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Museum","这幅长卷以兼工带写之法绘就，泼墨挥写折枝花草，葫芦藤蔓蜿蜒豪放，墨叶酣畅淋漓，牵牛、萱花、海棠设色明妍鲜活，笔意朴拙老辣，尽显秋花野逸生机。\n工笔草虫穿插其间，蟋蟀、天牛、蜻蜓、蛱蝶皆纤毫毕现，翅脉通透轻薄，肢体灵动鲜活，将小虫的灵动神态刻画入微。大写意的烂漫朴拙与工笔的精细雅致相映成趣，把乡郊秋日的鲜活野景凝于卷上。搭配古雅题款与篆刻，整体意趣天然浑融，将乡野小景化作文人雅韵，尽显独有的花鸟意致。",[23,25,24,26,27,28,79,78,57,58,165,101,166,167,168,169,170,171,172,7],"花","葫芦","丝瓜","藤蔓","叶子","蝴蝶","蜻蜓","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39df443cbe832b9d4633286bff1506d1.jpg","color on 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，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[23,24,26,56,79,29,30,33,83,126,122,239,60,7,225,127],"溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","绢本,水墨","169.1x101",[41],132,{"id":246,"slug":247,"title":248,"dynasty":138,"author":249,"museum":199,"description":250,"tags":251,"thumbUrl":254,"material":129,"size":255,"collection":256,"collections":257,"showCount":258,"zanCount":133,"manualWeight":11,"mainColor":46},218285,"ji-gong-tu-mu-xi-218285","济公图","牧溪","画面人物情态鲜活，右侧身影衣衫宽博，神态不羁却藏温煦，似正与周遭人语。周遭老幼或凝神谛听，或俯身趋近，动态毕现。笔墨简括灵动，线条如行云流水，衣衫褶皱寥寥数笔便见洒脱之姿，墨色浓淡相宜，衬出人物神情的真切。背景淡远，更显群像生动。于简约中见真意，随性之笔捕捉瞬间生活气息，又暗蕴禅家超脱与悲悯，笔墨间那份直击人心的生动与温暖，悄然流转。观者仿佛能听见席间笑语，触到那份不拘形骸的自在，于水墨晕染里，感受画中人物的鲜活与烟火气交织的独特韵味。",[25,24,26,79,252,149,83,7,253],"白描","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8931c719123b1f804d7302dcd90dfc65.jpg","26x29","人物画精选",[256],118,{"id":260,"slug":261,"title":262,"dynasty":18,"author":263,"museum":20,"description":264,"tags":265,"thumbUrl":280,"material":281,"size":282,"collection":41,"collections":283,"showCount":285,"zanCount":193,"manualWeight":11,"mainColor":113},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 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另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,26,27,79,29,253,30,121,266,267,268,83,269,270,149,271,272,273,274,165,125,275,276,277,278,7,279],"老树","孤舟","梅","水面","渔船","远岫","岸","茅屋","枝干","枯树","岸滩","船只","山间","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纸本，墨笔","纵30cm，横52.8cm",[41,284],"水墨画精选",111,{"id":287,"slug":288,"title":289,"dynasty":73,"author":290,"museum":53,"description":291,"tags":292,"thumbUrl":297,"material":129,"size":298,"collection":65,"collections":299,"showCount":285,"zanCount":133,"manualWeight":11,"mainColor":113},218916,"feng-huang-wu-tong-tu-yang-da-zhang-218916","凤凰梧桐图","杨大章","设色画梧桐竹石，众鸟翔集。凤凰、白鹤、鸳鸯双栖其下，色彩鲜艳，呈现一片祥瑞之气。当时宫廷绘画喜好吉祥，本幅题材与画风即属此类。",[24,26,56,78,28,58,293,294,295,83,33,296,7,203],"凤凰","梧桐","鹤","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff067e5de5237cf8c1c1b5a25bd6bdb9b.jpg","337.3x122.6cm",[65],{"id":301,"slug":302,"title":303,"dynasty":51,"author":304,"museum":20,"description":305,"tags":306,"thumbUrl":309,"material":129,"size":310,"collection":41,"collections":311,"showCount":312,"zanCount":133,"manualWeight":11,"mainColor":113},219721,"shen-cui-xuan-tu-wen-zheng-ming-219721","深翠轩图","文徵明","文徵明（1470—1559年），原名壁，字徵明，后以字行，改字徵仲，长洲（今江苏省苏州）人。家世武弁，自祖父起始以文显，父文林曾任温州永嘉知县。他幼习经籍诗文，喜爱书画，文师吴宽，书法学李应祯，绘画宗沈周。少时即享才名，与祝允明、唐寅、徐祯卿并称“吴中四才子”。然在科举道路上却很坎坷，从弘治乙卯（1495年）26岁到嘉靖壬午（1522年）53岁，十次应举均落第，直至54岁才受荐以贡生进京，待诏翰林院。四年中目睹官场腐败，一再乞归，57岁回归故里，潜心诗文书画。他通晓各科绘画之艺，擅长各种细粗之法，其目力和控笔能力极佳，80多岁时还能十分流利地书写蝇头小楷竟日不倦。绘画上与沈周共创“吴派”，又与沈周、唐寅、仇英并称“吴门四家”。书法上与祝允明、王宠并誉为“吴中三家”。 文徵明的绘画兼善山水、兰竹、人物、花卉诸科，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。这路细笔山水属本色画，具装饰性、抒情味、稚拙感、利家气诸特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。",[23,24,26,27,30,122,33,83,28,307,308,7],"文人画","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纵23.8cm，横78.3cm",[41,228],88,{"id":314,"slug":315,"title":316,"dynasty":73,"author":317,"museum":53,"description":318,"tags":319,"thumbUrl":327,"material":28,"size":328,"collection":175,"collections":329,"showCount":330,"zanCount":155,"manualWeight":11,"mainColor":113},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a","郎世宁","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,25,24,26,320,28,78,321,322,58,59,60,323,324,7,61,325,326,279,83,95],"册","中西合璧","写实","叶片","花朵","色彩","造型逼真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg","宽28.4公分，高33.7公分",[],83,{"id":332,"slug":333,"title":334,"dynasty":73,"author":335,"museum":53,"description":336,"tags":337,"thumbUrl":339,"material":129,"size":340,"collection":43,"collections":341,"showCount":342,"zanCount":11,"manualWeight":11,"mainColor":113},219477,"hu-tu-ma-fu-tu-219477","虎图","马负图","此作打破惯常的猛虎范式，坐虎圆颅圆眼，憨态尽显。