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Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[77,78,26,30,79,80,81,7,82,83,84,85],"印象派","油画","植物","百子莲","叶子","自然景观","光影","色彩晕染","写意笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ee6f81839b5b83565121b0f7c652c2.jpg","未知","Xcm*Xcm","油画精选",[89],132,{"id":93,"slug":94,"title":95,"dynasty":96,"author":97,"museum":47,"description":98,"tags":99,"thumbUrl":109,"material":110,"size":111,"collection":37,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":40},233378,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233378","原济金山龙游寺诗意册","清","石涛","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,100,101,102,103,104,105,106,107,108,60,7],"水墨","皴法","册","印章","山水","小桥","流水","树木","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af052cf182809b3d590f54883cbc337.jpg","纸本","纵24.6cm横17.6cm",[37,35],126,{"id":115,"slug":116,"title":117,"dynasty":118,"author":119,"museum":120,"description":121,"tags":122,"thumbUrl":130,"material":131,"size":132,"collection":35,"collections":133,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":68},219015,"ping-an-tu-yi-ming-219015","平安图","明","佚名","大英博物馆","坡岸之上，竹丛疏密有致，枝叶间光影流转。数只禽鸟散落其间，或低头啄食草籽，或侧身梳理羽翎，姿态各异却皆显安然。白菊清雅，红果艳艳，点缀在苍褐的底色上，如散落在时光里的星子。溪流蜿蜒而过，山石静默伫立，整个画面似被一层温润的古意包裹。每一处细节都藏着对自然生机的细腻捕捉，笔墨间流淌着恬淡的野趣，更将“平安”的美好期许悄然融入这一方天地，让观者于静谧中感受那份岁月沉淀的祥和与安然。",[23,52,27,26,28,123,124,125,126,127,60,128,129,7],"鹌鹑","竹","菊","白花","红叶","溪流","小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8578e8b33b1c86d88f4b80524cd58b57.jpg","绢本,设色","",[35],75,{"id":136,"slug":137,"title":138,"dynasty":118,"author":119,"museum":20,"description":139,"tags":140,"thumbUrl":147,"material":26,"size":132,"collection":66,"collections":148,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":68},219352,"ji-tu-yi-ming-219352","鸡图","红冠劲挺的雄鸡立于侧，黑羽如缎，尾翎舒展若墨染；白羽带斑的母鸡低头轻啄，身旁雏鸡憨态可掬，或蹭母翼下，或伸颈欲食，亲子温情流淌于笔端。旁侧百合悄然绽放，淡粉花瓣与嫩绿枝叶点缀，添几分雅致。古绢底色沉敛，线条细劲精准，设色温润自然——雄鸡艳红与黑羽对比鲜明，母鸡素白与雏鸡嫩黄相映成趣。无繁复布景，却以细腻笔触勾勒鸡群生动情态，既有田园恬淡，又暗合“吉（鸡）祥和合（百合）”的美好期许，尽显明代工笔花鸟的雅致意趣与生活气息。",[141,23,24,27,26,62,142,143,144,145,30,7,146],"明代","花鸟画","公鸡","母鸡","小鸡","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf02b4d3eb9621cbc675af2bd1bf32f3.jpg",[66],59,{"id":151,"slug":152,"title":153,"dynasty":96,"author":154,"museum":155,"description":156,"tags":157,"thumbUrl":164,"material":165,"size":166,"collection":132,"collections":167,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":40},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图","任颐","天津博物馆","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。",[50,158,23,24,26,159,28,144,145,160,107,161,162,7,163],"清代","写意","桃花","枝干","花朵","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg","纸本设色","150cmx40cm",[],56,{"id":170,"slug":171,"title":172,"dynasty":96,"author":173,"museum":47,"description":174,"tags":175,"thumbUrl":189,"material":190,"size":191,"collection":132,"collections":192,"showCount":193,"zanCount":194,"manualWeight":11,"mainColor":40},222700,"qiu-feng-mo-zao-tu-juan-shou-juan-qian-yu-ling-222700","秋风墨藻图卷手卷","钱与龄","画中的蓝藻、紫绿红蓼、游鱼蟹、泥鳅蛙、蜻蜓翠鸟、白鹭飞虫，游或游或荷花或偷窥，首当其冲的就是充满活力的秋天。 