，带着写生速写独有的灵动意趣，以极简的笔触定格下平凡日常的鲜活氛围，质朴却满溢着烟火生活的生动温度，尽显速写作画捕捉瞬间情态的独特魅力。",[28,7,5543,14068,14069,121,14070],"烟斗","男子","西洋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08d4e8018650a43fa9094dbcd14e3a9b.jpg",[],{"id":14074,"slug":14075,"title":14076,"dynasty":645,"author":76,"museum":49,"description":14077,"tags":14078,"thumbUrl":14081,"material":174,"size":175,"collection":66,"collections":14082,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289470,"carlo-galli-bibiena-foreshortening-of-a-library-yi-ming-289470","Carlo Galli Bibiena--Foreshortening of a Library","这幅透视图以精妙的短缩技法，将古典建筑与藏书空间融为一体，涡卷柱头的柱式与层叠拱顶，同排排书脊错落交织，模糊了建筑构件与书架的边界，打造出宛如迷宫的书之圣殿。\n\n利落精细的线条勾勒出穹顶弧度与空间纵深，明暗晕染区分出结构层次，让光影顺着拱券流淌，赋予这方空间肃穆又华丽的巴洛克气质，仿佛踏入其中便会被无垠书海裹挟，尽显复古奇幻的藏书秘境氛围。",[365,7,823,14079,14080,29,5543],"图书馆","古典建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe909e0862682b80e6958f5fefc5e2731.jpg",[],{"id":14084,"slug":14085,"title":14086,"dynasty":645,"author":76,"museum":49,"description":14087,"tags":14088,"thumbUrl":14090,"material":174,"size":175,"collection":66,"collections":14091,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289323,"fra-bartolomeo-the-annunciation-recto-faint-view-of-buildings-yi-ming-289323","Fra Bartolomeo--The Annunciation (recto); Faint View of Buildings","这幅素描以灵动松弛的笔调铺陈，左侧跪立的天使身形舒展，衣褶线条疏密交错，精准勾勒出布料的垂坠与张力，将虔诚恭谨的神态藏在简练的轮廓里。右侧仅以浅淡虚浮的线条勾勒出模糊的身影，带着创作构思时的未定质感。大面积留白让画面呼吸感十足，虚实之间晕开静谧神圣的氛围。潦草却精准的笔痕，留存下创作构思的鲜活瞬间，未完成的松弛感与宗教题材的肃穆感相融，用朴素的素描语言，传递出动人的神性温度，将灵感乍现的刹那永久定格。",[27,28,7,5543,14089],"天使报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6791104af8e7a0b9840936f364c73a8.jpg",[],{"id":14093,"slug":14094,"title":14095,"dynasty":645,"author":76,"museum":49,"description":14096,"tags":14097,"thumbUrl":14099,"material":174,"size":175,"collection":66,"collections":14100,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289319,"francesco-allegrini-seated-female-nude-and-dancing-female-figure-yi-ming-289319","Francesco Allegrini--Seated Female Nude and Dancing Female Figure","这幅速写以灵动奔放的线条捕捉两个女性的迥异姿态，左侧裸女沉静舒展，肌肉的起伏轮廓在虚实交错的线条中自然晕开，带着松弛柔和的沉静气质。右侧舞者则热烈外放，飞扬的衣褶以顿挫的排线勾勒，肢体扭转腾跃的动感呼之欲出。\n\n创作者以高度凝练的笔触精准拿捏人体动态张力，寥寥数笔便将两个女性的神韵全然托出，随性的草稿痕迹带着即兴创作的鲜活质感，粗粝纸面与随性笔触碰撞出质朴的生命力，把转瞬即逝的姿态定格为永恒的视觉悸动。",[167,7,5543,9899,11910,14098],"舞蹈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60183fe2d9899b674a6f0749f9152d36.jpg",[],{"id":14102,"slug":14103,"title":14104,"dynasty":645,"author":76,"museum":49,"description":14105,"tags":14106,"thumbUrl":14115,"material":174,"size":175,"collection":66,"collections":14116,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289313,"master-of-the-months-of-lucas-the-month-of-june-shearing-sheep-yi-ming-289313","Master of the Months of Lucas--The Month of June, Shearing Sheep","这幅素描以全景铺陈开仲夏乡野日常，朴拙灵动的线条勾勒出鲜活的剪羊毛图景。前景里，妇人闲坐看顾嬉闹的孩童，提刃女子正预备为羊只剪毛，身旁牧人稳稳按住躁动的羊。右侧男女携着蔬果缓步而来，将市井烟火气揉进农忙图景中。\n\n远处村舍错落，更多农人或俯身劳作，或围坐闲话，把六月乡村松弛又忙碌的氛围尽数铺展。没有繁复晕染，仅以简练排线定格人物情态与乡野细节，将乡野仲夏的蓬勃生机与质朴温情妥帖留存，让人仿佛置身蝉鸣阵阵的夏日乡村，触摸汗水裹挟笑语的鲜活日常。",[7,5543,14107,14108,14109,14110,532,14111,14112,14113,14114,823],"乡村","农舍","绵羊","农妇","农夫","剪羊毛","农事","田园生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe380129b795024e222589a25e68fde16.jpg",[],{"id":14118,"slug":14119,"title":14120,"dynasty":645,"author":76,"museum":49,"description":14121,"tags":14122,"thumbUrl":14123,"material":174,"size":175,"collection":66,"collections":14124,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289308,"melchior-lorck-a-woman-from-altmark-yi-ming-289308","Melchior Lorck--A Woman from Altmark","以纯澈的线条描摹女子背影，挺括的头巾带着北方民俗的拘谨规整，勾勒出旧时代女性的典型妆束。细密排线顺着长裙垂坠起伏，精准铺陈衣物质感，将布料褶皱的松弛与服帖尽数展现。\n她身侧悬垂的串钥，暗合着主妇持家的身份意涵，沉静背影里藏着内敛克制的市井日常情态。笔触洗练克制，全无冗余修饰，以写实视角记录下平凡女性的端庄剪影，带着版画特有的朴素纪实美感，将时代烟火气凝刻在纸面之上。",[28,9899,121,7,2543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadcdb45f5975e1f5fef86b1b226083ab.jpg",[],{"id":14126,"slug":14127,"title":14128,"dynasty":645,"author":76,"museum":49,"description":14129,"tags":14130,"thumbUrl":14133,"material":174,"size":175,"collection":66,"collections":14134,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289305,"michel-corneille-the-younger-figure-studies-yi-ming-289305","Michel Corneille the Younger--Figure Studies","这幅群像速写以奔放灵动的线条铺陈，将众多人物的情态定格于纸面。创作者以极具松弛感的笔触，捕捉下不同形象的动态张力：上层人物带着古典装束的庄严静穆，抬手、伫立间流露仪式感；下方形象则更具动感，舒展的肢体传递出鲜活的情绪起伏。\n\n顿挫有致的线条利落勾勒衣褶起伏，无需繁复修饰就精准交代了人体的姿态节奏，足见对形体极强的把控力。整幅作品带着草稿的随性鲜活，将戏剧化的群像瞬间凝于纸面，潦草却精准的笔触，留存下捕捉灵感时刻的敏锐，让观者能触摸到这些形象背后的鲜活气场。",[7,167,13960,6378,14131,14132],"人物习作","舞蹈场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d08330a9e5cf600de6556d1c5267cc.jpg",[],{"id":14136,"slug":14137,"title":14138,"dynasty":645,"author":76,"museum":49,"description":14139,"tags":14140,"thumbUrl":14142,"material":174,"size":175,"collection":66,"collections":14143,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289302,"michelangelo-buonarroti-design-for-the-tomb-of-pope-julius-yi-ming-289302","Michelangelo Buonarroti--Design for the Tomb of Pope Julius","整体严整对称，线条利落凝练，勾勒出庄重静穆的纪念性空间。顶部穹顶光晕裹挟圣母子，晕染出神圣氛围感，两侧立像身姿典雅，稳稳承托上层神域氛围。中层以陵墓瓮棺为核心，环绕的天使烘托出追思的哀荣感，角落拟人坐像沉敛肃穆，铺陈出厚重的纪念氛围。下层壁龛与浮雕细节繁丽却不失克制，将人文意趣与神性纪念精妙糅合，用精准笔触平衡建筑秩序感与雕塑张力，尽显肃穆典雅的古典美学底蕴。",[7,27,28,487,14141,8264,12080],"陵墓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69c3d86d775b12d16e8a2d02ce04fd7.jpg",[],{"id":14145,"slug":14146,"title":14147,"dynasty":645,"author":76,"museum":49,"description":14148,"tags":14149,"thumbUrl":14153,"material":174,"size":175,"collection":66,"collections":14154,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289299,"orazio-samacchini-study-for-the-decoration-of-a-vault-yi-ming-289299","Orazio Samacchini--Study for the Decoration of a Vault","以十字架构承载装饰构想，灰纸之上棕色调笔晕开柔和明暗，勾勒出浮雕般的立体层次。左侧沉思的半裸男子肌肉起伏自然，衣褶垂坠写实；右侧执笔文士姿态舒展，似在镌刻人文哲思。顶部卧兽配搭涡卷雕饰，柱头人面浮雕与下方顽童相互呼应，尽显古典装饰的华丽张力。草稿自带松弛随性的质感，却精准把控了穹顶装饰的庄重平衡，将人文主题与装饰意趣完美糅合，尽显古典装饰艺术的典雅格调。",[5543,14150,8664,28,14151,12081,14152,7],"装饰画稿","兽类","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210592111cb3b464d5fa5aa155f34378.jpg",[],{"id":14156,"slug":14157,"title":14158,"dynasty":645,"author":76,"museum":49,"description":14159,"tags":14160,"thumbUrl":14161,"material":174,"size":175,"collection":66,"collections":14162,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289296,"palma-il-giovane-penitent-woman-anointing-the-feet-of-christ-yi-ming-289296","Palma Il Giovane--Penitent Woman Anointing the Feet of Christ","奔放随性的线条捕捉着场景的戏剧张力，端坐的基督周身晕着轻浅圣光，神色沉静安然。对面的众人姿态紧绷躁动，或是厉声诘问，或是愤然争执，将质疑的情绪拉满。左侧俯伏的女信徒低垂身形，将全然的虔敬凝于动作之中，与场域里的喧哗形成强烈对照。\n\n简练立柱划分出开放式空间，背景错落的人物剪影烘托出拥挤的临场氛围。没有精雕细琢的细节，潦草却精准的笔触将叙事的情绪全然释放，带着速写独有的鲜活生动，将虔敬与质疑的拉扯冲突定格在刹那之间，让这桩圣典的情绪张力跃然纸面。",[6594,167,7,5543,6378,14007,5930,13960,13977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b52b53aad928ed4144de6da115321eb.jpg",[],{"id":14164,"slug":14165,"title":14166,"dynasty":645,"author":76,"museum":49,"description":14167,"tags":14168,"thumbUrl":14170,"material":174,"size":175,"collection":66,"collections":14171,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289288,"parmigianino-design-for-a-sepulchral-monument-of-a-youth-yi-ming-289288","Parmigianino--Design for a Sepulchral Monument of a Youth","这幅设计稿以素描淡彩铺就，线条柔婉灵动，带着松弛的韵律感。休憩的少年居于画面核心，上方圣母子安坐花环拱门下，环绕的小爱神或持杖守护、或依偎侍奉，将神圣与悼亡的氛围相融。柔美的花环拱门消解了死亡的肃穆，下方碑铭两侧，顽童托举的细节为哀戚晕开一丝天真鲜活。整体构图层次分明，虚实相生，把对逝者的追思包裹在古典诗意的宗教意象中，笔触浸满温柔悲悯，让丧葬设计褪去冰冷底色，晕开脉脉温情，尽显古典美学里的悼怀诗意。",[5543,7,28,532,27,14169,14070],"墓葬纪念碑设计","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee18966e7f8f3f13bba9f68505af3684.jpg",[],{"id":14173,"slug":14174,"title":14175,"dynasty":645,"author":76,"museum":49,"description":14176,"tags":14177,"thumbUrl":14179,"material":174,"size":175,"collection":66,"collections":14180,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289287,"parmigianino-nine-studies-of-the-moses-in-the-steccata-yi-ming-289287","Parmigianino--Nine Studies of the Moses in the Steccata","这九幅稿本以饱满张力刻画摩西形象，每一尊都姿态各异，或扛举碑刻、拧身振臂，贲张的肌肉在棕褐墨色中跃动，揉合神性威严与凡人力感。\n作者以晕染层次区分光影，潦草却精准的排线顺着躯干走势铺陈，勾勒衣褶褶皱起伏，将肢体昂扬的瞬间张力定格。作为大型宗教创作的推敲草图，每一幅都反复打磨神性形象的精神气场，让律法的庄严顺着昂扬的肢体传递，将高踞神坛的宗教人物化为鲜活有力的具象。带着未完成的粗粝质感，却藏着最蓬勃的创作灵光，把宗教叙事的肃穆揉入充满力量感的动态中。",[27,167,5543,7,14178,2546],"习作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e1892f329a5c0c881aa84e0f5b177f4.jpg",[],{"id":14182,"slug":14183,"title":14184,"dynasty":645,"author":76,"museum":49,"description":14185,"tags":14186,"thumbUrl":14189,"material":174,"size":175,"collection":66,"collections":14190,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289286,"parrasio-micheli-an-allegory-of-learning-yi-ming-289286","Parrasio Micheli--An Allegory of Learning","拱形画幅分割出上下两段叙事，借粗粝灵动的棕褐墨线铺陈学习的完整脉络。上层古典残柱旁，人群或跋涉或协作，动态舒展而充满力量，仿佛在演绎知识萌芽前的开拓与传承的漫漫长路。\n\n下层围坐的众人之间，有人展卷宣讲，侧耳聆听的身影神态各异，将求知的肃穆热忱晕染开来。没有繁复修饰，奔放的线条精准捕捉人物的神态动势，即兴的笔触带着蓬勃的古典人文生机，将从开荒奠基到传习授学的求索之旅，藏在每一道酣畅的勾勒中，尽显求知的庄重与热忱。",[5543,7,28,10419,14187,14188,8060],"寓言","讲学","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb180c9f739b092444c736d25f46134d1.jpg",[],{"id":14192,"slug":14193,"title":14194,"dynasty":645,"author":76,"museum":49,"description":14195,"tags":14196,"thumbUrl":14199,"material":174,"size":175,"collection":66,"collections":14200,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289283,"peter-flotner-perspectival-drawing-of-a-cradle-yi-ming-289283","Peter Flotner--Perspectival Drawing of a Cradle","这是一幅浸着文艺复兴雅致意趣的设计手稿，利落工整的线条精准勾勒出摇篮的立体透视结构。涡卷造型的底座柔婉舒展，中和了木质构件的硬朗，立柱与围栏上点缀的雕花饰件，带着庄重又精巧的古典气质，侧面的纪年铭文又添上复古厚重感。淡彩晕染浅施其上，让木料的层次与明暗自然浮现，将育婴的实用器物赋予了宫廷化的美学格调，把工艺设计与古典审美巧妙融合，尽显当时家具设计的考究意趣。",[409,1444,14197,7,54,14198,708],"摇篮","透视画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd243fe72616d7b217f57a99aa18223a.jpg",[],{"id":14202,"slug":14203,"title":14204,"dynasty":645,"author":76,"museum":49,"description":14205,"tags":14206,"thumbUrl":14207,"material":174,"size":175,"collection":66,"collections":14208,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289281,"philip-van-den-bossche-rugged-wooded-river-landscape-yi-ming-289281","Philip van den Bossche--Rugged Wooded River Landscape","近景苍劲古木虬曲扎根崖石，三位行人衣袂飘然，驻足低语间衬出林野幽寂。