以丝毛晕染绘皮毛，笔触细腻柔润，斑纹浓淡层次分明，将蓬松质感淋漓展现，褪去兽王的狞厉刻板，尽显稚态娇憨。\n背景浅绛绘就山野，危崖飞瀑隐于轻岚淡雾间，点染苍润草木，晕染出山谷空寂清宁。静虎坐卧于山石，稚拙憨态与山野幽寂相融，工写兼具，笔意温润雅致，把山林王者柔化成邻家稚兽，别出灵动画意，尽显悠然野趣。",[24,26,28,78,29,30,338,82,123,83,7],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d96f61fde5de07de01651b35d7eae0.jpg","158.1×91.2",[43],82,{"id":344,"slug":345,"title":346,"dynasty":18,"author":74,"museum":53,"description":347,"tags":348,"thumbUrl":350,"material":63,"size":175,"collection":43,"collections":351,"showCount":352,"zanCount":11,"manualWeight":11,"mainColor":46},218757,"ma-hu-dou-tu-yi-ming-218757","马虎斗图","荒野坡地间，虎躯如弓骤起，斑纹随扑跃之势流转，利爪前探、利齿微张，将猛兽的悍勇凝于一瞬。对面的马似遭突袭，后腿猛蹬沙砾，前蹄腾空欲踹，鬃尾怒扬如帚，肌肉紧绷的线条里满是求生的倔强。周遭荒草疏疏，枯木隐现，浅褐底色更衬出这场对峙的凛冽——没有多余渲染，却让观者仿佛听见虎啸马嘶，触到风里的紧张气息。笔法精准却不刻板，虎的威猛与马的刚烈形成强烈张力，寥寥数笔的环境勾勒，便将荒野争斗的野性拉满，尽显笔墨间蓬勃的生命力。",[23,24,78,28,338,349,82,83,7],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb750130b6ddf73afbbc1100e84494f1.jpg",[43],80,{"id":354,"slug":355,"title":356,"dynasty":51,"author":357,"museum":358,"description":359,"tags":360,"thumbUrl":362,"material":129,"size":363,"collection":175,"collections":364,"showCount":365,"zanCount":11,"manualWeight":11,"mainColor":113},220027,"dong-zhuang-tu-ce-ting-zi-ping-shen-zhou-220027","东庄图册-艇子洴","沈周","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,24,79,320,29,30,266,308,269,361,7],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083fb5e331396661ac55295f09115283.jpg","纵28.6厘米，横33厘米",[],66,{"id":367,"slug":368,"title":369,"dynasty":73,"author":370,"museum":199,"description":371,"tags":372,"thumbUrl":377,"material":175,"size":175,"collection":41,"collections":378,"showCount":379,"zanCount":11,"manualWeight":11,"mainColor":113},237581,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237581","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》。",[24,26,25,79,373,29,30,374,239,267,33,147,375,35,34,7,376],"仿古","山峦","渔翁","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[41,284],65,{"id":381,"slug":382,"title":383,"dynasty":51,"author":384,"museum":53,"description":385,"tags":386,"thumbUrl":390,"material":391,"size":392,"collection":65,"collections":393,"showCount":394,"zanCount":11,"manualWeight":11,"mainColor":113},222064,"jian-qiu-luo-ji-lin-da-222064","剪秋罗鸡","林达","此图为《明林达花卉翎毛册》中的一页。林达（年代不详），字志道，号愧吾，福建莆田人。俊子。正德九年（1514）进士，历官南京吏部考功郎中。",[23,25,24,26,387,28,78,58,388,59,60,389,7],"明代","小鸡","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ad09435dd181cbb24bac44d2945b7b.jpg","纸本设色","29.7×40.4cm",[65,43],64,{"id":396,"slug":397,"title":398,"dynasty":138,"author":74,"museum":53,"description":399,"tags":400,"thumbUrl":411,"material":107,"size":412,"collection":175,"collections":413,"showCount":414,"zanCount":11,"manualWeight":11,"mainColor":415},223471,"xi-mao-tu-yi-ming-223471","戏猫图","本幅传为宋人所画，在庭园一角嬉戏的大小猫咪一共八只。画栏围绕，锦障高下相连，使园中彷佛别有洞天。群猫嬉戏於湖石、竹丛、桃树、牡丹之间，或静或动，生态盎然。画家观察入微，以瞳孔缩成线状的猫眼，点出了这场猫戏的时序，应该是日光强烈的日间。",[23,24,25,28,78,401,82,58,402,403,59,404,405,406,407,408,7,409,410],"猫","器","牡丹","器物","宠物","庭院","桌案","鸟笼","设色工笔","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944be0ae10bb40132b87c6508e80870b.jpg","139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天空中的白雁鸭成对啄食嬉戏，翠鸟、家禽或站在水草的杆上，或在柳枝上，或盘旋在空中，一派生机勃勃的景象。",[23,24,26,28,78,58,479,530,531,203,532,33,441,59,296,7,98,99],"荷叶","天鹅","水禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","80x60cm",[],50,{"id":538,"slug":539,"title":540,"dynasty":51,"author":541,"museum":53,"description":542,"tags":543,"thumbUrl":560,"material":561,"size":562,"collection":41,"collections":563,"showCount":564,"zanCount":155,"manualWeight":11,"mainColor":46},222241,"yu-le-tu-ding-yu-chuan-222241","渔乐图","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,28,30,78,267,544,452,545,223,34,124,272,121,546,547,221,548,275,549,550,480,551,552,553,554,271,555,556,515,7,557,558,559],"渔乐","渔夫","草","芦苇","岸石","汀渚","渔人","烟波","浅滩","丛竹","近岸","霭气","水域","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米",[41,284],48,{"id":566,"slug":567,"title":568,"dynasty":73,"author":569,"museum":199,"description":570,"tags":571,"thumbUrl":573,"material":574,"size":575,"collection":41,"collections":576,"showCount":577,"zanCount":11,"manualWeight":11,"mainColor":46},224408,"shu-hua-shi-liu-kai-1-wang-shi-min-224408","书画十六开-1","王时敏","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,26,320,28,29,30,572,123,239,33,497,277,35,7],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4285d78bec5736d0c6c8df96ff8a6e9a.jpg","墨色绢本","48x32",[41,228,43],47,{"id":579,"slug":580,"title":581,"dynasty":138,"author":582,"museum":199,"description":583,"tags":584,"thumbUrl":586,"material":175,"size":175,"collection":175,"collections":587,"showCount":588,"zanCount":11,"manualWeight":11,"mainColor":46},227831,"she-xiang-tu-mao-song-227831","麝香图","毛松","洞石旁蜀葵柔枝舒展，粉白淡紫的花晕漾开雅致生机，藏在花枝间的禽鸟敛羽小憩，暗生幽趣。