年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[50,51,23,24,52,26,27,176,177,56,178,179,180,181,182,183,184,185,186,7,30,187,188,55],"荷","鱼","水草","蜻蜓","芦苇","水藻","莲蓬","白鹭","红鱼","水生植物","莲叶","水","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","纸本，设色","32.2×339.2cm",[],54,1,{"id":196,"slug":197,"title":198,"dynasty":118,"author":199,"museum":200,"description":201,"tags":202,"thumbUrl":208,"material":209,"size":210,"collection":37,"collections":211,"showCount":193,"zanCount":194,"manualWeight":11,"mainColor":40},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","文伯仁","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[50,23,100,25,104,124,203,106,146,7,101,118,204,205,79,82,159,206,207],"烟雨","传统","水墨山水","笔墨","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","纸本墨笔","48X123cm",[37,212],"水墨画精选",{"id":214,"slug":215,"title":216,"dynasty":45,"author":217,"museum":20,"description":218,"tags":219,"thumbUrl":223,"material":131,"size":224,"collection":64,"collections":225,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":68},218866,"jiang-sheng-cao-ge-tu-ma-he-zhi-218866","江声草阁图","马和之","画中有一座建在悬壁上的亭子，瀑布流入河中，一棵松树拔地而起，一个学者靠在栅栏上看一颗飞星。",[50,23,51,26,27,104,220,107,55,7,221,222],"楼阁","岩石","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2c1ff15b6b9c4fa6376a24609f2ff0.jpg","23.3x24.6",[64],{"id":227,"slug":228,"title":229,"dynasty":73,"author":230,"museum":47,"description":231,"tags":232,"thumbUrl":239,"material":87,"size":88,"collection":132,"collections":240,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":242},230648,"bao-nan-gua-de-shao-nv-fu-shi-tuo-zuo-na-luo-230648","抱南瓜的少女","浮士托·佐那罗","浮士托·佐那罗fausto 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1929年7月19日)，他是一名意大利画家，以他的现实主义风格的生活和奥斯曼帝国的历史绘画而闻名。",[78,233,26,234,235,236,79,7,237,238],"写实","人物","少女","南瓜","绿叶","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1afabc5e032ac22c4fa0cb818add4b.jpg",[],43,"37474F",{"id":244,"slug":245,"title":246,"dynasty":118,"author":247,"museum":155,"description":248,"tags":249,"thumbUrl":253,"material":190,"size":254,"collection":37,"collections":255,"showCount":241,"zanCount":256,"manualWeight":11,"mainColor":68},222386,"shi-jia-mu-ni-tu-zhou-ding-yun-peng-222386","释迦牟尼图轴","丁云鹏","此图重色绘山石、松木，佛祖释迦牟尼坐于蒲团之上，着宽袍，双手搭膝，下巴置于手上沉思悟道。画面以青绿山水的画法绘环境，古松粗壮茂盛，松针描画精细，白衣人物在山石的青绿之间格外突出。",[50,23,51,25,250,27,26,234,104,251,221,7,252],"宗教","松树","洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52cc841ece026ee2bfb0bfd92cfa7b8b.jpg","140.7×58cm",[37,66],2,{"id":258,"slug":259,"title":260,"dynasty":118,"author":261,"museum":262,"description":263,"tags":264,"thumbUrl":266,"material":267,"size":268,"collection":132,"collections":269,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":40},222345,"tong-yin-qing-meng-tu-zhou-tang-yin-222345","桐荫清梦图轴","唐寅","北京故宫博物院","本幅行书自题七绝诗一首：“十里桐阴覆紫苔，先生闲试醉眠来；此生已谢功名念，清梦应无到古槐。唐寅画。”钤“吴趋”朱文圆印、“唐寅私印”白文方印、“唐阿大”朱文方印。鉴藏印有“松莲鑑定”白文方印、“东吴王莲泾藏书画记”朱文长方印等。\n《桐阴清梦图》以人物画为题材，抒发画家的生活遭遇和感受。此图用水墨白描手法，画梧桐一株，桐阴坡石处一人仰面闭目，坐於交椅之上，神情生动自然。