画师以疏密错落的排线铺陈光影，复刻出林木的婆娑层次与山石的粗糙肌理。\n\n中景崖岸蜿蜒衔接着河谷村落，屋舍隐桥错落嵌入氤氲山霭，将深林的荒疏与村居的烟火柔和衔接。淡笔留白晕染出空濛的郊野雾气，让山野层次愈发悠远。\n\n笔致简淡却层次丰盈，将北方乡野的清旷朴拙尽数藏于线条褶皱里，仿佛能让人踏入这幅画，静享漫游林麓的悠然隐逸之趣。",[5543,7,60,4286,1737,423,28,372,2573,12091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff910edd277d9b45df0dad6f89d46302f.jpg",[],{"id":14210,"slug":14211,"title":14212,"dynasty":645,"author":76,"museum":49,"description":14213,"tags":14214,"thumbUrl":14218,"material":174,"size":175,"collection":66,"collections":14219,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289278,"pier-francesco-mola-artists-drawing-and-painting-in-a-studio-yi-ming-289278","Pier Francesco Mola--Artists Drawing and Painting in a Studio","这幅速写以灵动松弛的线条铺陈开画室日常。左侧画师们或立或坐，有人架着画板俯身勾勒，有人席地执笔对照描摹，人人都沉浸在创作的沉静热忱之中。右侧画师们围在雕塑与模特身侧，从不同角度捕捉形体美感。\n\n墨色浓淡区分出空间层次，寥寥数笔便将人物的姿态神情勾勒传神，褪去了繁复修饰，以最质朴的笔触定格了艺术创作现场的真实氛围，将古典画室里匠人沉浸投入的创作日常生动还原，带着朴素而动人心的写实温度。",[28,5543,6378,14215,14216,7,14217],"画室","写生","绘画场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3472bd4de998d73183f031352adf6c72.jpg",[],{"id":14221,"slug":14222,"title":14223,"dynasty":645,"author":76,"museum":49,"description":14224,"tags":14225,"thumbUrl":14226,"material":174,"size":175,"collection":66,"collections":14227,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289266,"pietro-roselli-the-apotheosis-of-saint-mark-yi-ming-289266","Pietro Roselli--The Apotheosis of Saint Mark","奔放淋漓的墨线即兴勾勒，短促排线晕染明暗层次，潦草却精准地锚定了升腾的动感。云端之上仙众环拥，圣徒在光雾中徐徐升举，下方小天使与灵怪接引呼应，整幅画面浸在狂喜飞升的韵律之中。\n\n未加修饰的速写笔触，将巴洛克式戏剧张力揉入宗教主题，随性的线条间满是奔涌的创作灵感，以未完成的松弛感，完整传递出超凡升遐的神圣震撼，仿佛将那瞬的神性狂喜定格在纸面。",[27,28,7,5545,8664,12090],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b11a65430b92cf025fd5629f7b22ea.jpg",[],{"id":14229,"slug":14230,"title":14231,"dynasty":645,"author":76,"museum":49,"description":14232,"tags":14233,"thumbUrl":14237,"material":174,"size":175,"collection":66,"collections":14238,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":70},289256,"pietro-da-cortona-study-for-the-age-of-bronze2-yi-ming-289256","Pietro da Cortona--Study for the Age of Bronze2","这幅习作以奔放洒脱的素描线条，铺陈出充满张力的古典史诗场景。高台之上的王者伸臂宣谕，威严毕现，阶前将士躬身领命，紧绷的肌肉与利落的甲胄线条尽显勇武。周遭攒动的人群与散落的残躯兵器，晕染出肃杀厚重的氛围。\n\n创作者以建筑分割画面空间，将视线牢牢锚定在君臣对答的中心场景，潦草却精准的排线，勾勒出衣料褶皱的垂坠感与躯体的力量感，每一笔都饱含情绪，将权力交锋的磅礴气势凝于纸面，尽显古典叙事的雄浑气魄。",[5543,167,7115,7,823,14234,14235,14236,4819,14080,9098],"宫廷场景","人群","贵族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74e52c08d4912ab9508b95890d5579a.jpg",[],{"id":14240,"slug":14241,"title":14242,"dynasty":645,"author":76,"museum":49,"description":14243,"tags":14244,"thumbUrl":14248,"material":174,"size":175,"collection":66,"collections":14249,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289250,"placido-costanzi-unidentified-subject-yi-ming-289250","Placido Costanzi--Unidentified Subject","这幅八角形构图的素描以浅淡排线在灰晕基底上铺陈，用克制的明暗勾勒出充满叙事感的古典群像。左侧二人侧身低语，神态暗藏机锋，右侧高台之上的互动带着庄重肃穆的仪式感，人物动态错落有致。纤细走线精准捕捉人物神态与肢体张力，虚实留白巧妙拓展空间层次，整体氛围沉郁内敛，将故事性藏在细腻线条节奏中，以极简笔触铺陈出饱满戏剧张力，尽显古典创作特有的庄重含蓄。",[5543,167,7,13960,5930,14245,14246,14247],"八角构图","西洋绘画","古典题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13557aa7dcba0f32940e4d514bf1062b.jpg",[],{"id":14251,"slug":14252,"title":14253,"dynasty":645,"author":76,"museum":49,"description":14254,"tags":14255,"thumbUrl":14259,"material":174,"size":175,"collection":66,"collections":14260,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289249,"placido-costanzi-young-cleric-in-a-cope-holding-a-book-yi-ming-289249","Placido Costanzi--Young Cleric in a Cope Holding a Book","这幅素描以灵动的炭笔线条定格住了信仰的炽热瞬间，苦修修士仰头祈望，眉骨微蹙、下颌扬起，将虔诚到近乎痴狂的动容尽数写在面庞之上。\n\n衣褶的处理极具表现力，粗粝排线追随着织物垂坠走势，堆叠出厚重体积感，软薄袍服的褶皱与人物紧绷的瘦削身形形成强烈对比，将苦修的肃穆感悄然烘托。虚实变化的线条勾勒出扶台手臂绷紧的力道，赤足踏地更添沉静的苦修氛围。淡描的明暗层次晕染出沉静饱满的情绪张力，将神思遨游的信徒形象刻画得入木三分。",[5543,167,8664,13959,7,14256,14257,14258],"祭袍","仰视","虔诚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe808ce647db220359d76d8e7652b4ca9.jpg",[],{"id":14262,"slug":14263,"title":14264,"dynasty":645,"author":76,"museum":49,"description":14265,"tags":14266,"thumbUrl":14267,"material":174,"size":175,"collection":66,"collections":14268,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289240,"raphael-lucretia-yi-ming-289240","Raphael--Lucretia","以红棕粉笔落笔，线条循着躯体的柔缓起伏游走，精准勾勒出女性柔和又充满力量感的体态。袒露的肩颈与半掩的胸腹，带着古典理想主义的克制优雅。人物双臂舒展，头微侧仰，神情沉静凛然，身姿挺拔舒展，带着庄重肃穆的气韵。\n\n层叠衣褶疏密有致，粉笔线条利落刻画出织物垂坠的重量感，同时烘托出舒展的动势。整幅作品以纯粹的素描语言，将古典静穆气质与鲜活的形体韵律相融，尽显古典审美的典雅张力。",[5543,167,7,58,12534],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa55d862dbe1a2cae14ca2d3d7a095f9b.jpg",[],{"id":14270,"slug":14271,"title":14272,"dynasty":645,"author":76,"museum":49,"description":14273,"tags":14274,"thumbUrl":14277,"material":174,"size":175,"collection":66,"collections":14278,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289236,"rembrandt-elsje-christiaens-hanging-on-a-gibbet-yi-ming-289236","Rembrandt--Elsje Christiaens Hanging on a Gibbet","这幅速写以克制却极具穿透力的笔墨，定格了濒死时刻的沉郁瞬间。松弛耷拉的肢体瘫靠在绞架上，微垂的眉眼泄尽了最后一丝气力，将麻木与绝望揉进每一处线条里。粗犷却精准的笔触勾勒出衣物褶皱的潦草真实，枷锁的冷硬线条和瘫软躯体形成强烈反差。浅淡的明暗晕染顺着纸色蔓延，晕开了压抑到窒闷的氛围，没有刻意渲染血腥，却把生命流逝的沉重感尽数传递，让观者能触摸到这份濒死的悲凉，于极简的笔墨中攫住了最撼动人心的悲剧张力。",[5543,7,28,14275,14276,4276],"绞刑场景","悲怆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd518f01f9b93b7c960dda86e2b9609d4.jpg",[],{"id":14280,"slug":14281,"title":14282,"dynasty":645,"author":76,"museum":49,"description":14283,"tags":14284,"thumbUrl":14288,"material":174,"size":175,"collection":66,"collections":14289,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289223,"giuseppe-bernardino-bison-drawing-devided-in-six-squares-including-yi-ming-289223","Giuseppe Bernardino Bison--Drawing Devided in Six Squares Including","这六格装饰线稿满溢古典巧思，上方三幅是变体柱头，巴洛克涡纹与卷草缠绕柱身，线条疏密张弛有序，虚实晕染衬出浮雕般的立体感，在古典形制里揉入华丽的动感张力。\n\n下方兽首獠牙贲张，卷叶纹饰顺着轮廓延展，将野性威仪藏进柔美的曲线里。花环圆盘纹章以缠枝纹环绕中心团花，雅致精巧。末格矮柱头延续复古装饰逻辑，纹样繁而不乱。\n\n利落的钢笔线条搭配淡墨晕染，明暗层次清晰，将装饰艺术的庄重华丽尽数铺展，是兼具设计实用性与审美性的复古装饰手稿。",[5543,7,10194,2548,14152,14285,12027,14286,14287],"雕刻设计","兽首","花饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf1e3adaf3a0b142aabf592c361d9d56.jpg",[],{"id":14291,"slug":14292,"title":14293,"dynasty":645,"author":76,"museum":49,"description":14294,"tags":14295,"thumbUrl":14297,"material":174,"size":175,"collection":66,"collections":14298,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289152,"guercino-a-diablerie-yi-ming-289152","Guercino--A Diablerie","棕墨水线条凌厉粗粝，将画面分割成两层诡谲天地。上层群魔姿态张狂狞恶，猴形、犬首的魔物肢体扭曲舒展，带着邪异的躁动气息，怪诞的轮廓勾勒出幽冥邪物的可怖形貌。下层凡人正挣扎嘶吼，惶然的神态与魔物的暴虐形成鲜明对照。没有繁复修饰，以极简的速写笔触烘托出骇人的地狱氛围，将直面超自然恐惧的战栗直白铺展，粗朴的线条间满是冲击力，把暗黑怪诞的幻想幽冥图景具象呈现，让观者沉浸式坠入这场悚然的邪异梦魇之中。",[7,823,170,28,1815,14151,6594,168,14296],"惊恐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab644a3184fbc41a6b7398e471cf7ac.jpg",[],{"id":14300,"slug":14301,"title":14302,"dynasty":645,"author":76,"museum":49,"description":14303,"tags":14304,"thumbUrl":14307,"material":174,"size":175,"collection":66,"collections":14308,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289150,"guercino-boy-chasing-a-butterfly-yi-ming-289150","Guercino--Boy Chasing a Butterfly","以棕褐淡晕与线条交织，塑造出祈祷的圣女形象。衣袍褶皱晕染松灵自然，明暗铺陈尽显织物垂坠厚重，线条简括却精准抓住衣物流动的韵律。圣女合十仰首，眉眼微抬，神色虔诚又带着圣洁的悲悯，将向上祈愿的沉静肃穆藏于神态细节中。弯月淡描于脚下暗合宗教意象，整幅带着速写式的随性精妙，于素朴纸面之上，以极简笔墨勾勒出庄重神圣的氛围，传神定格了人物的虔敬之心，尽显古典宗教肖像的含蓄美感。",[27,167,7,14305,9899,14306,5543],"祈祷","月牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47193bd4f377afdc2b228b9dd3bfcf9a.jpg",[],{"id":14310,"slug":14311,"title":14312,"dynasty":645,"author":76,"museum":49,"description":14313,"tags":14314,"thumbUrl":14315,"material":174,"size":175,"collection":66,"collections":14316,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289145,"guercino-saint-francis-of-assisi-and-saint-louis-yi-ming-289145","Guercino--Saint Francis of Assisi and Saint Louis","这幅素描草稿以灵动奔放的笔触，将神圣与童趣交织。上方两名小天使振翅牵拉画布，寥寥数笔便勾勒出羽翼翻飞的鲜活动感，带着孩童般的俏皮轻盈。下方左侧人物抬手祈告，衣褶舒展柔和，神态虔诚动容，将圣洁的祈愿描摹尽致；右侧形象笔锋苍劲粗粝，身形厚重沉稳，二者一动一静形成强烈的视觉张力。\n整幅作品以极简线条捕捉刹那神韵，潦草却精准随性，将宗教的肃穆氛围与灵动的世俗意趣自然糅合，尽显速写草稿独有的松弛传神，尽显创作者捕捉情绪动态的深厚功底。",[7,27,28,5545,9923,5543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e42b366c95d2e861bb65357d5385650.jpg",[],{"id":14318,"slug":14319,"title":14320,"dynasty":645,"author":76,"museum":49,"description":14321,"tags":14322,"thumbUrl":14323,"material":174,"size":175,"collection":66,"collections":14324,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289140,"marco-marcola-gaius-mucius-scaevola-thrusting-his-right-hand-yi-ming-289140","Marco Marcola--Gaius Mucius Scaevola Thrusting His Right Hand","粗粝灵动的炭笔线条，将这一瞬的戏剧张力牢牢锁在纸面。男子身躯紧绷，带着孤绝的果决将手探向烈焰，肌肉的起伏在迅疾的排线里喷薄出雄浑力量。身侧女子姿态后仰，肢体舒展里满是惊骇与痛惜，衣袂线条随同情绪一同震颤。右侧潦草勾勒的建筑框架，悄然锚定了这场古典悲剧的舞台。\n\n未经修饰的草稿笔触反而让情绪更具冲击力，没有繁复渲染，却将英雄的悍勇与旁观者的动容精准传递，潦草却精准的线条中，生命的烈度与古典精神的重量尽显无遗。",[167,5543,7,9702,7115,14247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e7824428b5c8c084a6c53fc2b5a26c.jpg",[],{"id":14326,"slug":14327,"title":14328,"dynasty":645,"author":76,"museum":49,"description":14329,"tags":14330,"thumbUrl":14333,"material":174,"size":175,"collection":66,"collections":14334,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289133,"master-of-the-drapery-studies-christ-appearing-to-mary-magdalen-yi-ming-289133","Master of the Drapery Studies--Christ Appearing to Mary Magdalen","跪坐的玛利亚合十仰望，眼底满是眷恋哀戚，将久别重逢的孺慕与虔诚尽数倾注在姿态神情间。站立的基督手持圣旗，身形挺拔沉静，周身光晕晕开神圣肃穆的气息。\n\n整幅以细密精准的线条铺陈，衣褶刻画极具表现力，层叠褶皱尽显织物垂坠厚重的质感，将人物身形包裹得富有张力。背景庭院草木描摹柔和细腻，烘托出私密静谧的重逢氛围，以明暗线条勾勒情绪，将信徒的追思与圣者的悲悯烘托得淋漓尽致，尽显宗教叙事画作细腻写实的动人质感。",[27,28,7,14331,14332,6594],"基督","抹大拉的马利亚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed39e7992733c316d45d274048b99b8.jpg",[],{"id":14336,"slug":14337,"title":14338,"dynasty":645,"author":76,"museum":49,"description":14339,"tags":14340,"thumbUrl":14342,"material":174,"size":175,"collection":66,"collections":14343,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289097,"jean-honore-fragonard-hercules-and-cacus-after-annibale-carracc-yi-ming-289097","Jean Honoré Fragonard--Hercules and Cacus, after Annibale Carracc","粗粝利落的炭笔线条，勾勒出虬结饱满的肌肉轮廓，将角斗的野性张力拉扯到极致。