狸奴踞坐于地，蓬松白毛似覆软雪，琥珀眼眸凝向幼崽，神态温静慵懒。三只乳猫两两嬉闹，稚拙灵动的憨态被描摹入微。\n\n设色秀妍清雅，笔致工细却不失灵韵，以圆形构图收拢庭院景致，将母猫育幼的日常温情定格成一方温柔剪影，把宋人的细腻闲情晕开在绢素之上，平和松弛的烟火暖意漫溢其间，尽显雅致柔和的审美意趣，将寻常里的治愈温情留存至今。",[23,25,24,26,585,78,28,401,82,165,60,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e654708b44e5b560820fa536d6656d.jpg",[],45,{"id":590,"slug":591,"title":592,"dynasty":18,"author":74,"museum":53,"description":593,"tags":594,"thumbUrl":598,"material":129,"size":599,"collection":65,"collections":600,"showCount":601,"zanCount":11,"manualWeight":11,"mainColor":46},219324,"hua-xia-jiang-chu-tu-yi-ming-219324","花下将雏图","画幅下面有一湖石横卧其间，湖石两侧长有几丛幽竹，枝叶伸展，匍伏于湖石上，湖石四周杂草遍地，以象征出整片的草地，对整个画面起到衬托作用。画幅右侧有湖石竖立其旁，湖石上大下小，向左倾斜，呈险势状。湖石造型奇特，玲珑剔透。湖石后有一束翠竹横出，又有几株鲜花盛开的牡丹。枝头上硕大的花朵，由绿叶衬托，更显得艳丽秀美。花枝有的向画面左侧横出，有一枝条伸展至画幅左上部位，这是妙笔，将画幅左上部位空白处填补，起到了充实和平衡整个画面的作用。在湖石和牡丹枝荫下，有鸡一公、一母、七雏，立于湖石和盛开着的牡丹的草地上，左侧公鸡低首觅食，两爪有力抓在地上，头部肉冠及肉办较大，短翼，脚健壮，跗跖及趾皆被鳞板，尾发达，体较大，羽色亦美，尾羽夸张地飘动着如海草一般；母鸡蹲伏在地上，两爪有力抓地，双翅上翘，尾巴舒展开来呈扇形，弯颈低首，双目下视；母鸡背部立一雏，另一雏在翼下，二雏藏尾后，余下三雏则在近处草地啄食，皆毛羽缕缕可见。",[186,24,26,25,56,78,28,58,403,595,596,597,266,83,7,296],"公鸡","母鸡","雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553dd7adab84486b80b38f993362b208.jpg","182x102.8公分",[65],41,{"id":603,"slug":604,"title":605,"dynasty":51,"author":606,"museum":20,"description":607,"tags":608,"thumbUrl":611,"material":612,"size":613,"collection":175,"collections":614,"showCount":615,"zanCount":11,"manualWeight":11,"mainColor":113},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徴明","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[24,26,27,79,78,609,610,253,125,497,149,406,83,7],"书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纸本墨笔","纵26.3CM 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陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,25,24,26,387,58,57,79,28,59,168,622,7,27],"果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138d65dbbfc167920322e416ba20c1e.jpg","32.5×57.3厘米",[],37,{"id":628,"slug":629,"title":630,"dynasty":73,"author":370,"museum":20,"description":371,"tags":631,"thumbUrl":635,"material":281,"size":636,"collection":41,"collections":637,"showCount":638,"zanCount":155,"manualWeight":11,"mainColor":113},236769,"zhu-qu-zhou-wang-hui-236769","竹趣轴",[24,56,79,29,30,452,239,83,33,632,223,633,634,7],"小屋","近景","亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a53edaed5daacf78869c55444abcab9.jpg","纵138.8厘米，横29.9厘米",[41,284],36,{"id":640,"slug":641,"title":642,"dynasty":138,"author":643,"museum":53,"description":644,"tags":645,"thumbUrl":646,"material":107,"size":647,"collection":43,"collections":648,"showCount":649,"zanCount":11,"manualWeight":11,"mainColor":46},219923,"ru-niu-tu-zhou-li-tang-219923","乳牛图轴","李唐","一位牧童趴伏于母牛背上，小牛跟随在后，引颈低呼，老牛摇尾相应，母子亲情，描写欲活。本幅并无作者款印，裱绫有清代鉴赏家梁清标所书之题签，云：「李晞古乳牛图」。不过本幅牛体、皴石之用笔皆与李唐（西元1049－1130年）画风有别，或属明代早期之作。李唐，字晞古。河南孟县人。擅山水、人物，也长于画牛。徽宗朝进入画院，高宗建炎年间，授成忠郎衔任画院待诏。",[23,24,25,26,56,78,28,510,82,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c355d617f6a550dbb9e6d783bb802e6.jpg","46.4x62.5",[43],34,{"id":651,"slug":652,"title":653,"dynasty":73,"author":654,"museum":53,"description":655,"tags":656,"thumbUrl":663,"material":664,"size":665,"collection":43,"collections":666,"showCount":649,"zanCount":11,"manualWeight":11,"mainColor":113},219439,"zhang-zhi-tian-xian-zhou-jin-ting-biao-219439","长至添线轴","金廷标","三仕女或立或蹲，围聚一处，纤指捻线穿针，神态专注。古松虬枝盘结，怪石嶙峋错落，梅梢疏影横斜，几点红萼点缀其间，清寂中透着雅致。笔触细劲流畅，衣袂飘举若流云，设色温润淡雅，将冬至添线的闺阁雅事凝为静谧时光片段。