构图简洁，用笔洗练，风格洒脱，韵致清逸，是唐寅白描人物画佳作。诗、书、画相得益彰。虽未署年款，但从题诗内容可以看出，此图是他在科场案受打击回苏州后所作，是画家看破尘事，不再追求功名，从此幽居林下的写照。\n唐寅为人性情疏朗，生活放诞，许多关於他的传说故事广为流传，妇孺皆知。他的诗、曲、书、画均颇有成就，尤以画名为最著，题材广泛，山水、人物、花鸟、竹石无一不精。曾以周臣为师，青出于蓝，并从宋元诸名家绘画中汲取营养，特别在继承南宋李唐、刘松年传统画法上有新的发展，形成了自己严谨秀逸的画风，成就突出，影响深远，在书史上有很高地位，是明代中期文人画的重要代表，与沈周、文徵明、仇英并称“吴门四大家”。\n未见著录。",[50,23,24,25,100,159,234,265,31,7,221],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07f74a6824f94c71cbee55f1249e612.jpg","纸本，水墨","纵62厘米，横30.9厘米",[],{"id":271,"slug":272,"title":273,"dynasty":18,"author":274,"museum":120,"description":275,"tags":276,"thumbUrl":280,"material":131,"size":281,"collection":37,"collections":282,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":68},219783,"shan-zhong-guan-shu-tu-yi-sheng-mao-219783","山中观书图(一)","盛懋","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[50,23,277,26,27,101,104,234,251,278,279,60,106,107,7],"水墨画","竹子","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bca7bc079a6d5dcc5b4be19f4c16a7a.jpg","纵97.3横29.2",[37],{"id":284,"slug":285,"title":286,"dynasty":73,"author":74,"museum":47,"description":75,"tags":287,"thumbUrl":293,"material":87,"size":88,"collection":89,"collections":294,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":68},225956,"iris-jaunes-et-mauves-1924-1925-mo-nai-225956","Iris 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近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[50,23,24,51,25,100,26,360,279,55,361,31,362,7,104,159],"禽鸟","水岸","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","画心纵128，横66.5厘米",[],21,{"id":368,"slug":369,"title":370,"dynasty":96,"author":154,"museum":47,"description":371,"tags":372,"thumbUrl":375,"material":376,"size":377,"collection":132,"collections":378,"showCount":379,"zanCount":11,"manualWeight":11,"mainColor":40},234984,"hua-hui-ling-mao-ping-2-ren-yi-234984","花卉翎毛屏2","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[23,26,159,25,373,30,374,81,7],"猫","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3023be322395ca9d31ef8d9f9e9920f.jpg","绢本，设色","149 x 61 cm",[],20,{"id":381,"slug":382,"title":383,"dynasty":96,"author":384,"museum":47,"description":385,"tags":386,"thumbUrl":388,"material":389,"size":390,"collection":132,"collections":391,"showCount":379,"zanCount":11,"manualWeight":11,"mainColor":40},222624,"shan-shui-shan-mian-4-gong-xian-222624","山水扇面-4","龚贤","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[50,23,100,104,387,101,107,60,105,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a851eec450e8b11c5a0839e9edbcd70.jpg","纸本，墨笔","纵22.7厘米，横63.1厘米",[],{"id":393,"slug":394,"title":395,"dynasty":118,"author":119,"museum":262,"description":396,"tags":397,"thumbUrl":399,"material":376,"size":400,"collection":132,"collections":401,"showCount":402,"zanCount":194,"manualWeight":11,"mainColor":68},231357,"xuan-de-xing-le-tu-yi-ming-231357","宣德行乐图","明代宫廷绘画中有一类表现帝王生活和重大历史事件的作品。此幅描绘明宣宗朱瞻基便服檐帽在御园观赏各种体育竞技表演的场面。画面上从右至左依次为射箭、蹴踘、马球、捶丸、投壶，场面宏大繁复而又具体入微，生动地表现出当时宫中的文体娱乐活动。由于要反映特定的地点和环境，所以描绘了大量的建筑。