\n\n左侧二人扭打缠斗，高举武器者青筋暴起，将身下对手死死钳制，濒死的挣扎在扭曲的背脊上淋漓毕现。右侧男子攀附岩壁，紧绷的肢体满是奔逃的仓皇狼狈。\n\n明暗皴擦毫无冗余，每一道落笔都在诉说力量的对抗与生存的拉扯，原始的暴力与生命的悍勇呼之欲出，将肉搏的粗粝野性永远定格在纸面，仿佛嘶吼与喘息即将冲破画框而来。",[5543,167,2796,14341,52,7],"搏斗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb54f96b66ca2e9c4896733061d6f685.jpg",[],{"id":14345,"slug":14346,"title":14347,"dynasty":645,"author":76,"museum":49,"description":14348,"tags":14349,"thumbUrl":14351,"material":174,"size":175,"collection":66,"collections":14352,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289071,"juan-carren-o-de-miranda-studies-for-the-assumption-yi-ming-289071","Juan Carreño de Miranda--Studies for the Assumption","这是一幅充满创作温度的习作稿，以松快随性的线条铺陈画面。主位女性身形饱满舒张，衣褶以长线勾勒出流动韵律，寥寥数笔便将人物沉浸的神态烘托而出，暗合主题的神圣氛围感。旁侧形象或淡墨晕染，或短线雕琢，带着即兴捕捉的鲜活感，可见创作者推敲人物情态与构图排布的思考过程。纸面错落的小稿与淡痕，留存下构思的轨迹，将肃穆的宗教主题以松弛的创作状态呈现。粗粝的底色衬得线条愈发富有生命力，尽显草稿独有的随性张力，让观者得以触碰创作时蓬勃热忱的灵光瞬间。",[5543,8664,167,14178,7,14350],"圣母升天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374a9713054a0dd63f35c0cc7152cacc.jpg",[],{"id":14354,"slug":14355,"title":14356,"dynasty":645,"author":76,"museum":49,"description":14357,"tags":14358,"thumbUrl":14361,"material":174,"size":175,"collection":66,"collections":14362,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289065,"jusepe-de-ribera-study-for-a-crucifixion-of-st-peter-yi-ming-289065","Jusepe de Ribera--Study for a Crucifixion of St. Peter","这幅草稿以近乎狂放的线条，将受刑躯体的张力展现得淋漓尽致。枯削的脊背绷紧着痛苦与虔诚，肢体舒展在倾斜木架之上，每一道粗粝的排线都带着沉甸甸的痛感，精准勾勒出皮下虬结的筋肉、僵直紧绷的下肢，省略繁饰却将濒死的动态神韵牢牢攥住。\n\n下方即兴肆意的涂鸦符号，与画面潦草粗野的气质呼应，成为情绪的延伸注脚。它跳脱精致描摹的桎梏，以速写般的野性笔触，将殉道的悲壮凝在方寸纸间，粗拙线条之下，是对信仰之痛最直接的叩问，潦草之中藏着极致的情绪张力。",[5543,6594,7,28,14359,14360,8664],"受难场景","钉十字架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f352cc987ad8e8a6d95d396a1df65c1.jpg",[],{"id":14364,"slug":14365,"title":14366,"dynasty":645,"author":76,"museum":49,"description":14367,"tags":14368,"thumbUrl":14371,"material":174,"size":175,"collection":66,"collections":14372,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289064,"jusepe-de-ribera-unidentified-scene-figures-watching-yi-ming-289064","Jusepe de Ribera--Unidentified Scene Figures Watching","这幅素描以奔放写意的线条构建叙事张力。下方躯体颓然伏倒，将沉重的悲恸凝于纸面。右侧人物高举双手，错愕与呼号的情绪顺着笔锋跃然纸上，定格下事发刹那的震颤。\n\n上方云端灵体以松快虚渺的游线勾勒，虚化轮廓勾连起天界与凡世的割裂感，和地面凝滞的悲剧氛围形成强烈对冲。作者以极简笔触精准捕捉神态动线，留白处皆浸满叙事感，潦草排线衬出场景压抑的底色，将超现实异象与俗世悲恸揉合，让粗粝线条间满溢着震撼的戏剧表现力。",[5543,7,167,8664,14369,14370],"神迹","敬畏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b225cf73de7d2f10a15cfbdac342ec.jpg",[],{"id":14374,"slug":14375,"title":14376,"dynasty":645,"author":76,"museum":49,"description":14377,"tags":14378,"thumbUrl":14380,"material":174,"size":175,"collection":66,"collections":14381,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289057,"lambert-lombard-christ-healing-at-the-pool-of-bethesda-yi-ming-289057","Lambert Lombard--Christ Healing at the Pool of Bethesda","画面以利落蚀刻线条铺展神迹：左侧长者伸手唤住背负瘫者的男子，池畔横陈疾苦之人，天使振翅自天际降临。明暗排线晕开光影，衬出人群惶惑与愈者沉郁的张力，远景城郭肃穆拱卫这场神圣疗愈，古典楼宇的厚重为信仰注脚。作者以刚劲笔触描摹市井疾苦与神性救赎的碰撞，将悲悯藏进衣褶纹路、沉凝的神色中，让信仰的温度浸透质朴刻绘，把宗教叙事的庄重沉静，融在细腻的人间百态描摹里。",[27,7,28,2543,14080,5545,14379,13939],"水池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570dbfcfec21d6d828d4723396b32c49.jpg",[],{"id":14383,"slug":14384,"title":14385,"dynasty":645,"author":76,"museum":49,"description":14386,"tags":14387,"thumbUrl":14392,"material":174,"size":175,"collection":66,"collections":14393,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289056,"lambert-van-noort-st-george-and-the-sorcerer-of-dacian-yi-ming-289056","Lambert van Noort--St. George and the Sorcerer of Dacian","淡蓝排线晕开肃穆氛围，圆形画框收拢着满溢的戏剧张力。画面中央的核心人物被众人环伺，军士持戟神色紧绷，跪拜者俯身满含虔诚，围观者或惊叹或议论，各色神态铺陈出饱满的故事感。\n\n细密精准的线条勾勒出衣料的垂坠厚重，硬朗的块面刻画出人物肌肉的紧实质感，带着古典写实的叙事特质。远景行进的队伍烘托出仪式的盛大，将宗教叙事的庄重，凝缩为这一瞬充满冲突的视觉定格，让纸面跃动着鲜活的情绪流转。",[6594,167,7,9366,2546,14388,14389,10414,14390,1171,14391],"圣乔治","巫师","柱廊","宗教场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20764e7e8b726e58dbf1ea157e6f9cd5.jpg",[],{"id":14395,"slug":14396,"title":14397,"dynasty":645,"author":76,"museum":49,"description":14398,"tags":14399,"thumbUrl":14402,"material":174,"size":175,"collection":66,"collections":14403,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289047,"leonardo-da-vinci-allegory-on-the-fidelity-of-the-lizard-yi-ming-289047","Leonardo da Vinci--Allegory on the Fidelity of the Lizard","浅棕钢笔线条凝作圆形画框，宛如一枚封存寓言的徽章。郊野水岸旁，静坐的人物垂首敛神，蜷伏的蜥蜴依偎身侧，矮树与水泽晕开幽寂的乡野氛围。\n\n线条松弛却极具叙事感，寥寥数笔便将忠诚的隐喻揉进闲淡郊景，把抽象寓意藏进质朴的乡野小景。留白的纸面让思绪随浅淡笔触漫溢，带着文艺复兴素描独有的诗意思辨，克制的笔力裹着随性的手绘温度，简淡之下满是内敛张力。",[7,5543,14400,81,28,14401,14187],"蜥蜴","水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d70d35ff303c1a75424693433df3559.jpg",[],{"id":14405,"slug":14406,"title":14407,"dynasty":645,"author":76,"museum":49,"description":14408,"tags":14409,"thumbUrl":14412,"material":174,"size":175,"collection":66,"collections":14413,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289041,"lorenzo-de-ferrari-christ-driving-the-money-changers-yi-ming-289041","Lorenzo de' Ferrari--Christ Driving the Money Changers","这幅素描以遒劲线条铺陈戏剧张力，中心身影高举手臂，将神圣愤慨具象化，怒斥驱赶神殿商贩。台阶上观者神色错愕凝滞，前景人群奔逃推搡，肢体的慌乱动态将冲突拉至顶点。精准的穹顶透视收拢视线，肃穆的神殿空间反衬出这场驱逐的动荡喧嚣。明暗排布烘托情绪层次，圣洁怒斥与世俗狼狈形成强烈反差，虽为草稿，却将洁净圣殿的激昂瞬间定格，叙事张力饱满尽显，古典宗教画的肃穆力量跃然纸面。",[27,28,7,5543,14410,14331,14411],"圣殿","宗教事件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c8d9f89a00d35ffd3c8e6145bcb79fe.jpg",[],{"id":14415,"slug":14416,"title":14417,"dynasty":645,"author":76,"museum":49,"description":14418,"tags":14419,"thumbUrl":14422,"material":174,"size":175,"collection":66,"collections":14423,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289022,"luca-cambiaso-the-holy-family-with-the-infant-baptist-yi-ming-289022","Luca Cambiaso--The Holy Family with the Infant Baptist","淡墨线条随性铺展，勾勒出松弛鲜活的群像氛围。站立老者身形凝练粗粝，几笔顿挫刻画出沉静肃穆的神态。坐席上的妇人姿态柔婉舒展，指尖轻托婴孩，落笔便晕开亲昵温存的母子羁绊。攀附在侧的幼童身形稚拙，将孩童娇憨灵动的模样尽数显现。斜向排线轻描出空间层次，整幅速写以极简的笔墨取舍，精准捕捉人物互动的温情瞬间，将静谧又温暖的氛围定格在纸面，尽显随性却传神的表现力，把细碎日常里的脉脉温情揉入笔墨之间。",[27,167,5543,7,14420,14421],"圣家庭","婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3554e8e4946736f00f342c232febfeca.jpg",[],{"id":14425,"slug":14426,"title":14427,"dynasty":645,"author":76,"museum":49,"description":14428,"tags":14429,"thumbUrl":14433,"material":174,"size":175,"collection":66,"collections":14434,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289021,"luca-giordano-the-abduction-of-helen-yi-ming-289021","Luca Giordano--The Abduction of Helen","奔放随性的线条铺展开篇叙事，中央男女身姿紧绷仓促，猎猎衣袂裹挟着海风，满是仓皇奔赴的张力。左侧翻涌浪涛里，海怪探出头颅，为这场劫掠晕开诡谲底色。远景云霞与浮空神祇虚影，以虚淡排线晕出独属史诗的缥缈氛围感。\n\n画师以速写式粗粝笔触，精准勾勒人物的肌肉起伏与动态韵律，摒弃繁琐细节堆砌，将惶急的私奔式劫掠与史诗的恢弘糅合一处。潦草却充满力量的线条，仿佛还留存落笔时的急促心绪，将这紧张瞬间凝固定格在素纸之上，粗朴笔触下藏着浓烈戏剧张力，让神话场景跃然纸面。",[5543,7,823,167,14430,6292,64,14431,14432],"神话故事","海景","劫持场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5075dc5795615f0d2df748df4a156a7.jpg",[],{"id":14436,"slug":14437,"title":14438,"dynasty":645,"author":76,"museum":49,"description":14439,"tags":14440,"thumbUrl":14442,"material":174,"size":175,"collection":66,"collections":14443,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289018,"ludovico-carracci-the-last-communion-of-saint-jerome-yi-ming-289018","Ludovico Carracci--The Last Communion of Saint Jerome","浅淡方格布满纸面，是为复刻而做的底稿排布。松散却精准的线条，将群像的哀恸与庄重揉在一处。中心人物佝偻的身形牵引着视线，围拢的信众低垂眉眼，沉恸顺着衣袍褶皱漫开。\n\n寥寥排线勾勒出肌肤起伏，用最克制的笔痕定格住临别的凝滞瞬间。未完成的淡痕留住了创作时的鲜活思考，朦胧间将肃穆悠长的氛围晕染开来，带着半成品独有的松弛张力，把告别的沉郁藏在每一笔轮廓里。",[27,28,5543,7,14441,14391],"圣杰罗姆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4790b889e0609aea5a19c724ffc9289f.jpg",[],{"id":14445,"slug":14446,"title":14447,"dynasty":645,"author":76,"museum":49,"description":14448,"tags":14449,"thumbUrl":14453,"material":174,"size":175,"collection":66,"collections":14454,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},289015,"maerten-de-vos-captain-de-bours-handing-over-the-keys-yi-ming-289015","Maerten de Vos--Captain de Bours handing over the Keys","圆形构图将视线尽数收拢于核心的钥匙交接场景。中心将领躬身递出钥匙，甲胄在身的受方神态沉稳从容，无言间完成城池主权的交割。周遭林立的甲士长枪列阵，粗粝的笔触勾勒出铠甲棱角与紧绷的姿态，将受降时刻的肃穆氛围拉满。\n\n简练却精准的线条刻画出人物的神情姿态，远景错落的城池排布齐整的兵士让画面更添纪实厚重感。将冷兵器时代城池易主的庄重与沉静缓缓铺陈，仿佛能让人听见甲叶轻响、呼吸凝滞，复刻出古战场落幕的肃穆瞬间，以质朴叙事感将权力更迭的郑重定格在纸面。",[5543,7,167,7115,6421,10415,14450,14451,10414,14452],"城池","交钥匙仪式","将领","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676c79bed473acc0ec52c7416b004f81.jpg",[],{"id":14456,"slug":14457,"title":14458,"dynasty":645,"author":76,"museum":49,"description":11917,"tags":14459,"thumbUrl":14463,"material":174,"size":175,"collection":66,"collections":14464,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288906,"giovanni-battista-tiepolo-illustration-for-a-book-allegory-of-venice-yi-ming-288906","Giovanni Battista Tiepolo--Illustration for a Book Allegory of 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Doge",[5543,14460,28,27,2546,14486,14487,14488,13959,7],"教皇","总督","会面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57e8228993496a890364430b92258c3.jpg",[],{"id":14492,"slug":14493,"title":14494,"dynasty":645,"author":76,"museum":49,"description":11917,"tags":14495,"thumbUrl":14498,"material":174,"size":175,"collection":66,"collections":14499,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288893,"giovanni-battista-tiepolo-illustration-for-a-book-queen-of-port-city-receiving-envoys-yi-ming-288893","Giovanni Battista Tiepolo--Illustration for a Book Queen of Port City Receiving Envoys",[5543,7,28,10419,14496,14497],"宫廷接见","外交场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df40f6b046e54f39547cafd1842c6f1.jpg",[],{"id":14501,"slug":14502,"title":14503,"dynasty":645,"author":76,"museum":49,"description":11917,"tags":14504,"thumbUrl":14508,"material":174,"size":175,"collection":66,"collections":14509,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288892,"giovanni-battista-tiepolo-illustration-for-a-book-reception-of-monks-at-a-city-gate-yi-ming-288892","Giovanni