山石苍朴与仕女柔婉相映，草木疏朗与神情专注相衬，尽显传统生活里的闲情与温情，似能闻得针线轻捻的细碎声响，漫溢出岁月的静好。",[24,56,28,78,149,35,95,657,658,659,660,661,662,7,83],"梅枝","古代服饰","庭院景致","浅绛","细笔勾勒","设色淡雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ded8ec5791225f131ba582f53901274.jpg","设色,绢本","144.5x55.1",[43],{"id":668,"slug":669,"title":670,"dynasty":73,"author":671,"museum":199,"description":672,"tags":673,"thumbUrl":674,"material":456,"size":457,"collection":175,"collections":675,"showCount":676,"zanCount":11,"manualWeight":11,"mainColor":113},237691,"ying-su-hua-wan-shan-zhang-xiong-237691","罂粟花纨扇","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[25,24,26,585,28,78,58,60,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232c70277cf671993d3a7637e9c67d0c.jpg",[],33,{"id":678,"slug":679,"title":680,"dynasty":73,"author":681,"museum":199,"description":682,"tags":683,"thumbUrl":687,"material":456,"size":457,"collection":175,"collections":688,"showCount":676,"zanCount":11,"manualWeight":11,"mainColor":113},230974,"zi-wei-shuang-ya-tu-zhu-cheng-230974","紫薇双鸭图","朱偁","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，浙江嘉兴人。",[23,24,56,28,58,684,685,78,79,686,7],"紫薇","鸭","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3621326badfd0abb6238460d188f3b31.jpg",[],{"id":690,"slug":691,"title":692,"dynasty":73,"author":693,"museum":53,"description":694,"tags":695,"thumbUrl":697,"material":698,"size":175,"collection":175,"collections":699,"showCount":676,"zanCount":11,"manualWeight":11,"mainColor":113},224243,"ren-wu-shan-shui-li-zhou-gai-qi-224243","人物山水立轴","改琦","此作用淡墨写就庭院闲景，挺秀蕉树阔叶舒展，晕染出夏末清阴。茅舍半敞，幽人凭窗静坐，似在细听雨打蕉叶。泼墨点染山石苍润古朴，留白铺陈出空寂悠然的氛围。\n\n画面左上题诗与图景相映，诗画合璧，将文人幽居闲情寄寓其中。笔墨简淡秀雅，摒去浓艳敷色，尽显萧疏幽淡的意境，把江南文人心底的闲雅愁绪与林下之乐融为一体，淡墨轻岚间，漫溢出静谧安闲的书卷清气。",[23,24,79,56,78,149,30,696,60,308,7],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720732020f05546e4858289f093d2153.jpg","白纸本",[],{"id":701,"slug":702,"title":703,"dynasty":18,"author":704,"museum":53,"description":705,"tags":706,"thumbUrl":712,"material":713,"size":714,"collection":41,"collections":715,"showCount":716,"zanCount":155,"manualWeight":11,"mainColor":46},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","高克恭","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[23,25,24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载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,28,320,401,804,452,60,7,58,82,609,253],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07d23dd712768dd98861d24740bc2b9.jpg",[],24,{"id":809,"slug":810,"title":811,"dynasty":51,"author":74,"museum":199,"description":812,"tags":813,"thumbUrl":814,"material":175,"size":175,"collection":175,"collections":815,"showCount":816,"zanCount":155,"manualWeight":11,"mainColor":46},228813,"die-hua-tu-yi-ming-228813","蝶花图","此作用笔兼工带写，粉紫丛花挺立于坡石之侧，花头饱满柔润，叶片以浓淡墨晕染出阴阳向背，古拙中见雅致。坡石简笔勾勒皴擦，苍朴厚重，衬得花草愈见清妍。\n\n两只蛱蝶翩跹花间，翅脉纤毫毕现，振翅欲飞的姿态灵动鲜活，将郊野刹那生机定格。设色沉雅柔和，古绢底色更添朴茂古意，整体画面简淡空灵，铺展出幽塘野径间的闲趣诗意，尽显写生花鸟的隽永意趣，于静谧中藏着灵动野趣。",[23,24,28,78,58,170,60,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ff6a1fc2bdaca3c3b288d2f5d5422c.jpg",[],23,{"id":818,"slug":819,"title":820,"dynasty":138,"author":74,"museum":53,"description":821,"tags":822,"thumbUrl":829,"material":241,"size":830,"collection":175,"collections":831,"showCount":816,"zanCount":11,"manualWeight":11,"mainColor":46},223424,"song-ren-ping-chou-hu-du-zhou-yi-ming-223424","宋人平畴呼犊轴","树叶和芦矛经霜成了赭黄色，秋意已深。在平原上游散着一大一小两头牛，小牛被遗落在后，急了便高耸着鼻子呼唤。母牛停下了脚步，回过头来等候着，足见母子情深。画家描绘小牛的鸣叫，张着唇吻，屈着前足，背高高的耸起，尾却朝上轻摇。对牛在鸣叫时骨骼筋络的反应，研究观察得非常精细，使人看了，仿佛也可以听到小牛的呼叫声。诚为一南宋无款佳作",[23,24,26,56,28,78,510,82,275,823,824,35,7,825,826,827,274,828,206,765,322],"杂草","平野","田野","水牛","犊牛","土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1f0accd9c0ce6a2dcc5675ccf7d880.jpg","97x52.4",[],{"id":833,"slug":834,"title":835,"dynasty":138,"author":836,"museum":199,"description":837,"tags":838,"thumbUrl":839,"material":456,"size":457,"collection":175,"collections":840,"showCount":841,"zanCount":11,"manualWeight":11,"mainColor":46},288994,"mu-zi-quan-tu-mao-yi-288994","母子犬图","毛益","毛益（公元12世纪）〔南宋〕昆山（今属江苏）人，一作沛（今江苏沛县）人，生卒年不详。孝宗乾道(1165-1173)间画院待诏，工画翎毛、花竹，尤能渲染，似欲飞鸣。",[25,24,26,78,28,804,82,438,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31dab7edd927a3828f05cca548ddcfa.jpg",[],22,{"id":843,"slug":844,"title":845,"dynasty":73,"author":846,"museum":199,"description":847,"tags":848,"thumbUrl":850,"material":175,"size":175,"collection":41,"collections":851,"showCount":841,"zanCount":11,"manualWeight":11,"mainColor":113},238514,"shan-shui-xiao-ce-qian-wei-cheng-238514","山水小册","钱维城","此作用平远之法铺展秋郊山居：前景田亩纵横，村舍错落，农人俯身耕织，晕开融融烟火意趣。中层峰峦叠翠，林木蓊郁苍润，山石以细密皴法勾勒晕染，干湿浓淡间尽显丘壑层次。远景山峦清寂空灵，淡赭轻敷点染秋光。\n\n题诗与画作相映成趣，笔致工稳秀润，既有严整的山水法度，又揉入江南田园的悠然野趣，将秋日郊野的静穆生机诉诸笔端。