此卷以工整细腻的写实手法按照历史原貌对明代皇宫的楼台殿阁作了荚绘实又概括的描绘，是研究明代宫廷历史以及皇家建筑的重要资料。",[23,51,26,27,234,398,55,7,107,104,238],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd15889dcb5d2ea930aa35fbfdc5d7e.jpg","纵36.7cm，横690cm",[],15,{"id":404,"slug":405,"title":406,"dynasty":45,"author":119,"museum":47,"description":407,"tags":408,"thumbUrl":411,"material":132,"size":132,"collection":132,"collections":412,"showCount":402,"zanCount":11,"manualWeight":11,"mainColor":40},227908,"kong-lin-zuo-gou-tu-yi-ming-227908","空林坐狗图","垂柳如烟垂覆林隅，细槎疏枝错落舒展，晕染出萧寂清旷的郊野秋意。劲瘦细犬静坐坡石之侧，颈间红绦轻垂，是古雅底色里一抹鲜亮暖意。它抬首侧目，似在谛听风穿叶隙、野雀轻啼，将空林的幽寂悄然打破，又融于这份静谧之中。\n\n此作晕染温润古雅，淡墨写尽林野荒疏意趣，工笔细绘灵犬神态，以尺幅团扇框住林下闲景，将雅致审美藏于野趣日常，幽韵自生，尽显小品画以小见大的精妙意境。",[50,409,23,24,387,27,26,53,410,107,31,7],"宋代","狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d50f44903c7a03e510070aaade1260.jpg",[],{"id":414,"slug":415,"title":416,"dynasty":96,"author":417,"museum":262,"description":418,"tags":419,"thumbUrl":421,"material":389,"size":422,"collection":132,"collections":423,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":40},235023,"shan-shui-ce-wu-li-235023","山水册","吴历","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[23,100,101,102,104,60,106,420,107,7],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa663103a3f1d07138a071d3f921f0598.jpg","23.2厘米，横28厘米",[],12,{"id":426,"slug":427,"title":428,"dynasty":118,"author":429,"museum":47,"description":430,"tags":431,"thumbUrl":432,"material":87,"size":88,"collection":132,"collections":433,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":40},237079,"shan-shui-shan-ye-zhang-chong-237079","山水扇页","张翀","生卒不详，活动于17世纪，明代画家。字子羽，号浑然子、图南，江都（今江苏南京）人",[141,23,24,387,100,101,104,107,221,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e935d7997268e9c28e22ec5686dd6fa.jpg",[],11,{"id":436,"slug":437,"title":438,"dynasty":118,"author":439,"museum":440,"description":441,"tags":442,"thumbUrl":445,"material":110,"size":446,"collection":132,"collections":447,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":40},221928,"za-hua-ce-guo-xu-221928","杂画册","郭诩","上海博物馆","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。",[50,51,23,24,100,443,159,234,339,7,444,103],"白描","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1b76eeeb2eeb356c8d3f1ed37d35a.jpg","纵28.5 厘米横46.5 厘米",[],{"id":449,"slug":450,"title":451,"dynasty":96,"author":452,"museum":47,"description":453,"tags":454,"thumbUrl":458,"material":132,"size":132,"collection":132,"collections":459,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":40},238831,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238831","董诰墨庄览胜图册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[23,24,102,100,26,104,101,60,107,455,456,222,457,7],"明月","亭","岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d7fef818eeb28da85b6da5b97024a5.jpg",[],10,{"id":462,"slug":463,"title":464,"dynasty":118,"author":119,"museum":465,"description":466,"tags":467,"thumbUrl":470,"material":131,"size":471,"collection":35,"collections":472,"showCount":473,"zanCount":11,"manualWeight":11,"mainColor":40},219103,"lu-cong-gui-qin-tu-yi-ming-219103","芦丛归禽图","费城艺术博物馆","疏芦斜曳，翎羽翩然。