Battista Tiepolo--Illustration for a Book Reception of Monks at a City Gate",[27,167,5543,7,10203,14505,14506,14507],"城门","群体人物","接待场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9c34cabda69ce856e6704e083f110d.jpg",[],{"id":14511,"slug":14512,"title":14513,"dynasty":645,"author":76,"museum":49,"description":11917,"tags":14514,"thumbUrl":14517,"material":174,"size":175,"collection":66,"collections":14518,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288887,"giovanni-battista-tiepolo-illustration-for-a-book-scene-of-peacemaking-yi-ming-288887","Giovanni Battista Tiepolo--Illustration for a Book Scene of Peacemaking",[5543,7,14515,167,14506,2546,14516,14390,14070],"书籍插图","和平调解","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf46907a9aa36d073bd985d3c5663239.jpg",[],{"id":14520,"slug":14521,"title":14522,"dynasty":645,"author":76,"museum":49,"description":11917,"tags":14523,"thumbUrl":14526,"material":174,"size":175,"collection":66,"collections":14527,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288886,"giovanni-battista-tiepolo-illustration-for-a-book-scene-of-a-murder-yi-ming-288886","Giovanni Battista Tiepolo--Illustration for a Book Scene of a Murder",[5543,7,167,14470,14524,5930,12093,202,4502,14525],"谋杀场景","座椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d15d54c191e52ce80ba49defc72373.jpg",[],{"id":14529,"slug":14530,"title":14531,"dynasty":645,"author":76,"museum":49,"description":11917,"tags":14532,"thumbUrl":14534,"material":174,"size":175,"collection":66,"collections":14535,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288883,"giovanni-battista-tiepolo-illustration-for-a-book-soldiers-2-yi-ming-288883","Giovanni Battista Tiepolo--Illustration for a Book Soldiers 2",[14515,5543,7,28,7115,10414,2432,14390,1276,14533],"献物场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfff569490217145b2f22c8d647d6aba.jpg",[],{"id":14537,"slug":14538,"title":14539,"dynasty":645,"author":76,"museum":49,"description":11917,"tags":14540,"thumbUrl":14542,"material":174,"size":175,"collection":66,"collections":14543,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288880,"giovanni-battista-tiepolo-illustration-for-a-book-soldiers-storming-a-city2-yi-ming-288880","Giovanni Battista Tiepolo--Illustration for a Book Soldiers Storming a City2",[5543,7,14460,7115,9761,10414,14450,28,14541,14505],"攻城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda04bf03f7ded5a1aa2b5dbe488894bc.jpg",[],{"id":14545,"slug":14546,"title":14547,"dynasty":645,"author":76,"museum":49,"description":11917,"tags":14548,"thumbUrl":14551,"material":174,"size":175,"collection":66,"collections":14552,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288866,"giovanni-battista-tiepolo-seated-satyr-holding-a-garland-yi-ming-288866","Giovanni Battista Tiepolo--Seated Satyr Holding a Garland",[167,2796,14549,7,101,6378,14550],"半人半兽","花环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e6846dae8cbac607a9289c5ae15a0e.jpg",[],{"id":14554,"slug":14555,"title":14556,"dynasty":645,"author":76,"museum":49,"description":14557,"tags":14558,"thumbUrl":14560,"material":174,"size":175,"collection":66,"collections":14561,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288822,"pellegrino-tibaldi-six-studies-of-animal-heads-and-of-a-cartouche-yi-ming-288822","Pellegrino Tibaldi--Six Studies of Animal Heads and of a Cartouche","以奔放不羁的速写笔触，勾勒出六枚狞猛异兽的头颅，或怒目咆哮，或獠牙毕露，鬃毛虬结的线条肆意舒展，将野性凶悍尽数倾泻于纸面。局部晕染的墨色晕开体积，让兽首的肌肉轮廓更具张力，每一枚头像都带着独有的狂放神态，鲜活的凶戾呼之欲出。\n\n下方的装饰小稿则收敛锋芒，规整的线条带着匠造的克制，与兽首的肆意形成强烈反差。整幅手稿带着即兴创作的灵动，随性却精准地抓握住异兽的狞美感，将野性与装饰意趣揉合一处，尽显手绘草图的生动张力。",[5543,7,619,171,6354,14559],"动物头部","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9965b0429d658219906de8ca15b25639.jpg",[],{"id":14563,"slug":14564,"title":14565,"dynasty":645,"author":76,"museum":49,"description":14566,"tags":14567,"thumbUrl":14569,"material":174,"size":175,"collection":66,"collections":14570,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288818,"perino-del-vaga-saint-peter-and-saint-john-healing-a-cripple-yi-ming-288818","Perino del Vaga--Saint Peter and Saint John Healing a Cripple","这幅速写以奔放灵动的线条铺陈神迹场景。枯瘦的瘫者跪伏伸手，姿态满含祈盼，使徒挺拔舒展，衣褶线条苍劲跌宕，将神圣的悲悯张力拉满。建筑拱门将空间收拢，依靠排线层次区分光影虚实，让神迹氛围愈发肃穆。\n\n粗粝笔触裹挟情绪流动，省略精细描摹，却把瘫者的卑微、使徒的庄严烘托得淋漓尽致。潦草中带着极强的叙事感，仿佛下一秒便有治愈的神迹降临，以最简练的线条，定格下信仰救赎的瞬间力量，尽显速写捕捉情绪与场景的独到魅力。",[5543,7,6594,167,14568,14369,487],"圣徒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcce3dcf4f0457b6a8581357d9ffc025.jpg",[],{"id":14572,"slug":14573,"title":14574,"dynasty":645,"author":76,"museum":49,"description":14575,"tags":14576,"thumbUrl":14580,"material":174,"size":175,"collection":66,"collections":14581,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288796,"pier-leone-ghezzi-luigi-vanvitelli-yi-ming-288796","Pier Leone Ghezzi--Luigi Vanvitelli","这是一幅蚀刻铜版肖像，以利落细腻的棕调线条，定格了侧身伫立的绅士身影。宽大衣袍的垂坠褶皱被刻画得极具质感，精准衬出人物沉稳雍容的仪态，三角假发与配剑细节，还原了彼时精英阶层的着装风貌，将建筑师的身份气度融于笔端。\n\n画面下方的手写小字，为肖像补上人文注脚，让作品跳出单纯的形象复刻，兼具纪实温度。整体画风克制雅致，用极简色调勾勒写实造型，既有古典肖像的庄重感，亦带着版画特有的细腻肌理美感，是一件兼具身份纪实性与古典美学意趣的小品。",[167,7,823,14577,2543,14578,14579],"男性肖像","古代衣帽","佩剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e61efb501119da59970a32be3a60eab.jpg",[],{"id":14583,"slug":14584,"title":14585,"dynasty":645,"author":76,"museum":49,"description":14586,"tags":14587,"thumbUrl":14589,"material":174,"size":175,"collection":66,"collections":14590,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288790,"pierre-jean-david-d-angers-sheet-of-studies-three-male-heads-yi-ming-288790","Pierre Jean David d'Angers--Sheet of Studies Three Male Heads","这幅速写以精准克制的排线，勾勒出静立的古典女神形象。衣褶线条利落且富有层次，将织物垂坠、紧绷的微妙质感尽数铺陈，贴合出躯体柔和的轮廓。薄纱半覆面容，柔化了雕塑般硬朗的侧脸，神性的端庄中揉进一丝朦胧柔婉，手中长杖又为周身添了沉静威仪。\n\n边角潦草的小稿与左上角轻飘的枝叶，为画面注入松弛的构思意趣，中和了古典造型的肃穆感。整体笔意既有对古典人体韵律的精准拿捏，又带着手绘速写特有的鲜活灵动，神性庄重与手绘温度融于纸面。",[5543,7,167,2796,14588,6378,1907],"女神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308ca766380ab5d3828e1d311b06b5ae.jpg",[],{"id":14592,"slug":14593,"title":14594,"dynasty":645,"author":76,"museum":49,"description":14595,"tags":14596,"thumbUrl":14598,"material":174,"size":175,"collection":66,"collections":14599,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288785,"pierre-puget-design-for-a-tabernacle-yi-ming-288785","Pierre Puget--Design for a Tabernacle","这幅设计稿带着浓郁的巴洛克张力，顶部十字架锚定神圣内核，涡卷状雕饰缠绕出华丽韵律，将建筑与雕塑精妙融合。\n\n中央圣龛被灵动翻飞的天使与健硕的古典人像簇拥，云团中迸绽的线条模拟圣光，烘托出庄严神性。排线细腻的素描技法精准铺陈明暗层次，让石材的厚重与人体的柔润呼之欲出，古典人文意趣与宗教肃穆感相融，每一处细节都在平衡仪式感与装饰性，仿佛能窥见这座圣体柜落成后，在光影下流淌的灵动气韵。",[27,7,5543,5545,14008,2546,619,487,14597],"宗教器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff116b934f26d5d792d208483d4e0fdc4.jpg",[],{"id":14601,"slug":14602,"title":14603,"dynasty":645,"author":76,"museum":49,"description":14604,"tags":14605,"thumbUrl":14609,"material":174,"size":175,"collection":66,"collections":14610,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288783,"pieter-cornelisz-kunst-allegorical-figure-faith-yi-ming-288783","Pieter Cornelisz Kunst--Allegorical Figure (Faith)","###\n这幅钢笔版画以细腻线条刻画出信仰的化身，华冠层袍缀满珠络蕾丝，每一处褶皱都尽显精工雅致。女子左手紧握苦像长杆，圣光自基督身形间淌落，右手抬起似在颂赞虔心。脚下流云将她托于尘世之上，远景河畔小城炊烟轻绕、舟楫漾波，平和俗世恰好衬出信仰的超然澄澈。\n\n排线铺陈出明暗层次，精准区分衣料的柔润与饰件的冷硬，带着北方文艺复兴版画的典型特质，将信仰的庄严肃穆融于写实笔触间，静静诉说信仰对俗世的庇佑与指引。",[6594,167,7,14007,14008,14606,12569,14607,372,14608],"耶稣","城镇","帆船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8567fac4f1d9db10758aba587352404c.jpg",[],{"id":14612,"slug":14613,"title":14614,"dynasty":645,"author":76,"museum":49,"description":14615,"tags":14616,"thumbUrl":14617,"material":174,"size":175,"collection":66,"collections":14618,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288771,"romulo-cincinnato-three-standing-male-figures-yi-ming-288771","Romulo Cincinnato--Three Standing Male Figures","以奔放的铁线勾勒人物动态，顿挫的墨痕晕开衣褶厚重的垂坠感。三个人物错落排布，主侧分明，中间长者须发蓬松扭转，交握的双手沉敛肃穆，仿佛正凝神聆听；两侧同伴姿态恭谨，简括的面部轮廓将神态尽显，褶皱衣袍随肢体走势自然铺展，潦草却精准锚定了人物的身份张力。\n\n纸面晕开的淡墨晕染出朦胧氛围，寥寥数笔便让静止画面涌动着叙事感，仿佛定格一场古老议事的瞬间。粗粝笔意带着即兴灵气，将古典人物的庄重沉凝融在随性挥洒的笔触之中，质朴却尽显写意的力量，落笔无多却意蕴饱满。",[28,9702,7,101,5543,1625,14070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65d4ea80dd315695234fe33f01b3712.jpg",[],{"id":14620,"slug":14621,"title":14622,"dynasty":645,"author":76,"museum":49,"description":14623,"tags":14624,"thumbUrl":14628,"material":174,"size":175,"collection":66,"collections":14629,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288766,"salvator-rosa-landscape-with-hills-and-a-lake-trees-in-right-foreground-yi-ming-288766","Salvator Rosa--Landscape with hills and a lake, trees in right foreground","这幅速写以灵动随性的线条，铺展郊野湖畔的幽寂意趣。右侧前景虬曲枯木打破规整构图，牵引视线纵深游走。左侧丘坡以疏密浓淡的线条铺陈植被，顿挫间区分出坡地起伏与林叶层次。水面以极简淡线勾勒，大片留白烘托出沉静空濛的氛围。\n\n岸侧点缀的渺小人物，为山野空境晕开一丝烟火暖意，平衡了丘林的空旷感。整作以朴拙写意的笔触，摒弃繁复修饰，将郊野松弛又清寂的瞬间气韵定格，尽显写生速写捕捉自然灵韵的动人魅力。",[7,60,14625,14626,244,28,14627],"湖泊","山丘","风景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeed5c3cb95a34896c120938e667190d.jpg",[],{"id":14631,"slug":14632,"title":14633,"dynasty":645,"author":76,"museum":49,"description":14634,"tags":14635,"thumbUrl":14637,"material":174,"size":175,"collection":66,"collections":14638,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288764,"salvator-rosa-studies-for-a-figure-lifted-from-a-grave-yi-ming-288764","Salvator Rosa--Studies for a Figure Lifted from a Grave","这幅速写以奔放灵动的线条定格了充满张力的瞬间。站立男子肌肉紧绷，双手攥紧绳索，虬劲粗犷的衣褶线条将躯体发力的紧绷感全然彰显。跪地俯身的人物脊背弓起，与站立者形成力的拉扯呼应，让画面充满对抗的动势。\n\n下方被拖动的躯体线条松动却带着沉滞的重量感，暗合场景的肃穆沉重。墨线浓淡变化简约精准，区分开人体结构、衣物褶皱与空间层次，纸面的岁月痕迹更添朴拙的复古质感。