文人雅致与村居烟火相融，把山居秋日的澹然闲逸刻画得淋漓尽致，尽显传统山水的抒情意韵。",[24,26,320,28,29,30,31,121,148,825,124,83,7,497,849],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44002ec93ae585ef891e8d628bc9422f.jpg",[41,43],{"id":853,"slug":854,"title":855,"dynasty":138,"author":856,"museum":199,"description":857,"tags":858,"thumbUrl":859,"material":175,"size":175,"collection":175,"collections":860,"showCount":841,"zanCount":11,"manualWeight":11,"mainColor":46},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明隐归图全卷","李公麟","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,24,26,27,252,28,149,30,122,147,124,267,33,468,609,253,406,480,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":862,"slug":863,"title":864,"dynasty":73,"author":777,"museum":199,"description":865,"tags":866,"thumbUrl":868,"material":107,"size":869,"collection":256,"collections":870,"showCount":841,"zanCount":11,"manualWeight":11,"mainColor":46},224175,"bai-xia-xian-lu-tu-zhou-hua-yan-224175","柏下仙鹿图轴","图绘山中平坦处，一棵松柏高大粗壮，树下一只仙鹿卧于地上，鹿身白毛点点，鹿角如树杈般坚挺，两眼炯炯有神；一仙者着红袍似坐于鹿背上，抚摸着鹿角，慈祥安宁；地面上杂草丛生，生机勃勃。",[23,24,26,56,28,149,82,867,83,7,78],"柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97fadb1d653960d1b79110f47c5d39d.jpg","171×124.8厘米",[256,43],{"id":872,"slug":873,"title":874,"dynasty":73,"author":74,"museum":199,"description":875,"tags":876,"thumbUrl":881,"material":63,"size":175,"collection":175,"collections":882,"showCount":883,"zanCount":11,"manualWeight":11,"mainColor":46},216705,"hong-lou-meng-fu-tu-ce-19-yi-ming-216705","红楼梦赋图册-19","圆窗嵌于粉墙，帘内人影绰绰，似有私语在雅致轩榭间流转。阶下石旁，两人闲坐，衣袂染着浅淡色彩，神情间藏着几分红楼特有的清婉。草木疏朗，远景如黛，柔细笔触勾勒出庭院清幽。画面似将书中寻常片段定格，无激烈情节，却在细微处流露古典雅致与隐微情愫，让人心生向往又带一丝淡淡怅惘，仿佛能触摸到那个时代的温度。",[23,24,320,78,28,149,877,468,406,7,60,878,879,880],"美人","红楼梦","清婉","怅惘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5141cca9a0990f77beee6705ba7ea33c.jpg",[],20,{"id":885,"slug":886,"title":887,"dynasty":51,"author":888,"museum":199,"description":889,"tags":890,"thumbUrl":892,"material":456,"size":457,"collection":175,"collections":893,"showCount":894,"zanCount":155,"manualWeight":11,"mainColor":46},290880,"wu-lu-tu-zhou-wang-zhao-290880","五鹿图轴","汪肇","画面中，五只鹿伫立在弥漫浓雾的山野之间，身体互相紧靠，有的回首张望，有的则是低头作嚼草状。一旁生长着松、竹的植物和色彩斑烂的花卉，周围则环绕岩石及河流。白鹿在古代被视为象征长寿的仙兽，当牠与长青的松、竹画在一起，通常有为人祝寿、贺吉祥的意涵。\n鹿身上的毛色，由浓淡、长短不一的墨线画成，加上细微的渲染，毛皮的质感看起来自然生动。对比之下，周围的树、石以及云霭，则是以粗放快速的笔法或是大片水墨渲染来表现，让画面充满了奇诡变化的气氛。这幅作品旧传为明代陈淳画，可是由这些笔墨的技巧来判断，应该出自浙派画家汪肇的手笔。他另外有一幅〈松鹿图〉（日本私人收藏）流传下来，与本幅的风格相当接近。汪肇擅长以淡墨烘染云海，制造自然瞬息万变的效果，这也是他自号为「海云」的由来。",[24,26,56,82,891,78,28,125,83,7],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ca000543247c0dd42e1e0e9e72342f.jpg",[],19,{"id":896,"slug":897,"title":898,"dynasty":138,"author":74,"museum":20,"description":899,"tags":900,"thumbUrl":901,"material":902,"size":903,"collection":175,"collections":904,"showCount":894,"zanCount":11,"manualWeight":11,"mainColor":113},234002,"ming-bi-ji-sheng-ce-song-ren-cai-hua-tu-ye-yi-ming-234002","名笔集胜册-宋人采花图页","此画描绘野色秋景：古木、巨石、竹丛、杂花、曲水，老人拄杖，边走边看旁边的孩子，另一个孩子抱着 一个花瓶，跟在后面。 老人和两个少年，一副活泼的姿态，热切地相互呼应。 整幅画淡漠，充满野趣。 作者用双勾填彩竹，用白粉点花，用浓墨去山石，用淡墨擦。\n此图描绘的是陶渊明和采菊的故事。",[24,26,25,320,78,28,149,165,121,60,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3829cc71d2b5bb96c58a1efbea7b43.jpg","绢本 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仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[23,24,26,320,79,29,30,33,60,269,374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ef3432372e2458db74ec31875d2652.jpg",[],{"id":998,"slug":999,"title":1000,"dynasty":51,"author":1001,"museum":199,"description":1002,"tags":1003,"thumbUrl":1006,"material":456,"size":457,"collection":175,"collections":1007,"showCount":1008,"zanCount":11,"manualWeight":11,"mainColor":113},237802,"lin-luan-qiu-se-shan-wu-bin-237802","林峦秋色扇","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[24,26,585,79,30,1004,121,29,253,1005,83,7],"林峦","秋色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf94e8b75aea5a578d064fef0d922e45.jpg",[],11,{"id":1010,"slug":1011,"title":1012,"dynasty":73,"author":1013,"museum":950,"description":1014,"tags":1015,"thumbUrl":1019,"material":175,"size":175,"collection":65,"collections":1020,"showCount":1008,"zanCount":11,"manualWeight":11,"mainColor":1021},203379,"hua-niao-cao-chong-ce-gu-shao-203379","花鸟草虫册","顾韶","这幅画作以工致笔触捕捉自然生趣，花叶舒展间，螳螂翘首欲动，小虫隐于叶隙，羽翎纹理纤毫毕现。设色清雅明快，叶片的翠润、花瓣的柔粉与虫羽的素白相映成趣，线条精准勾勒出草木脉络与生灵动态，将草虫花鸟的鲜活气息凝于纸面。