归禽或栖于汀石，或振翅掠空，笔墨简淡却意态鲜活。淡远的背景晕染出雨后空濛，恰与题跋中“宿雨涨”的诗意相契。诗画交融间，文人寄情林泉的雅趣悄然流露——无需浓妆艳抹，仅以清雅之韵勾勒自然闲静，仿佛芦叶簌簌声里，禽鸟轻啼，引观者心随归禽，一同栖入这方悠然天地。",[50,23,24,100,26,27,468,469,55,455,31,360,7],"行书","芦丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87fb7b2785dc6077427ac6d731e773b1.jpg","纵22横17厘米",[35],8,{"id":475,"slug":476,"title":477,"dynasty":478,"author":479,"museum":440,"description":480,"tags":481,"thumbUrl":10,"material":132,"size":132,"collection":66,"collections":482,"showCount":473,"zanCount":11,"manualWeight":11,"mainColor":483},202908,"shuang-lu-tu-zhou-gao-jian-seng-202908","双鹿图轴","近代","高剑僧","双鹿依偎于丛草间，母鹿昂首凝神，小鹿亲昵贴靠，神态憨朴。笔墨写意传神，鹿身以淡墨晕染，斑纹隐现，鹿角线条劲挺；丛草以疏放笔触挥写，虚实交错，野趣盎然。画面静谧温润，尽显自然生机与生命温情，笔墨间兼具物象之真与写意之韵。",[23,26,53,159,100,7,25,50],[66],"b7a689",{"id":485,"slug":486,"title":487,"dynasty":73,"author":119,"museum":47,"description":488,"tags":489,"thumbUrl":495,"material":132,"size":132,"collection":132,"collections":496,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":40},225520,"fu-shi-hui-278-yi-ming-225520","浮世绘278","画面里两只山雀意态悠然，一只栖于深紫花梢侧身回望，另一只踱步在生着红果的浅草间。明黄野菊错落绽放在暗红花枝间，暖亮色调揉开深紫的沉郁，赤红浆果与细柔草叶点缀出秋日野趣。\n\n笔触细腻柔和，设色调和雅致，留白舒展空灵，将禽鸟的灵动与草木的静柔相融。写实描摹花鸟情态，又带着东方写意留白的悠然，晕染出郊野秋日的娴静生机，尽显日式花鸟绘的温婉诗意。",[490,491,492,26,28,493,79,7,129,494,374,81],"浮世绘","木刻","版画","菊花","红色果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bebafe247c51f9e1b4eda1fc9647cb6.jpg",[],6,{"id":499,"slug":500,"title":501,"dynasty":96,"author":502,"museum":440,"description":503,"tags":504,"thumbUrl":506,"material":132,"size":132,"collection":35,"collections":507,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":508},201874,"hua-die-tu-zhou-tang-jia-ming-201874","花蝶图轴","汤嘉名","画面里蝶影翩跹，或聚或散姿态各异：有的振翅欲起，翅尖似带轻风气韵；有的静栖青绿草丛间，翅脉纹理纤毫毕现，色彩淡雅却灵动传神。浅粉小花点缀草间，与晕染细腻的叶色相映成趣，尽显春日生机。笔触工致精巧，线条婉转流畅，将蝴蝶的轻盈姿态与花草的柔媚质感刻画得淋漓尽致，整体意境清新雅致，透着自然之趣与文人画的雅致格调。",[27,26,28,505,7,25,50],"蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e1a99c710ec82e720545ea84b5787e.jpg",[35],"b49c74",{"id":510,"slug":511,"title":512,"dynasty":96,"author":513,"museum":47,"description":514,"tags":515,"thumbUrl":516,"material":132,"size":132,"collection":132,"collections":517,"showCount":518,"zanCount":11,"manualWeight":11,"mainColor":68},224577,"suan-ni-tu-zhou-qing-ren-224577","狻猊图轴","清人","此作以卧姿神兽为主体，画师跳出写实桎梏，将其塑作威严悍猛之态。阔口獠牙、双目圆睁，夸张的面部更显慑人气势，鬃毛以晕染分层，蓬松如怒涛翻卷。躯体线条柔中带刚，暗合肌肉张力，臀侧旋纹为神兽添了几分神异灵韵。\n\n旁侧古松虬曲苍劲，苔点皴写出老干斑驳质感，坡岸细草轻勾淡描，衬得神兽愈发沉静雄浑。淡墨轻色晕染出古雅绢本氛围，工写兼施，既抓住猛兽的雄健之姿，又赋予瑞兽神性威仪，尽显神异走兽画的精妙意趣。",[23,24,25,158,27,26,53,251,7,221,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840689bd9a6229e85d7d08c8826cb047.jpg",[],5,{"id":520,"slug":521,"title":522,"dynasty":96,"author":523,"museum":262,"description":524,"tags":525,"thumbUrl":529,"material":132,"size":530,"collection":132,"collections":531,"showCount":518,"zanCount":11,"manualWeight":11,"mainColor":40},223208,"geng-zhi-tu-ce-jiao-bing-zhen-223208","耕织图册","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[51,158,23,24,102,27,26,526,527,234,107,106,528,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