它以即兴的笔触，将这场肃穆又充满力量的行动凝固，粗粝之下藏着对人体动态的深刻理解，让静态画面拥有了强烈的戏剧张力，尽显古典叙事绘画对情绪与动态的精准拿捏。",[7,28,8664,5543,14636],"丧葬场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532acb5eaa102dcfd294d99f1f532b76.jpg",[],{"id":14640,"slug":14641,"title":14642,"dynasty":645,"author":76,"museum":49,"description":14643,"tags":14644,"thumbUrl":14647,"material":174,"size":175,"collection":66,"collections":14648,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288757,"salvator-rosa-two-standing-men-gesticulating-yi-ming-288757","Salvator Rosa--Two Standing Men Gesticulating","奔放洒脱的墨线肆意游走，寥寥数笔便将两人交谈的鲜活瞬间定格。左侧男子侧头回望，右手搭在腰间佩剑上，带着倾听的沉静；右侧男子抬手挥舞，身体前倾，似正慷慨陈词，肢体动作满是情绪张力。\n\n粗粝的线条精准扫过衣袍褶皱与身形轮廓，即兴速写的松弛感扑面而来，没有刻意雕琢的笔触，却将人物神态与动态刻画得淋漓尽致，仿佛下一秒就能听见他们的争论呼告。纸面的晕染墨迹带着随性的烟火气，潦草中藏着对刹那生机的敏锐捕捉，尽显速写直击情绪与动态的独特魅力，让转瞬即逝的日常对话成为了永恒的视觉留存。",[7,28,9909,14645,14646,6378,5543],"站立","手势","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb36058584c0c025f4962bf56a0c5dd8.jpg",[],{"id":14650,"slug":14651,"title":14652,"dynasty":645,"author":76,"museum":49,"description":14653,"tags":14654,"thumbUrl":14658,"material":174,"size":175,"collection":66,"collections":14659,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288755,"salvator-rosa-witches-sabbath-yi-ming-288755","Salvator Rosa--Witches' Sabbath","棕褐笔调铺就诡谲底色，奔放粗粝的线条勾勒出癫狂迷乱的群像。上方翼状邪灵张牙舞爪、盘旋纠缠，将阴森感肆意铺散；下方人影姿态扭曲惶惑，有人佝偻着搅动器物，有人拖拽同伴，癫狂与惶惑交织蔓延。潦草却精准的笔触，把禁忌仪式的迷狂暗黑揉进每一处褶皱，仿佛嘶哑呓语与诡异嘶吼穿透纸面，将观者拽入这场混沌荒诞的邪异场景之中，让神秘主义的惊悚氛围感扑面而来。",[5543,7,167,27,168,14655,14656,14657],"巫术","女巫","怪物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd384c3637db3116aed2de20a9147b55f.jpg",[],{"id":14661,"slug":14662,"title":14663,"dynasty":645,"author":76,"museum":49,"description":14664,"tags":14665,"thumbUrl":14669,"material":174,"size":175,"collection":66,"collections":14670,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288753,"sante-pacini-prophets-and-saints-in-glory-after-bernardino-poccetti-yi-ming-288753","Sante Pacini--Prophets and Saints in Glory, after Bernardino Poccetti","画面以云气铺就天国基底，将圣众分置左右。细腻排线勾勒衣褶，既衬出织物的厚重垂坠，也烘托出人物静穆神态。左侧圣众持圣器低首凝神，右侧王者身姿的人物伴琴端坐，尽显庄严神性。\n\n灵动小天使穿梭云间，或翻飞嬉戏、或环侍左右，柔化了天国的肃穆，让神圣图景添了几分轻盈生机。整幅以利落线条构建神圣秩序，将信仰的庄重与天国的澄澈相融，勾勒出宁静崇高的神性之美，尽显古典宗教绘画的隽永质感。",[7,6594,167,5545,14568,14666,14667,52,11971,14668],"先知","竖琴","云端","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff838224fc7ca8fc4330d160632cf11c.jpg",[],{"id":14672,"slug":14673,"title":14674,"dynasty":645,"author":76,"museum":49,"description":14675,"tags":14676,"thumbUrl":14677,"material":174,"size":175,"collection":66,"collections":14678,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288744,"school-of-rembrandt-man-leading-a-camel-yi-ming-288744","School of Rembrandt--Man Leading a Camel","利落的炭笔线条定格下行旅一隅，牵驼男子与骆驼构为画面重心。简劲笔锋精准交代出驼鞍织物的褶皱起伏与负重细节，鬃毛、绳结处的刻画尽显细腻巧思，寥寥数笔便勾勒出骆驼敦实的体量感。\n\n男子侧身贴靠驼身，仿佛正伴着驼铃缓步行进，左侧淡去的牲畜身影拓展了画面空间，烘托出商队赶路的松弛氛围。整幅作品笔触随性却极具表现力，留白恰到好处，将行旅沉静的氛围感藏在简淡笔意中，于极简勾勒间尽显深厚造型功底，尽显素描写意动人的魅力。",[5543,6378,7,28,3894,14070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72c1050726f50e7f4dfb32840c3a475.jpg",[],{"id":14680,"slug":14681,"title":14682,"dynasty":645,"author":76,"museum":49,"description":14683,"tags":14684,"thumbUrl":14685,"material":174,"size":175,"collection":66,"collections":14686,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288742,"school-of-rembrandt-zacharias-and-the-angel-yi-ming-288742","School of Rembrandt--Zacharias and the Angel","淡墨晕开朦胧的神圣氛围，天使隐在左侧烟气间，目光柔和垂落，静静注视跪地的撒迦利亚。他双手紧扣抵在胸前，背脊微弓，将敬畏与虔诚揉进每一道紧绷的线条里。\n\n右侧显圣的形象以轻逸笔触勾勒，光晕晕染柔和，仿佛正轻声降下启示。整幅画松弛灵动，光影在淡晕的墨色里缓缓流淌，留白裹挟着余韵，定格了神迹降临的肃穆瞬间。速写的粗粝质感非但没有削弱感染力，反而让神性的温柔与凡人的敬虔更加真挚动人，寥寥几笔便将信仰里的悸动精准捕捉，即兴又深情地诉说着这一瞬的神圣与动容。",[6594,5543,28,5545,14305,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b314832368a484d79180d9162f3bdd6.jpg",[],{"id":14688,"slug":14689,"title":14690,"dynasty":645,"author":76,"museum":49,"description":14691,"tags":14692,"thumbUrl":14695,"material":174,"size":175,"collection":66,"collections":14696,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288739,"sebald-beham-the-return-of-the-prodigal-son-yi-ming-288739","Sebald Beham--The Return of the Prodigal Son","跪伏的浪子攥紧父亲手腕，佝偻的脊背载满愧悔，老父倾身将掌心覆在他肩头，疼惜与释然融在微佝的身形里。旁侧乡邻或驻足侧目，或持衣静立，廊下雇工仍俯身劳作，将团圆的温热揉进日常庸常里。\n\n远景田垄里扶犁农人缓行，堡寨静立在晕开的淡墨天光中。粗粝朴拙的线条勾勒出乡野烟火，没有刻意渲染悲喜，只靠肢体拉扯与神态微末，把久别重逢的动容藏在平实乡风里，让救赎的主题随墨色缓缓铺陈，将古典叙事晕染成触手可及的俗世温情。",[8664,167,7,14693,14694,81,3508,9154],"浪子回头","城堡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a908132d9664c4fe321ad63cc1e05a3.jpg",[],{"id":14698,"slug":14699,"title":14700,"dynasty":645,"author":76,"museum":49,"description":14701,"tags":14702,"thumbUrl":14703,"material":174,"size":175,"collection":66,"collections":14704,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288726,"urs-graf-the-bearer-of-the-banner-of-the-canton-glarus-yi-ming-288726","Urs Graf--The Bearer of the Banner of the Canton Glarus","刀锋镂刻下，孔武的佣兵背向观者，紧绷的肌理撑起挺拔轮廓，层叠肩甲的冷硬褶皱在铜痕里尽显铠甲厚重质感。肩头的圣徒光晕柔化了杀伐之气，垂坠的僧衣纹路与佣兵凌厉装束形成鲜明对照，神性护佑与世俗战意的张力在纸面铺展。\n\n旗面细密的叙事性刻绘暗藏信仰注脚，粗粝古旧的纸色晕开沉郁的时代底色，将佣兵的虔诚与悍勇凝在刀笔方寸间，成为征伐与祈愿交织的缄默注脚。",[27,28,7,2543,9887,1224,14568,4819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0dd6eac92d323e3ca8e076863ee6f9e.jpg",[],{"id":14706,"slug":14707,"title":14708,"dynasty":645,"author":76,"museum":49,"description":14709,"tags":14710,"thumbUrl":14714,"material":174,"size":175,"collection":66,"collections":14715,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288718,"vincenzo-tamagni-creation-of-eve-yi-ming-288718","Vincenzo Tamagni--Creation of Eve","棕褐线条随性又精准，将三个形象的神态与动态淋漓铺展。长袍老者抬手带着肃穆庄重，裸女内敛瑟缩尽显柔婉，右侧少年姿态灵动跃然纸面。简练线条勾勒出人体肌肉的起伏张力，衣袍褶皱垂坠自然流畅，带着即兴创作的松弛质感。未加修饰的粗粝稿面，衬出构思时的鲜活灵光，将古典主题揉进质朴随性的笔触里，每一道线条都藏着对形体气韵的反复推敲，尽显速写独有的真挚生动。",[5543,7,823,167,14711,14712,11910,14713],"宗教神话","创造夏娃","老年男性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72bb0d1490342a8c84cdd25b49d9e694.jpg",[],{"id":14717,"slug":14718,"title":14719,"dynasty":645,"author":76,"museum":49,"description":14720,"tags":14721,"thumbUrl":14722,"material":174,"size":175,"collection":66,"collections":14723,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288716,"vittorio-amedeo-rapous-the-vision-of-st-hubert-yi-ming-288716","Vittorio Amedeo Rapous--The Vision of St. Hubert","这幅素描淡彩以拱形框围合出神圣叙事场景，单膝跪地的骑士敛容屏息，将全部心神交付于林间异象——头顶灵光的圣鹿于林木间显现，这是天启降临的瞬间。身旁骏马温驯静立，脚边猎犬却警觉躁动，动静反差放大了此刻的超现实张力。朦胧晕染的林间背景将神迹包裹在氤氲雾气里，把狩猎的日常骤然拉向神性的感召。松弛却精准的线条勾勒出人物的虔敬神态，淡彩铺就柔和氛围感，定格住圣徒信仰觉醒的肃穆刹那，让神性的启迪与凡俗的悸动融为一体。",[27,28,810,315,536,7,6594,5543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7dcd60520526f6015a06b47b73aa855.jpg",[],{"id":14725,"slug":14726,"title":14727,"dynasty":645,"author":76,"museum":49,"description":14728,"tags":14729,"thumbUrl":14730,"material":174,"size":175,"collection":66,"collections":14731,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288703,"workshop-of-battista-franco-design-for-the-decoration-yi-ming-288703","Workshop of Battista Franco--Design for the Decoration","这幅设计稿以素描淡彩铺陈，将拱顶与墙面装饰融为一体。拱顶之上，天使与神话场景错落排布，花环与涡卷纹样穿插其间，让装饰兼具叙事性与韵律感。墙面壁龛浮雕刻画凝练，人物动态张弛有度，烘托出宗教叙事的肃穆氛围。\n\n线条精准利落，明暗晕染巧妙烘托出浮雕立体感，尽显文艺复兴晚期装饰美学。建筑结构与装饰艺术精妙融合，每一处细节都暗藏缜密巧思，将装饰的功能性与艺术性平衡得恰到好处，尽显古典艺术的庄严雅致。",[7,28,27,11984,5543,2796,14152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9019c049ff59c402edd6c2b3410afcc.jpg",[],{"id":14733,"slug":14734,"title":14735,"dynasty":645,"author":76,"museum":49,"description":14736,"tags":14737,"thumbUrl":14743,"material":174,"size":175,"collection":66,"collections":14744,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288695,"written-by-pieter-camper-the-works-of-the-late-professor-camper-yi-ming-288695","Written by Pieter Camper--The Works of the late Professor 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Grotesques","淡墨钢笔下迸发着奇想碎片，左上角女身赫尔墨斯立于台座，双犬垂首拱卫，线条带着古典仪式感，旁侧小字手札似私藏的创作注脚。右上角侏儒小像与翼爪兼具的奇美拉异兽，诡谲怪诞又带着浪漫张力。下方茛苕纹装饰糅合古典建筑装饰的韵律感。\n\n潦草勾勒的草稿带着随性松弛的创作张力，将典雅神话意象与怪诞造物并置，复刻着复古奇想美学的余韵，私密的手书衬出灵感迸发的瞬间，仿佛将文艺复兴的怪诞浪漫凝缩在纸面。",[7,5543,28,536,171,765,8070,2548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320148f2d0c0780324dfe5339cad043a.jpg",[],{"id":14754,"slug":14755,"title":14756,"dynasty":645,"author":76,"museum":49,"description":14757,"tags":14758,"thumbUrl":14760,"material":174,"size":175,"collection":66,"collections":14761,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288688,"attributed-to-andre-s-de-melgar-grotesque-at-right-with-winged-female-and-lion-mask-yi-ming-288688","attributed to Andrés de Melgar--Grotesque at Right with Winged Female; and Lion Mask","这幅手稿以刚柔碰撞的奇趣美学铺展画面。左侧异兽狞猛诡谲，狮首卷躯、龙形蜷身，涡旋肌理缠绕着神话生物的凌厉骨相，线条利落锋利，把幻想造物与古典卷草饰纹肆意糅合。右侧则以舒展羽翼的裸女为核心，柔美的躯体缠绕华丽茛苕纹样，柔化了异兽的暴戾气质。\n\n创作者以细腻排线勾勒轮廓，随性的手绘线条里藏着装饰设计的巧思，怪诞奇想与古典雅致彼此制衡，让狞厉的异兽与柔婉人像在卷草间共生，勾勒出中古奇幻美学的浪漫剪影，尽显复古怪谲的灵动诗意。",[7,10194,6354,5162,12004,11993,11984,14151,14759],"神话形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85579304a607bb95b13c75572308a88.jpg",[],{"id":14763,"slug":14764,"title":14765,"dynasty":645,"author":76,"museum":49,"description":14766,"tags":14767,"thumbUrl":14770,"material":174,"size":175,"collection":66,"collections":14771,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288686,"attributed-to-andre-s-de-melgar-grotesque-with-satyr-head-and-fan-above-octagonal-yi-ming-288686","attributed to Andrés de Melgar--Grotesque with Satyr Head and Fan Above Octagonal","以细密线条织就蛛网扇形顶饰，下方狞厉兽首衔垂帷幔，撑起对称构图的威严骨架。八角龛中缩着古典小像，暗合复古意趣。两侧狮鹫雄健对峙，翼羽层叠舒张，俯身托举托盘，野性张力扑面而来。\n\n底部女像柱柔婉舒展，承起上方异兽的犷悍，刚柔相撞间生出奇妙平衡。壁板上的小面具悄悄呼应顶部兽首，让整体视觉串联成一体。手绘草稿带着随性灵动的笔意，将古典神话异兽与装饰纹样揉合，诡谲华丽的复古氛围扑面而来，尽显怪诞装饰美学的奇想巧思。",[7,5543,10194,2796,14768,619,14769,12003,11984],"狮鹫","女性形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248ee63410b4a114470369be76f40e33.jpg",[],{"id":14773,"slug":14774,"title":14775,"dynasty":645,"author":76,"museum":49,"description":14776,"tags":14777,"thumbUrl":14779,"material":174,"size":175,"collection":66,"collections":14780,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288683,"attributed-to-andre-s-de-melgar-merman-with-strapwork-above-strapwork-and-snails-yi-ming-288683","attributed to Andrés de Melgar--Merman with Strapwork, Above Strapwork and Snails","画面上方人鱼躯干健硕紧绷，肌肉线条利落刻画出力量感，鱼尾盘绕成柔美的涡卷，将神话的绮想凝于笔端。