观者仿佛能嗅到草木清香，窥见虫鸣私语，于方寸间尽显写生之妙与文人意韵，是兼具写实功力与诗意情致的佳作。",[78,28,58,761,7,1016,1017,1018,23],"羽翎","写生","文人意韵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f88b530601772cc1a1b7b8ee1776728.jpg",[65],"bcab88",{"id":1023,"slug":1024,"title":1025,"dynasty":138,"author":1026,"museum":199,"description":1027,"tags":1028,"thumbUrl":1035,"material":175,"size":175,"collection":175,"collections":1036,"showCount":1037,"zanCount":11,"manualWeight":11,"mainColor":113},227828,"shi-jing-bin-feng-tu-juan-ma-yuan-227828","诗经豳风图卷","马远","此卷以清雅小楷书就诗篇，笔力清劲秀逸，结体舒展端雅，墨色匀净温润，尽显宋人书法的雅致意趣。原作诗画合璧，将《豳风》里的时序农桑、岁时日常铺陈于卷上，把周人春耕秋收、寒来暑往的稼穑生涯融于笔底。\n诗与画交相辉映，笔墨间既有文人书卷的清雅气韵，又带着乡野农耕的朴拙意致，将古老诗篇中的田园图景鲜活呈现，让千载之前的风土日常跃然绢素，尽显宋代文人的审美意涵，是诗书画合一的经典佳构。",[23,24,26,27,610,253,609,79,28,149,513,7,1029,1030,252,30,1031,1032,1033,1034,107,78,57],"农具","民俗","农事场景","传统服饰","古文字","墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932ea9b37676bb120402ac80c3f96d65.jpg",[],10,{"id":1039,"slug":1040,"title":1041,"dynasty":73,"author":317,"museum":20,"description":790,"tags":1042,"thumbUrl":1046,"material":39,"size":795,"collection":175,"collections":1047,"showCount":1037,"zanCount":11,"manualWeight":11,"mainColor":113},222786,"hua-niao-ce-ye-06-lang-shi-ning-222786","花鸟册页06",[23,24,26,58,1043,78,28,322,321,1044,1045,83,59,7],"册页","兰花","花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfbd368ce8a13d8f1c449151eb2224a.jpg",[],{"id":1049,"slug":1050,"title":1051,"dynasty":73,"author":1052,"museum":950,"description":1053,"tags":1054,"thumbUrl":1055,"material":175,"size":175,"collection":41,"collections":1056,"showCount":1037,"zanCount":11,"manualWeight":11,"mainColor":1057},202168,"xi-shan-tu-zhou-cha-ji-zuo-202168","溪山图轴","查继佐","这幅山水以水墨为底，山峦用皴法勾勒石质肌理，笔触苍劲老辣；草木以点染出之，疏密有致间见生机。山间云雾轻绕，虚实相生，营造出清旷悠远的意境。上方行书题跋笔墨洒脱，与下方山水相得益彰，印信点缀其间，诗书画印浑然一体。画风简淡空灵，不事雕琢，却于简括中藏深意，尽显文人画的逸趣与哲思，仿佛将观者带入一片静谧绝尘的山林之境。",[79,29,610,253,30,60,7,34,24,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c46a4d930d2a7e0b087c757ffda9d5.jpg",[41],"b7a28a",{"id":1059,"slug":1060,"title":1061,"dynasty":18,"author":1062,"museum":20,"description":1063,"tags":1064,"thumbUrl":1065,"material":781,"size":1066,"collection":175,"collections":1067,"showCount":1068,"zanCount":11,"manualWeight":11,"mainColor":46},233173,"shan-shui-ce-cao-zhi-bai-233173","山水册","曹知白","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[24,26,320,79,29,30,125,83,7,609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b101776022611c4f83a7a7affa75b39.jpg","纵33.1cm，横27.4cm",[],9,{"id":1070,"slug":1071,"title":1072,"dynasty":73,"author":992,"museum":950,"description":1073,"tags":1074,"thumbUrl":1076,"material":175,"size":175,"collection":41,"collections":1077,"showCount":1068,"zanCount":11,"manualWeight":11,"mainColor":1078},203461,"fang-gu-shan-shui-ce-wang-jian-203461","仿古山水册","画面以淡逸笔墨铺展山水清景，左侧峭壁嶙峋，苔点错落间缀以丛树，显古雅苍劲；中景水域空明，坡石旁水草疏疏，漾出悠然之韵；远景山峦层叠，淡墨晕染中云气萦绕，虚实相映成趣。笔墨承宋元传统，皴擦温润细腻，设色雅致清淡，于仿古中融个人情致，尽显文人山水的静谧悠远之境。",[23,24,26,320,28,30,29,1075,253,60,124,7,223,515],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde7f038a2d454f13f4247739e752050.jpg",[41],"cabca2",{"id":1080,"slug":1081,"title":1082,"dynasty":138,"author":74,"museum":199,"description":1083,"tags":1084,"t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的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[23,25,24,26,1164,107,28,1165,29,33,921,273,83,269,1166,149,223,547,1167,480,1168,7],"山水画","兼工带写","帆船","江河","岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":1172,"slug":1173,"title":1174,"dynasty":51,"author":1175,"museum":20,"description":1176,"tags":1177,"thumbUrl":1178,"material":500,"size":1179,"collection":175,"collections":1180,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":113},236483,"shan-shui-ren-wu-ce-guo-fen-ya-236483","山水人物册","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此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\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。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[24,79,28,149,30,125,203,83,7,320,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0808babb44fcbe7a4dd5e0697b234fc3.jpg","纵38.8厘米，横60.4厘米",[],6,{"id":1183,"slug":1184,"title":1061,"dynasty":73,"author":1185,"museum":199,"description":1186,"tags":1187,"thumbUrl":1188,"material":175,"size":175,"collection":175,"collections":1189,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":113},230255,"shan-shui-ce-wang-su-230255","王愫","此作以淡赭轻染、花青敷缀，写就水滨冬景。