下半部分带状饰纹极尽巧思，蝾螈状异兽蜷曲于缠枝涡卷之中，蜗牛纹样点缀其间，排线铺陈出明暗层次，勾勒出浮雕般的立体质感。\n\n整幅手稿以灵动线条串联起神话异兽与古典雕饰，怪诞绮丽又带着复古雅致，粗粝的纸面上藏着随性又精妙的巧思，揉合人体的力量韵律与装饰纹样的流动美感，尽显复古装饰美学的天马行空。",[7,823,5543,14778,171,10191,168,2548],"人鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb3f57251d9dc23ade2a870c855f298.jpg",[],{"id":14782,"slug":14783,"title":14784,"dynasty":645,"author":76,"museum":49,"description":14785,"tags":14786,"thumbUrl":14788,"material":174,"size":175,"collection":66,"collections":14789,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288682,"attributed-to-andre-s-de-melgar-seated-female-with-staff-receiving-female-bringing-yi-ming-288682","attributed to Andrés de Melgar--Seated Female with Staff Receiving Female Bringing","画面上下分野，织就双重意趣。上半阙神女安坐，衣褶垂坠如凝固浪涛，伸手接引的动作带着静穆的神性。来者步履带风，帛袂翻卷似流云，动静之间铺陈出庄重的祭典氛围，线条轻重收放勾勒出人物神态的细微差别。\n\n下半阙异兽持号齐鸣，肌肉虬张带着蛮荒粗粝的野性，怪诞戏谑的张力拉满，与上方的肃穆形成强烈反差。整幅以速写线条铺陈，粗简与细腻交织，将神圣祭典与蛮荒狂想揉合在方寸纸页，笔尖定格下神话的绮丽剪影，仿佛能听见角号混着神祇的低语。",[7,5543,167,28,14151,1171,14787,12090],"权杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc77714ed74ae3e7a186f38b4d67a194c.jpg",[],{"id":14791,"slug":14792,"title":14793,"dynasty":645,"author":76,"museum":49,"description":14794,"tags":14795,"thumbUrl":14798,"material":174,"size":175,"collection":66,"collections":14799,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288680,"attributed-to-andre-s-de-melgar-strapwork-term-with-arm-extended-onto-head-yi-ming-288680","attributed to Andrés de Melgar--Strapwork Term with Arm Extended onto Head","这幅钢笔素描以利落排线铺陈体积，圆润饱满的小天使侧身舒展，肌肉起伏在疏密线条中柔和显现，稚拙中带着古典人体的柔美张力。\n\n它将怪诞柱头、缠枝饰带与涡纹构件相融，小天使与拟人化柱头呼应，绮丽复古。作为古典壁饰构思，把人文意象与工艺装饰巧妙结合，线条灵动勾勒出复古奇幻的装饰美学，带着文艺复兴晚期怪诞装饰风格的余韵，简约却尽显精致巧思。",[7,5543,823,14070,11984,532,14796,295,12025,14797],"半裸人物","柱饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc345f784fdfb833b3ef64df73abc602.jpg",[],{"id":14801,"slug":14802,"title":14803,"dynasty":645,"author":76,"museum":49,"description":14804,"tags":14805,"thumbUrl":14806,"material":174,"size":175,"collection":66,"collections":14807,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288677,"attributed-to-andre-s-de-melgar-term-with-shell-and-dragons-yi-ming-288677","attributed to Andrés de Melgar--Term with Shell and Dragons","尖笔勾勒出一场诡谲的装饰幻梦，半裸老者化身托姆柱，腰背驮起涡卷贝壳，肌肉线条苍劲朴拙，带着古典肃穆的诡异感。蜿蜒盘虬的龙形异兽攀附柱身，尖喙利齿森然，鬃毛翻卷如焰，躯体糅合爬虫的嶙峋与飞禽的矫捷，狞厉又灵动。\n\n画面角落的异种奇兽或蜷伏低吼，或奔跃探爪，凌厉洗练的线条带着版画般的硬朗质感。垂落的织物幔帐柔化了异兽的凶戾，起伏褶皱中和了尖刻笔触，令怪诞奇想糅合了雅致松弛。\n\n整体构图左右铺展呼应，将古典装饰语汇与超现实异兽之梦交织，铺陈出充满张力的暗黑美学图景，怪诞绮想在纤细刚劲的笔锋下，沉凝出独特的复古奇幻气质。",[7,171,619,28,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3db207e77bc3adc04bfa9eb5c17ab06.jpg",[],{"id":14809,"slug":14810,"title":14811,"dynasty":645,"author":76,"museum":49,"description":14812,"tags":14813,"thumbUrl":14815,"material":174,"size":175,"collection":66,"collections":14816,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288676,"attributed-to-andre-s-de-melgar-warrior-reclining-over-reclining-cupid-in-interior-yi-ming-288676","attributed to Andrés de Melgar--Warrior Reclining, Over Reclining Cupid in Interior","利落的排线勾勒明暗层次，上下双景带着鲜明的意象反差。上半帐幔低垂，老将斜倚榻间，铠甲棱线冷硬苍劲，虬结的肌肉带着饱经战事的沉郁感，榻边雕饰华美的兵器衬出骑士的威仪。\n\n下半空间私密柔和，小爱神慵卧床榻，持弓少年回身相望，躯体线条舒展柔婉，满是神话情爱里的松弛诗意。一刚一柔并置，将勇武与爱欲的古典母题悄然呼应，笔痕粗粝却藏着细腻的动态捕捉，铺陈出复古浪漫的叙事张力。",[5543,167,4819,14814,13950,1276,168,7],"丘比特","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8bd6c9b0155f9fad8dbc89d02e11ef3.jpg",[],{"id":14818,"slug":14819,"title":14820,"dynasty":645,"author":76,"museum":49,"description":14821,"tags":14822,"thumbUrl":14824,"material":174,"size":175,"collection":66,"collections":14825,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288671,"attributed-to-francesco-allegrini-athletes-yi-ming-288671","attributed to Francesco Allegrini--Athletes","这组人体速写以洗练灵动的棕褐线条铺陈，精准捕捉男性躯体的动态张力。左侧衣装男子抬手侧目，似在交流呼应；中间裸身者舒展挺拔，肌肉轮廓在简洁走线中呼之欲出；右侧行进的裸者跨步前冲，肢体舒展充满动感。\n创作者以极简笔触勾勒躯体结构，无繁复修饰，每一根线条都贴合人体起伏，将力量感与韵律感凝于笔端。旧纸泛黄的质感晕开岁月痕迹，角落落款更添随性创作氛围，尽显速写即兴鲜活的特质，直白诠释了古典人体美学的动人之处。",[7,167,14009,14823,823,6378],"运动员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7225898306ed84850caf4c95ac153a7.jpg",[],{"id":14827,"slug":14828,"title":14829,"dynasty":645,"author":76,"museum":49,"description":14830,"tags":14831,"thumbUrl":14832,"material":174,"size":175,"collection":66,"collections":14833,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288666,"attributed-to-francesco-allegrini-cavalry-engagement-2-yi-ming-288666","attributed to Francesco Allegrini--Cavalry Engagement 2","这幅速写以灵动飞逸的线条裹挟着战场疾风，骑手与战马的轮廓在笔触的顿挫与飞白间呼之欲出。没有繁复刻画，仅以简练走线勾勒出人马奔腾的紧绷张力，前倾的身姿、扬起的马蹄，将短兵相接前的悍勇与焦灼尽数铺陈。潦草却精准的笔痕，仿佛将厮杀前的刹那凝固，战马的嘶鸣、甲胄的震颤似乎穿透纸面而来。创作者以极富韵律的走线，把混乱的对冲化为充满秩序感的视觉旋律，每一道线条都带着奔涌的力道，让静态画纸承载了千军突进的磅礴气势，尽显马背交锋的野性与壮烈。",[7,28,315,6422,9761,5543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f96a9767b3642ef5a9e6e3c9b746beb.jpg",[],{"id":14835,"slug":14836,"title":14837,"dynasty":645,"author":76,"museum":49,"description":14838,"tags":14839,"thumbUrl":14841,"material":174,"size":175,"collection":66,"collections":14842,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288662,"attributed-to-francesco-allegrini-enthroned-warrior-distributing-crowns-yi-ming-288662","attributed to Francesco Allegrini--Enthroned Warrior Distributing Crowns","以洗练的棕褐笔触铺陈群像，高台之上的授勋者抬手递出桂冠，成为视觉焦点。下方众人或躬身仰望满含敬慕，或托举承接满是郑重，动作里浸着仪式的张力。右侧留白处勾勒出备鞍骏马，暗合着军功的底色，烘托出肃穆庄重的氛围。\n线条灵动松弛，淡墨晕染晕开明暗层次，没有细碎的细节堆砌，却精准捕捉住人物的姿态与情绪，将这场荣誉礼赞的鲜活氛围跃然纸上。潦草却传神的手稿质感，留存下构思时的鲜活瞬间，让观者得以窥见这场古典仪式的生动侧影，尽显叙事速写的简约力量。",[7,4228,28,315,4819,14840],"授冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad707525114ce8341755794b0322617.jpg",[],{"id":14844,"slug":14845,"title":14846,"dynasty":645,"author":76,"museum":49,"description":14847,"tags":14848,"thumbUrl":14849,"material":174,"size":175,"collection":66,"collections":14850,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288661,"attributed-to-francesco-allegrini-figures-yi-ming-288661","attributed to Francesco Allegrini--Figures","以利落的棕褐线条铺陈三段日常图景。左侧踞坐者抬手宣讲，簇拥的众人凝神侧目，将讲道的专注氛围尽显；中段两位老者相对休憩，持杖者似正絮叨，垂首搭档静然聆听，松弛又带着老友间的熟稔；右侧二人执手低语，亲昵氛围呼之欲出。\n作者以极简的速写笔触，依靠线条疏密虚实勾勒衣褶起伏、人物神态，不着多余晕染，却精准定格了不同场景的情绪张力，将古典市井群像的鲜活意趣凝于纸面，即兴随性的笔触，留存了日常互动的细腻情态，质朴又传神。",[28,7,27,5543,8070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc673c3dcf4b663b6f69db21923b83f28.jpg",[],{"id":14852,"slug":14853,"title":14854,"dynasty":645,"author":76,"museum":49,"description":14855,"tags":14856,"thumbUrl":14857,"material":174,"size":175,"collection":66,"collections":14858,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288658,"attributed-to-francesco-allegrini-four-flying-angels-two-flying-figures-yi-ming-288658","attributed to Francesco Allegrini--Four Flying Angels ; Two Flying Figures","这幅小稿以极简铁线勾勒出振翅天使，锐利线条带着飞扬张力，晕染水墨铺陈出羽翼蓬松质感，灵动身影仿佛要冲破纸页。右侧淡墨晕开的朦胧虚影，是未加修饰的灵光残影，虚实相映间，好似将天光里神迹乍现的瞬间定格。潦草随性的笔触是灵感迸发的即兴捕捉，泛黄纸面晕开旧时光的温柔，将飞翔轻盈与神性缥缈完美糅合，如一帧将散的幻梦，留存下转瞬即逝的空灵诗意。",[101,7,27,28,5545,64,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a50854e41a370511e74273bae39ca13.jpg",[],{"id":14860,"slug":14861,"title":14862,"dynasty":645,"author":76,"museum":49,"description":14863,"tags":14864,"thumbUrl":14868,"material":174,"size":175,"collection":66,"collections":14869,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288656,"attributed-to-francesco-allegrini-four-nude-warriors-yi-ming-288656","attributed to Francesco Allegrini--Four Nude Warriors","淡褐墨色勾勒利落线条，精准捕捉武士们奔突呼号的瞬间。上方探身挥臂的武士仿佛正厉声号令，肌肉的紧绷感顺着笔锋倾泻而出。下方三人姿态各异，或攥拳蓄力，或侧身嘶吼，或提剑疾冲，每一处肢体扭转都带着呼啸的杀伐动感。\n\n作者舍弃繁复刻画，以短促肯定的笔触勾勒肌肉起伏，将古战场上的悍勇与临场的紧绷氛围烘托得淋漓尽致。虽为素笔习作，却饱含戏剧张力，仿佛下一秒金铁交鸣之声就要冲破纸面，把战士们浴血搏杀的悍勇气魄尽数定格在纸端。",[5543,167,7,14865,14866,14867],"裸体武士","动态人物","战斗姿态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bec24addbf70a9a47819f7ea0298f7d.jpg",[],{"id":14871,"slug":14872,"title":14873,"dynasty":645,"author":76,"museum":49,"description":14874,"tags":14875,"thumbUrl":14877,"material":174,"size":175,"collection":66,"collections":14878,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288654,"attributed-to-francesco-allegrini-group-of-five-allegorical-figures-yi-ming-288654","attributed to Francesco Allegrini--Group of Five Allegorical Figures","棕褐墨色在纸面肆意游走，灵动线条勾勒出张力满溢的群像图景。端坐的神女衣袂舒展垂落，神情凝敛自带神性威严，抬手间似在降下谕示。右侧立身者引吭振臂，姿态激越仿若将神旨高声传扬。下方凡躯奔突扭曲，惶惑与挣扎顺着笔锋倾泻而出，伏身的猎犬贴着倒地身影，更添凄惶意绪。\n\n潦草随性的笔触精准锚定每一处动态，虚实明暗间，神性的肃穆与俗世的躁动拉扯碰撞。留白处余韵悠长，寥寥数笔便将寓意图景的戏剧张力全然铺开，情绪顺着笔尖流淌成画面肌理，即兴又充满力量感。",[7,167,14187,28,5543,14151,5548,14876],"激昂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3038894d18652244127293402cad0564.jpg",[],{"id":14880,"slug":14881,"title":14882,"dynasty":645,"author":76,"museum":49,"description":14883,"tags":14884,"thumbUrl":14885,"material":174,"size":175,"collection":66,"collections":14886,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288653,"attributed-to-francesco-allegrini-group-of-horsemen-yi-ming-288653","attributed to Francesco Allegrini--Group of Horsemen","这幅速写以棕褐线条铺陈出行扈从，灵动简练的笔触勾勒人马情态。马匹或扬蹄躁动或稳步徐行，短促排线晕染出肌肉的起伏张力，尽显骏骑矫健质感。骑士华冠峨服，仅以概括线条交代服饰层叠与冠饰形制，便烘托出仪仗队伍的华贵庄重。\n\n人物错落排布，既有群体出行的规整秩序，又带着松弛随性的鲜活氛围。纸面留存的岁月痕迹晕开古朴质感，极简的速写语言无需多余修饰，便将古典仪仗出行的庄重鲜活尽数传递，尽显写意传神的古典速写表现力。",[5543,7,6378,28,315,14070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c25177bffeec7fdf979fa7a946f4b63.jpg",[],{"id":14888,"slug":14889,"title":14890,"dynasty":645,"author":76,"museum":49,"description":14891,"tags":14892,"thumbUrl":14893,"material":174,"size":175,"collection":66,"collections":14894,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288651,"attributed-to-francesco-allegrini-horse-and-rider-yi-ming-288651","attributed to Francesco Allegrini--Horse and Rider","这幅速写以奔放随性的线条，定格了惊险的一瞬。骑手仰身挥臂，肌肉线条带着惶急的张力，将突逢变故的惊惧流露无余。奔马以简练遒劲的块面勾勒轮廓，四蹄腾空，把疾驰的动感拉到极致，筋骨的爆发力仿佛要冲破纸面。\n\n下方仆地的人物线条松弛瘫软，与骑手骏马的紧绷姿态形成强烈对冲，暗合这场意外的猝然惨烈。潦草却精准的笔触未加多余修饰，以粗粝的生命力将突发变故的紧张感牢牢锁在纸面，寥寥数笔就把惊险的戏剧张力渲染得淋漓尽致。",[5543,6378,7,28,315,10194,12092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c94eb09070641367fa38f3b83175f8.jpg",[],{"id":14896,"slug":14897,"title":14898,"dynasty":645,"author":76,"museum":49,"description":14899,"tags":14900,"thumbUrl":14902,"material":174,"size":175,"collection":66,"collections":14903,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288648,"attributed-to-francesco-allegrini-horsemen-and-archers-yi-ming-288648","attributed to Francesco Allegrini--Horsemen and Archers","浅淡的素描笔触灵动松弛，寥寥数笔定格下戎马时刻的鲜活瞬间。骑马者挺身握矛，身姿沉稳远眺，马匹的肌肉轮廓简练却满含张力，仿佛正蓄势待发。下方的弓箭手舒展身姿引弓待发，动作充满爆发力。\n整幅没有精雕细琢的描摹，依靠随性的线条精准捕捉住人物与马匹的神态动势，仿佛下一秒就要策马奔驰、箭矢离弦，将戎马倥偬的氛围感凝于纸面，尽显速写语言独有的写意魅力，带着草稿独有的生动气韵。",[5543,6378,7,28,315,14901,6422],"弓箭手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c02c8e2e263dd8038bc5a318a2dc97e.jpg",[],{"id":14905,"slug":14906,"title":14907,"dynasty":645,"author":76,"museum":49,"description":14908,"tags":14909,"thumbUrl":14910,"material":174,"size":175,"collection":66,"collections":14911,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288646,"attributed-to-francesco-allegrini-horses-heads-yi-ming-288646","attributed to Francesco Allegrini--Horses' Heads","这是一幅满含即兴生命力的写生稿，松弛的排线勾勒出骏马的俊朗风骨，寥寥数笔便抓住马头沉静威仪的神态，简练线条精准还原出肌肉轮廓与毛发蓬松的质感。\n\n右上角随性的小稿带着潦草的灵动，像是灵光乍现的速记，纸面的斑驳晕开时光的旧意，角落晕开的签名，留存下创作者落笔时的仓促热忱。整幅画作不加过多修饰，将观察时的鲜活感受定格纸面，把骏马的沉静气度藏在简练笔触之中，带着创作草稿独有的随性拙朴，动人又鲜活。",[315,619,7,6378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe002f007d5189d24ef9c7baa841bb0.jpg",[],{"id":14913,"slug":14914,"title":14915,"dynasty":645,"author":76,"museum":49,"description":14916,"tags":14917,"thumbUrl":14918,"material":174,"size":175,"collection":66,"collections":14919,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288645,"attributed-to-francesco-allegrini-horses1-yi-ming-288645","attributed to Francesco Allegrini--Horses1","这幅速写以凝练线条捕捉骏马百态，左侧骏马静立悠然，利落笔线勾勒出舒展筋骨，尽显温驯体态；中间马匹抬蹄转身，鬃毛轻扬，将动静转换的瞬间定格；右侧骏马前蹄腾空，长尾肆意舒展，张扬出奔腾的野性张力。画师以入微观察力，用极简笔触贴合马匹肌肉走势，串联起骏马从安闲到勃发的神态变化，无繁复修饰，却让每匹马的灵动神气跃然纸面，带着古典写生的质朴生动，寥寥数笔便将生灵矫健昂扬的美感尽数展现。",[99,25,7,315,619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa245e2ba0e79392e6906a7a7c79f0a20.jpg",[],{"id":14921,"slug":14922,"title":14923,"dynasty":645,"author":76,"museum":49,"description":14924,"tags":14925,"thumbUrl":14927,"material":174,"size":175,"collection":66,"collections":14928,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288644,"attributed-to-francesco-allegrini-horses3-yi-ming-288644","attributed to Francesco Allegrini--Horses3","这幅速写以精准洗练的线条，定格两匹健硕骏马的背影。左侧骏马昂首曳尾，轮廓线条利落分明，顺着马匹脊背、腿部的肌肉起伏排布排线，将筋骨的力量感藏在疏密变化里，劲瘦的肌理呼之欲出。右侧的骏马微偏脖颈，臀部曲线圆润饱满，蓬松尾梢以松动的线条轻扫而过，添了几分悠然灵动。\n\n整幅画作没有繁复修饰，落笔笃定干脆，以极简的排线铺陈体积，寥寥数笔便将骏马的体态神韵凝练在纸面，带着速写独有的鲜活气韵，仿佛下一秒骏马就能踏步而去，尽显画者对马匹肌理神态的通透理解。",[7,315,5543,14926,14151],"动物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbd255f56bbd66d0fb5425333586d94.jpg",[],{"id":14930,"slug":14931,"title":14932,"dynasty":645,"author":76,"museum":49,"description":14933,"tags":14934,"thumbUrl":14936,"material":174,"size":175,"collection":66,"collections":14937,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288616,"johan-carl-loth-solomon-yi-ming-288616","Johan Carl Loth--Solomon","画面铺陈出一场慵懒放浪的宴饮图景，男女嬉游缱绻，侍从穿梭其间，纵情声色的迷醉气息扑面而来。作者以灵动迅疾的棕线在灰底之上勾勒轮廓，寥寥数笔便将衣褶流转、肌肉起伏的韵律精准捕捉，又以白色提亮晕染肌肤高光与衣袂亮部，在灰纸衬映下，光影层次呼之欲出。整体构图饱满错落，拥挤的人物排布将享乐图景铺陈得鲜活生动，笔意松弛随性，却精准传递出人物沉醉欢愉的神态，将这场奢华宴饮的绮靡质感渲染尽致。",[5543,28,10419,5930,14935,14711,7],"宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53249bcd7086ce744e4bb5962bd3ae3d.jpg",[],{"id":14939,"slug":14940,"title":14941,"dynasty":645,"author":76,"museum":49,"description":14942,"tags":14943,"thumbUrl":14945,"material":174,"size":175,"collection":66,"collections":14946,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288613,"johannes-van-doetecum-the-elder-large-farm-with-draw-well-yi-ming-288613","Johannes van Doetecum the elder--Large Farm with Draw Well","这幅蚀刻版画以洗练的线条织就乡野日常。疏云漫过浅淡天际，两只飞鸟轻划开岑寂。错落的茅草农舍静立中央，石砌墙身带着朴拙肌理，窗棂与汲水井藏着细碎烟火。林木疏密有致，近旁高树舒展枝桠，远木虬枝错落，温柔框住农庄的松弛日常。创作者以细腻排线铺陈明暗，无刻板描摹，只凭蚀刻线条勾勒光影层次，将郊野的安恬定格，把乡居的闲散与静谧封存在纸面，晕开旧时光里的温柔质感。",[2543,7,14107,14108,3174,81,64,14944,13069],"水井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7dbfd2a833a6798f62501a844d54021.jpg",[],{"id":14948,"slug":14949,"title":14950,"dynasty":645,"author":76,"museum":49,"description":14951,"tags":14952,"thumbUrl":14953,"material":174,"size":175,"collection":66,"collections":14954,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288602,"attributed-to-francesco-allegrini-horses4-yi-ming-288602","attributed to Francesco Allegrini--Horses4","这组速写以利落遒劲的线条，将骏马的灵动野性尽数铺展。六匹骏马姿态各殊，或扬蹄奔跃，鬃尾随疾风肆意飞扬，肌肉的起伏张力被精准勾勒；或徐缓回身，沉稳的姿态里仍藏着悍马的筋骨气力。\n画师以极简的排线交代明暗结构，没有繁复晕染，却让每一匹马都带着鲜活生气，仿佛蹄声欲从纸面破空而来。寥寥数笔便定格下奔马的转瞬动态，将生灵蓬勃的生命力凝练在泛黄的纸页之上，尽显速写对动态捕捉的极致魅力。",[7,315,619,25,6378,5543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8ebe360a074596530941c09ccfdad8.jpg",[],{"id":14956,"slug":14957,"title":14958,"dynasty":645,"author":76,"museum":49,"description":14959,"tags":14960,"thumbUrl":14963,"material":174,"size":175,"collection":66,"collections":14964,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288600,"attributed-to-francesco-allegrini-king-solomon-receiving-the-queen-of-sheba-yi-ming-288600","attributed to Francesco Allegrini--King Solomon Receiving the Queen of Sheba","淡墨速写灵动随性，以寥寥线条铺陈出这场会面场景。画面右侧的核心二人衣袂舒展，趋近的身姿暗合会面的庄重氛围。周遭人群神态各异，或躬身肃穆，或自在舒展，潦草却精准的笔触点画出衣袍褶皱的垂坠张力，浓淡错落的墨色区分出人物层次。\n没有繁复雕琢，却以临场感极强的速写笔法，将仪式的庄重与人群的鲜活融于一纸，仿佛能听见场间的细碎低语与衣料摩挲声响，用最朴拙的线条，定格下这场会面最生动鲜活的瞬间。",[27,28,7,5543,13939,14961,14962],"所罗门王","示巴女王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f69199b242831eca58683da863a31f.jpg",[],{"id":14966,"slug":14967,"title":14968,"dynasty":645,"author":76,"museum":49,"description":14969,"tags":14970,"thumbUrl":14971,"material":174,"size":175,"collection":66,"collections":14972,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288595,"attributed-to-francesco-allegrini-man-on-horseback-with-attendant-yi-ming-288595","attributed to Francesco Allegrini--Man on Horseback with Attendant","灵动的墨线勾勒出行瞬间，骑手安坐马背，神态松弛舒展，引马仆从侧身向前，抬手遥指远方，似在引路通报。寥寥数笔便将马匹肌肉的起伏、衣袍褶皱的垂坠感精准呈现，洗练的笔触无需多余修饰，便将主仆赶路的氛围烘托尽致。\n\n泛黄斑驳的纸面带着岁月的痕迹，为画面晕开古朴厚重的质感，将旧时出行的日常瞬间定格。整幅速写随性生动，以极简笔力刻画出人物的神态动势，留白恰到好处，让观者得以自行遐想前路风光，尽显朴素又鲜活的叙事张力。",[7,823,28,315,6378,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa201ba3a0b2efc71e94662e2fdb1992c.jpg",[],{"id":14974,"slug":14975,"title":14976,"dynasty":645,"author":76,"museum":49,"description":14977,"tags":14978,"thumbUrl":14979,"material":174,"size":175,"collection":66,"collections":14980,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288594,"attributed-to-francesco-allegrini-men-carrying-jars-yi-ming-288594","attributed to Francesco Allegrini--Men Carrying Jars","简练的水墨线条肆意勾勒出喧嚷的队伍，扛罐的役者们姿态各异，肌肉的张力随着笔锋流转尽显无遗。右侧骑手挥臂呼喝，将行进的韵律牢牢定格。潦草却精准的笔触，不着意细节修饰，仅以顿挫起伏的线条交代光影与体积，将劳作的粗粝与行进的动感揉合无间。\n\n即兴速写的鲜活生猛扑面而来，仿佛能听见队伍的脚步声与吆喝声交错，粗粝的笔意晕开市井劳作的蓬勃烟火气，把赶路的仓促与役者们的憨朴神态，尽数藏在笔墨的起落之间。",[7,28,315,5543,9154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb45d106cd9db6c2397c760b2733fe3.jpg",[],{"id":14982,"slug":14983,"title":14984,"dynasty":645,"author":76,"museum":49,"description":14985,"tags":14986,"thumbUrl":14989,"material":174,"size":175,"collection":66,"collections":14990,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288592,"attributed-to-francesco-allegrini-procession-of-musicians-yi-ming-288592","attributed to Francesco Allegrini--Procession of Musicians","这帧速写以随性松弛的线条，定格出游行队伍鲜活的瞬间。左侧人群簇拥相偕，有人抬手持物似正演奏，肢体舒展松弛，将街头游逛的嬉闹氛围藏在潦草的勾勒里。右侧人物或昂首沉醉、或抬臂呼应，错落的身姿默契呼应，传递出游行队伍流动的韵律。极简的线条精准捕捉住人物步态与神情轮廓，泛黄粗粝的纸面晕开复古质感，潦草笔触间留存下鲜活的市井烟火，仿佛能听见隐约的乐声随着队伍缓缓漫开，将街头游行的鲜活氛围凝固在这即兴的速写之中。",[7,28,14987,14988,5543,823,167],"音乐家","队伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de5a4c024c81b8d285af2be867719c8.jpg",[],{"id":14992,"slug":14993,"title":14994,"dynasty":645,"author":76,"museum":49,"description":14995,"tags":14996,"thumbUrl":14999,"material":174,"size":175,"collection":66,"collections":15000,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288591,"attributed-to-francesco-allegrini-scene-of-sacrifice-yi-ming-288591","attributed to Francesco Allegrini--Scene of Sacrifice","棕褐速写线条灵动松弛，铺展开一场肃穆的祭祀场景。左侧信徒俯身跪拜，将虔诚全然释放在沉伏的姿态中。中央女子正倾注祭液，动作庄重沉静。围立的宾客神色各异，或凝神观礼，或私语静待，右侧乐手持器待命，静穆中暗藏仪式的张力。\n\n画师以极简笔触勾勒人物动势，没有繁复修饰，却精准捕捉每个身影的神态情绪。泛黄纸面上的晕染与留白晕开古朴氛围，潦草随性的草稿反而赋予群像鲜活的临场感，将祭典的庄重与人群的生动融为一体。",[5543,167,6594,14997,10419,14998,1171,7],"祭祀","祭器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8eda1bfb51446c3a57a54122c73111.jpg",[],{"id":15002,"slug":15003,"title":15004,"dynasty":645,"author":76,"museum":49,"description":15005,"tags":15006,"thumbUrl":15007,"material":174,"size":175,"collection":66,"collections":15008,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288590,"attributed-to-francesco-allegrini-six-horses-yi-ming-288590","attributed to Francesco Allegrini--Six Horses","这六匹马恰似一曲动静交织的生命短歌，自左向右铺陈开从腾跃到静立的姿态叙事。洗练灵动的线条顺着马匹的肌肉走势游走，寥寥数笔便将奔马紧绷的肌肉张力、翻飞的鬃毛勾勒得鲜活传神。左侧四匹骏马或扬颈嘶鸣、弓身腾跃，蓬勃野性喷薄而出；后两匹静立的骏马线条趋于沉稳舒展，将躁动归于柔和静谧。动与静的排布形成精妙的韵律呼应，没有冗余修饰，却精准捕捉了马匹的神韵姿态，把骏马的桀骜与温驯尽数铺陈纸面，尽显速写以少胜多的独特魅力，将马群鲜活的生命姿态永远定格在方寸之间。",[7,315,535,6378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e52a38233334a3587d09b536132f80.jpg",[],{"id":15010,"slug":15011,"title":15012,"dynasty":645,"author":76,"museum":49,"description":15013,"tags":15014,"thumbUrl":15015,"material":174,"size":175,"collection":66,"collections":15016,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288589,"attributed-to-francesco-allegrini-soldiers-yi-ming-288589","attributed to Francesco Allegrini--Soldiers","以奔放率性的棕褐线条，定格古战场的数个张力瞬间。没有繁复晕染，仅凭线条的轻重疾徐，精准勾勒出躯体发力的紧绷感。左侧近身缠斗的士兵肢体交错，肩胛与腿部的线条带着冲撞的惯性；挥械的步卒重心前倾，笔端带着挥击的余韵。右侧骑手俯身控马，奔马的轮廓简劲洗练，仿佛蹄下裹挟着猎猎疾风。