江天色调清濛，岸旁柳芦枝叶疏柔，似含朔风之意，带着萧寒疏朗之态。近岸小舟系于枯木之下，篷顶暖意暗生；远江扁舟孤行，淡波载着舟影缓缓漾开，留白铺就空阔水天，晕开朦胧烟霭。\n题诗笔意清隽，和画面柔澹氛围相融。整幅无繁复皴擦，以简淡笔墨托出萧散空寂的意境，将冬日水畔的闲逸清和藏于浅淡设色之中，尽显文人画天真简淡的意趣，观之便如临幽寂江天，俗尘尽涤。",[24,26,320,79,28,267,921,547,632,124,203,276,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591750a149d747d9b88fc296549bdcf.jpg",[],{"id":1191,"slug":1192,"title":1193,"dynasty":73,"author":1194,"museum":950,"description":1195,"tags":1196,"thumbUrl":1197,"material":500,"size":1198,"collection":175,"collections":1199,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":113},219828,"ren-wu-ce-ye-7-ren-xiong-219828","人物册页-7","任熊","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[24,26,320,28,78,149,59,7,121,482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175c225d6fdb6379b7944e6f7371995a.jpg","27.2x34.3厘米",[],{"id":1201,"slug":1202,"title":1203,"dynasty":73,"author":1204,"museum":199,"description":1205,"tags":1206,"thumbUrl":1207,"material":456,"size":457,"collection":175,"collections":1208,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":113},238550,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238550","陈书画历代帝王道统图钱陈群书赞合册","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,26,320,610,609,78,28,149,30,33,83,7,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64043e6183224a8724b2c4fe706e9c2.jpg",[],{"id":1210,"slug":1211,"title":1212,"dynasty":51,"author":74,"museum":199,"description":1213,"tags":1214,"thumbUrl":1216,"material":456,"size":457,"collection":175,"collections":1217,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":46},236691,"lu-zhi-yun-yan-qiu-ji-tu-shan-ye-yi-ming-236691","陆治云岩秋霁图扇页","此作用泥金扇面承载笔墨，布景疏密有致，以高远之法绘右侧巉岩叠嶂，山居隐现于林泉之间，左侧则以平远之景铺陈浅汀疏木，淡墨晕染远山，留白托出秋空寥廓清旷。\n笔致简劲老辣，勾勒皴擦写尽山石嶙峋质感，点染林木萧疏之态，兼融元人笔墨简淡与明人小品雅趣，题字古拙朴雅，与画面浑然相融，将秋霁初晴后山居的空明净爽尽数铺展，满溢着文人寄情林泉的澹寂意韵。",[585,79,28,29,30,35,33,34,766,374,1215,7],"晴霁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cffe56cf80379259cdf36c612de53c5.jpg",[],{"id":1219,"slug":1220,"title":1221,"dynasty":51,"author":74,"museum":20,"description":1222,"tags":1223,"thumbUrl":1224,"material":1225,"size":1226,"collection":175,"collections":1227,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":46},234177,"ming-ren-bai-niu-tu-juan-yi-ming-234177","明人百牛图卷","此卷以平远视角铺展郊野水畔全景，群水牛或卧憩坡岸、或涉水抵角、或缓步悠游，百牛神态灵动无一处重样，尽显生趣。\n画师以水墨晕染区分皮毛虚实质感，浓墨点出牛角与眼眸，朴拙间不失细腻。坡岸枯木杂树以简劲笔法写出，浅淡墨色晕出水边苔草朦胧之态，晕染出江南郊野温润空寂的氛围感。\n画面疏密排布精妙，群牛错落铺陈繁而不乱，留白衬出郊野旷远意境，暗合宋式牧画的闲逸意趣，将田园牧歌的松弛诗意定格卷中，静中藏动，朴雅天真。",[23,24,27,79,78,510,121,1096,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704fa276913da6761043b6065ada12e0.jpg","绢本 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1231,"dynasty":73,"author":1327,"museum":20,"description":1328,"tags":1329,"thumbUrl":1336,"material":175,"size":1337,"collection":175,"collections":1338,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":113},223219,"geng-zhi-tu-ce-jiao-bing-zhen-223219","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。",[25,24,26,320,78,28,149,1029,1330,513,1331,1332,1333,1334,406,7,497,322,1335],"织机","桑麻","作物","农事","纺织","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621157e3c8c47823c84252dafac863e5.jpg","34.7cm×27.7cm",[],{"id":1340,"slug":1341,"title":1342,"dynasty":51,"author":1343,"museum":199,"description":1344,"tags":1345,"thumbUrl":1346,"material":500,"size":175,"collection":175,"collections":1347,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":415},217139,"shui-hu-quan-tu-57-du-jin-217139","水浒全图-57","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。",[24,26,320,252,79,149,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cd364bbf171049896bd6e864cd4437.jpg",[],{"id":1349,"slug":1350,"title":1351,"dynasty":1352,"author":74,"museum":199,"description":1353,"tags":1354,"thumbUrl":1360,"material":456,"size":457,"collection":175,"collections":1361,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":113},288773,"rodolphe-bresdin-group-of-figures-yi-ming-288773","Rodolphe 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Figures","不详","这幅蚀刻版画以虚实交织的叙事铺陈画面，下半隅是两位长裙仕女牵犬漫游郊野，衣褶柔婉舒展，漫溢着闲游行止松弛惬意的氛围感。而上半段岩穴与灌丛间，古典衣装的人物群像悄然浮现，如同郊野林间沉眠的旧影幽灵。