\n\n整幅速写如同战场的即兴切片，潦草却极具生命力，将短兵相接的粗粝血性诉诸笔端，以极简的笔力抓住动势精髓，尽显动态捕捉的精妙功力。",[7,28,10414,315,6378,5543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F620da8a62e31ddac95f0cad92b8185b6.jpg",[],{"id":15018,"slug":15019,"title":15020,"dynasty":645,"author":76,"museum":49,"description":15021,"tags":15022,"thumbUrl":15024,"material":174,"size":175,"collection":66,"collections":15025,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288584,"attributed-to-francesco-allegrini-the-death-of-polyxena-yi-ming-288584","attributed to Francesco Allegrini--The Death of Polyxena","画面以灵动简练的线条铺陈悲剧底色，左侧侍女身姿沉缓，神色凝郁，持器徐行的模样满是哀悼的肃穆。前景横陈的裸身躯体，晕开的淡墨晕出暗沉悲怆，将死亡的死寂直白铺展。远景朦胧的荒寂地貌与模糊人形，把哀恸的氛围晕染扩散。\n松弛却精准的笔触带着速写独有的鲜活张力，无需繁复雕琢便将献祭后的悲戚尽数传递，每一道线条都裹挟着沉郁的哀伤，寥寥几笔便定格住这场悲剧的沉重余韵。",[5543,7,28,14430,15023],"死亡场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d46b45ceea49387dcc9cfe96ca3b937.jpg",[],{"id":15027,"slug":15028,"title":15029,"dynasty":645,"author":76,"museum":49,"description":15030,"tags":15031,"thumbUrl":15033,"material":174,"size":175,"collection":66,"collections":15034,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288583,"attributed-to-francesco-allegrini-the-expulsion-of-adam-and-eve-from-paradise-yi-ming-288583","attributed to Francesco Allegrini--The Expulsion of Adam and Eve from Paradise","这幅速写以利落的红黑线条铺陈叙事，左侧长者抬手斥逐，线条凝练沉稳，带着不容置喙的威严。前列四人身形从佝偻惶然到踉跄奔逃，虚实交织的笔锋勾勒出肌肉紧绷的仓皇，淡红细线晕染出情绪的焦躁与局促。\n\n整幅画无需繁复着色，仅以灵动的线条就将驱逐时刻的戏剧张力拉满，把被逐者的窘迫惊惶与裁决者的肃穆威严，尽数揉进疏密有致的笔触里，极简却极具感染力。",[7,28,27,14430,15032],"驱逐场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb44165b9333dde94090aa70109c090b1.jpg",[],{"id":15036,"slug":15037,"title":15038,"dynasty":645,"author":76,"museum":49,"description":15039,"tags":15040,"thumbUrl":15042,"material":174,"size":175,"collection":66,"collections":15043,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288580,"attributed-to-francesco-allegrini-the-martyrdom-of-saint-sebastian-yi-ming-288580","attributed to Francesco Allegrini--The Martyrdom of Saint Sebastian","这页速写以洗练的铁线捕捉了充满张力的瞬间，寥寥数笔就将人物的动态韵律全然勾勒。左侧引弓的射手脊背绷紧，蓄势待发的力量感顺着弓弦倾泻；中心的圣者舒展躯体，带着受难时刻的凛然沉静，抬手的姿态消解了受刑的痛苦，转而透出神圣的从容；右侧的射手正奋力递出箭镞，肢体的紧绷和前者形成呼应。\n\n纸面淡晕的痕迹带着即兴创作的鲜活感，没有繁饰雕琢，却将殉难场景的戏剧冲突凝于薄纸之上，仿佛下一秒箭矢便要破空而出，让这幕神圣时刻的张力永远留存。",[7,28,27,5543,15041,6594],"殉道场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09bc6a013b370392d7123242faa28b6.jpg",[],{"id":15045,"slug":15046,"title":15047,"dynasty":645,"author":76,"museum":49,"description":15048,"tags":15049,"thumbUrl":15053,"material":174,"size":175,"collection":66,"collections":15054,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288578,"attributed-to-francesco-allegrini-the-rape-of-the-sabines-yi-ming-288578","attributed to Francesco Allegrini--The Rape of the Sabines","以奔放粗粝的线条铺陈开这场劫掠叙事，左侧静立的人物冷眼旁观，右侧则是扭打拉扯、裹挟奔逃的群像，将冲突张力淋漓尽致地释放。寥寥数笔便勾勒出人物的肢体韵律，精准捕捉拉扯时的肌肉紧绷、奔逃时的仓皇姿态，留白恰到好处烘托出骚乱的空茫感，带着即兴创作的鲜活质感，将古典题材的戏剧冲突凝缩在方寸纸间，以速写特有的表现力定格下混乱又充满力量的瞬间。",[5543,7,28,315,12704,15050,15051,13960,15052],"劫掠场景","西方绘画","传说故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec1ad294945865462199b58af99fe81.jpg",[],{"id":15056,"slug":15057,"title":15058,"dynasty":645,"author":76,"museum":49,"description":15059,"tags":15060,"thumbUrl":15061,"material":174,"size":175,"collection":66,"collections":15062,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288573,"attributed-to-francesco-allegrini-unidentified-subject-nine-figures-and-a-horse-yi-ming-288573","attributed to Francesco Allegrini--Unidentified Subject Nine Figures and a 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Figures","利落灵动的蚀刻线条，勾勒出强烈的动静对冲。左侧两名坠落的身形衣袂翻卷，仿佛裹挟急风而下，带着惶然失重的动感，打破画面的平稳韵律。右侧两位女子相拥低语，衣褶垂坠柔和，姿态娴静安然，与左侧形成鲜明反差。朦胧的晕染模糊了背景边界，让冲突感更加聚焦。创作者用松弛随性的素描笔触，截取了充满叙事感的瞬间，一半是倏然的慌乱坠落，一半是静谧的私语，留下大片叙事空白，引观者遐想这两个割裂场景背后的隐秘联系，渲染出带着神秘感的戏剧氛围。",[27,167,7,5545,9899,5543,6378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875f0de47c0f82d7ec38597334ae8826.jpg",[],{"id":15072,"slug":15073,"title":15074,"dynasty":645,"author":76,"museum":49,"description":15075,"tags":15076,"thumbUrl":15078,"material":174,"size":175,"collection":66,"collections":15079,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},288571,"attributed-to-francesco-melzi-two-grotesque-heads-old-woman-yi-ming-288571","attributed to Francesco Melzi--Two Grotesque Heads Old 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and","这是一组极具生命力的人物速写，灵动的线条如行云流水，将四位绅士的动态与神情悉数定格。从垂头沉思、缓步独行，到侧身抬首、昂然伫立，姿态次第转变，情绪层次分明。利落的笔线勾勒出燕尾长衣与三角帽的服饰细节，精准还原了时代风貌。浅淡晕开的背景墙面，朦胧托出街巷的松弛氛围，不加过多修饰却自带临场感。画家以松弛随性的笔触捕捉住街头偶遇的片刻日常，让静穆纸面流淌着鲜活的市井烟火，尽显速写捕捉瞬时气韵的独特魅力。",[5543,167,6378,7,14246,9702,12534],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a2415afb3ceb684b522f6fae6de06a.jpg",[],{"id":15089,"slug":15090,"title":15091,"dynasty":94,"author":76,"museum":49,"description":15092,"tags":15093,"thumbUrl":15095,"material":174,"size":175,"collection":66,"collections":15096,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":70},269911,"xiang-ya-diao-san-xing-tu-bi-tong-yi-ming-269911","象牙雕三星图笔筒","笔筒： 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韧劲。货箱的方整、手中物的轮廓，皆以精准勾勒显形，旁侧扇影轻晃，更添几分烟火气。素纸之上，无华彩却有温度，每一道线条都似在低语旧时光里的市井声息——那些街巷间的吆喝、往来的脚步，都凝在这简练的勾勒中，让观者于素净里触到生活的本真滋味。",[23,24,25,100,7,28,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2588f08b170440a3bf6d0e246adb4d.jpg",[],{"id":17081,"slug":17082,"title":17083,"dynasty":94,"author":76,"museum":49,"description":17084,"tags":17085,"thumbUrl":17086,"material":457,"size":66,"collection":66,"collections":17087,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},215330,"bai-miao-jie-tou-mai-mai-hua-ce-228-yi-ming-215330","白描街头买卖画册-228","素笔勾勒的挑夫弓身前行，赤脚踩过岁月尘埃，扁担压肩的弧度里藏着生计重量。嘴衔扁担稳重心，双手扶绳的姿态利落传神，衣物褶皱随动作舒展，每道线条都似低语劳作艰辛。两头木箱上的字号墨痕清晰，是旧时商铺印记，仿佛听见街头吆喝与扁担吱呀。白描简洁洗练，市井烟火跃然纸上——无浓墨重彩，却以线条柔劲与刚直，刻画出平凡人奔波的韧劲。这帧画面如时光切片，定格街头买卖鲜活瞬间，素净中透着滚烫生活气息，是市井烟火里最动人的注脚。",[23,7,100,28,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca26729c402cd65c51a5a0be02488b6.jpg",[],{"id":17089,"slug":17090,"title":17091,"dynasty":94,"author":76,"museum":49,"description":17092,"tags":17093,"thumbUrl":17094,"material":457,"size":66,"collection":66,"collections":17095,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},215329,"bai-miao-jie-tou-mai-mai-hua-ce-227-yi-ming-215329","白描街头买卖画册-227","素纸之上，墨线流转如缕。手持长杆的贩者身形微侧，衣袂褶皱随动作自然铺展，似能听见他沿街叫卖的余音。旁侧长凳与陶罐的轮廓简净，却藏着市井生活的细碎暖意。无浓彩渲染，仅以线构形，却将街头买卖的鲜活气息凝于尺幅之间。人物神态的微妙刻画、器物细节的精准勾勒，皆见白描功力——每一笔都带着烟火气的温度，把寻常日子的朴拙与生动，静静铺陈在观者眼前。这帧小画，如同一扇窗，让百年前的街头光景，在墨线交织里缓缓苏醒。",[23,24,7,100,28,1444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35ecfa59a9bef2b26ceb1e74e12ad32.jpg",[],{"id":17097,"slug":17098,"title":17099,"dynasty":94,"author":76,"museum":49,"description":17100,"tags":17101,"thumbUrl":17102,"material":457,"size":66,"collection":66,"collections":17103,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},215328,"bai-miao-jie-tou-mai-mai-hua-ce-229-yi-ming-215328","白描街头买卖画册-229","竹扁担压着肩头，悬垂的禽鸟似还沾着市井烟火气。淡墨线条勾勒衣褶起伏，裤脚褶皱随步履轻晃，连竹筐纹理都透着朴拙细致。他侧身前行的姿态里，藏着街头叫卖的日常——那弯月般的镰刀，或许刚收过田间作物，又或是打理货物的小工具。没有浓彩渲染，却以极简笔触，把平凡生计的鲜活劲儿揉进每根线条。百年前的街头风物在素纸上铺展，仿佛能听见扁担吱呀轻响，看见小贩穿行巷陌的身影，让琐碎日子里的温暖，透过淡墨缓缓漫开。",[23,24,25,100,7,28,64,9548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1689e8a8ea2c3af9d0a8dcaa9c74e0c.jpg",[],{"id":17105,"slug":17106,"title":17107,"dynasty":94,"author":76,"museum":49,"description":17108,"tags":17109,"thumbUrl":17110,"material":457,"size":66,"collection":66,"collections":17111,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},215327,"bai-miao-jie-tou-mai-mai-hua-ce-231-yi-ming-215327","白描街头买卖画册-231","扁担横肩，双桶垂悬，素笔勾勒出市井一隅的鲜活。衣袂褶皱随步履轻摆，帽檐弧度衬出侧脸恬淡，每一笔线条都带着生活的温度。白描技法以极简之力，捕捉人物眉眼间的从容——肩挑的不仅是货物，更是烟火人间的细碎安稳。水桶垂坠的弧度、扁担微弯的动态，皆由流畅线条晕染出日常的生动。没有浓墨重彩，却将街头买卖的质朴凝成静帧，让观者透过素纸，触碰到旧时光里的烟火气，仿佛能听见扁担吱呀、步履轻缓，在岁月里漾开细碎的生活涟漪。",[23,24,100,7,28,9548,1444,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d95f4523323901cac25e1036039d243.jpg",[],{"id":17113,"slug":17114,"title":17115,"dynasty":94,"author":76,"museum":49,"description":17116,"tags":17117,"thumbUrl":17118,"material":457,"size":66,"collection":66,"collections":17119,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},215325,"bai-miao-jie-tou-mai-mai-hua-ce-233-yi-ming-215325","白描街头买卖画册-233","素纸之上，墨线似裁云剪水，勾勒出市井里奔波的剪影。肩扛叠箱的身影，腰身微侧以承其重，步履虽缓却稳，衣袂的褶皱随动作自然舒展，连箱角的棱线都清晰可触。眉宇间凝着生计的笃定，不见半分懈怠，仿佛能听见他踏过巷陌的轻响，或是与路人招呼的余温。白描不施粉黛，却将人间烟火藏进每一笔：那些穿梭于街头的劳动者，用双肩挑起日常的重量，墨痕里浸透着质朴的暖意，让旧时光里的市井气息，在素笺上静静流淌。",[23,24,25,100,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08965712130b22ef48d8ede5c0e0d0e.jpg",[],{"id":17121,"slug":17122,"title":17123,"dynasty":94,"author":76,"museum":49,"description":17124,"tags":17125,"thumbUrl":17126,"material":457,"size":66,"collection":66,"collections":17127,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},215324,"bai-miao-jie-tou-mai-mai-hua-ce-235-yi-ming-215324","白描街头买卖画册-235","清劲流畅的白描线条，铺展一段市井买卖的鲜活瞬间。人物素衣冠帽，立于长桌旁，一手托物似待递出，一手轻扶桌面，神态专注间藏着对生计的认真，衣纹褶皱随动作自然舒展，线条疏密有致，尽显体态之稳。长桌案面列方格器物，旁侧小几整齐码放长条物件，如待售货品，细节简而真切，暗合日常买卖的肌理。无浓墨重彩，却以线条的张力捕捉街头烟火的温热，将平凡生计里的鲜活与踏实凝于一纸，让旧时光里市井生活的生动切片，在素净线条中缓缓浮现。",[23,7,100,28,1444,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ba75f481d0bf8f949530705e433bc2b.jpg",[],{"id":17129,"slug":17130,"title":17131,"dynasty":94,"author":76,"museum":49,"description":17132,"tags":17133,"thumbUrl":17134,"material":457,"size":66,"collection":66,"collections":17135,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":89},215323,"bai-miao-jie-tou-mai-mai-hua-ce-234-yi-ming-215323","白描街头买卖画册-234","素纸之上，白描线条如轻烟流转，勾勒出市井一隅的鲜活。手艺人伏案劳作，专注的神态藏在眉眼间，指尖与靴料的触碰似有温度。案上罗列着半成的靴履、散落的工具，每一处细节都被精准捕捉——皮革的褶皱、针具的锋芒，皆在简练笔触里显出生动。没有浓墨重彩，却以纯粹的线条凝住劳作的瞬间：或许是街头的一阵风掠过案角，或许是手艺人低眉时的一声轻叹，都藏在这帧小画里。它像时光的切片，将旧时市井的烟火气与手艺人的匠心，悄悄呈现在观者眼前。",[23,94,7,100,28,121,1444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fbc4065ea13f12331195bf4a976490.jpg",[],{"id":17137,"slug":17138,"title":17139,"dynasty":94,"author":76,"museum":49,"description":17140,"tags":17141,"thumbUrl":17142,"material":457,"size":66,"collection":66,"collections":17143,"showCount":11,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