\n作者以疏密错落的线条区分山石、植被与衣袂肌理，将日常闲步的松弛和超现实的幽诡交融，让郊野漫游化作一场朦胧幻梦，漫步的轻愉里裹挟着挥之不去的神秘恍惚，恍若踏入现世与异界交界的朦胧狭间。",[149,877,1237,1355,1356,7,1357,1358,1359],"小狗","洞穴","线描","黑白","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc858b739ff401c3d9a184b49cf9f6a12.jpg",[],{"id":1363,"slug":1364,"title":1365,"dynasty":73,"author":74,"museum":199,"description":1366,"tags":1367,"thumbUrl":1371,"material":456,"size":457,"collection":1372,"collections":1373,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":415},260802,"de-hua-yao-fen-cai-ren-wu-tu-ping-yi-ming-260802","德化窑粉彩人物图瓶","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[1368,1369,149,1370,7],"陶瓷","粉彩","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa53787d2490a9d01424afbf7b1facdd0.jpg","瓷器精选",[1372],{"id":1375,"slug":1376,"title":1377,"dynasty":73,"author":1378,"museum":199,"description":1379,"tags":1380,"thumbUrl":1381,"material":175,"size":175,"collection":175,"collections":1382,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":113},238903,"fang-song-yuan-shan-shui-ce-dong-gao-238903","仿宋元山水册","董诰","此作用笔松灵苍秀，干湿墨色交织晕染。近岸危崖嶙峋，皴笔厚重写尽山石肌理，崖间山居幽藏，野意自生。坡脚草木清润，托显出丘壑生机。中江帆影孤悬，破水而来，漾开静穆氛围。远景山峦以淡墨晕化，烟岚轻笼，虚实相生间铺展出空濛悠远的水岸意境。整幅兼具丘壑之实与笔墨之疏，将林泉幽居的隐逸意趣融于咫尺尺幅，静雅淡宕，尽显山水间闲逸萧散的文人雅怀。",[24,26,320,79,29,1075,30,267,83,33,127,269,203,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dfc9b5c60b7a1422617e100905f6539.jpg",[],{"id":1384,"slug":1385,"title":1061,"dynasty":73,"author":1386,"museum":199,"description":1387,"tags":1388,"thumbUrl":1389,"material":456,"size":457,"collection":175,"collections":1390,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":113},235327,"shan-shui-ce-wen-dian-235327","文点","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 [1] 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。",[24,26,320,252,79,30,267,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a0e4e352c6d8bfd36100745cf16de6f.jpg",[],{"id":1392,"slug":1393,"title":1394,"dynasty":73,"author":74,"museum":53,"description":1395,"tags":1396,"thumbUrl":1400,"material":500,"size":1401,"collection":175,"collections":1402,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},231533,"suan-ni-tu-yi-ming-231533","狻猊图","现存古代绘画中，反映真狮形象的绘画主要集中于明清时期的宫廷绘画中，但水平有高下之分。从清代宫廷画家刘九德、张为邦及部分佚名画家所绘狮子图来看，虽然已十分接近真狮，但水平不高，较为呆板，精致程度远不及周全《狮子图》。这些较为写实的狮子绘画有些作于康熙年间，有些则是雍、乾时期的仿本。康熙十七年（1678）八月，葡萄牙人曾将一只狮子运抵北京献给康熙皇帝，可惜的是此狮到京后只存活了不到三个月，为时甚短，此后直到20世纪初，再未有真狮入华。由于接触时间甚短，未能细致观察，又迭经转摹，导致清宫写实性狮子绘画水平普遍不高，细节上有所缺失。",[24,26,78,28,82,121,546,1115,107,102,1397,1398,1399,960,7,83],"线条勾勒","设色典雅","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7499dad40501202d7f76dc3a35bc65.jpg","211.9x178.6厘米",[],{"id":1404,"slug":1405,"title":1406,"dynasty":73,"author":1407,"museum":75,"description":1408,"tags":1409,"thumbUrl":1410,"material":129,"size":1411,"collection":175,"collections":1412,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":113},217013,"ruan-yuan-yi-shi-shi-jing-tu-ce-2-wang-yun-217013","阮元遗事十景图册-2","汪鋆","阮元遗事十景图册是清朝时期汪鋆的一部作品。汪鋆（1735-1815年）是一位著名的清代画家，他的作品主要描绘人物、山水、花鸟等题材。阮元遗事十景图册是一部十幅图册，每幅图画都是汪鋆根据阮元的遗事描绘的人物和景象。阮元是一位著名的文学家，他的作品富有感染力，深受读者喜爱。汪鋆的这部作品通过艺术手法，将阮元的遗事生动地呈现在读者面前。",[24,26,320,28,79,78,452,121,308,60,253,126,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb94257423282e8468e199f742fb12f4.jpg","27.9x33cm",[],{"id":1414,"slug":1415,"title":1416,"dynasty":73,"author":1327,"museum":199,"description":1417,"tags":1418,"thumbUrl":1420,"material":129,"size":175,"collection":175,"collections":1421,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":113},215093,"tui-bei-tu-ce-15-jiao-bing-zhen-215093","推背图册-15","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,1115,24,78,28,149,1419,83,7,320],"盔甲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860e3046988652b8f0b22618ce0c60b1.jpg",[],{"id":1423,"slug":1424,"title":1425,"dynasty":73,"author":1426,"museum":1427,"description":1428,"tags":1429,"thumbUrl":1431,"material":1432,"size":1433,"collection":175,"collections":1434,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":113},214933,"zhi-tou-za-hua-ce-5-gao-qi-pei-214933","指头杂画册-5","高其佩","大英博物馆","清朝时期的高其佩是一位著名的画家，他的指头杂画册是一本收录了他的各种杂画的画册。这本画册是高其佩的代表作之一，其中包含了他的许多经典作品。高其佩的指头杂画册被广泛认为是清朝时期最优秀的画册之一，其中的画作展现了高其佩高超的画技和对自然的深刻理解。\n\n高其佩的指头杂画册中的画作涵盖了许多不同的题材，包括自然风景、人物、动物、花卉等。他的画作细腻生动，富有表现力，深受观众的喜爱。高其佩还经常在他的画作中加入许多寓意深刻的元素，使得他的画作不仅具有观赏性，而且富有哲理性。\n\n高其佩的指头杂画册是他一生的杰作，也是中国传统绘画的瑰宝。现在，这本画册被广泛收藏，并被认为是中国文化遗产的重要组成部分。",[23,24,79,1430,320,149,267,1255,544,7],"指头画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ae58282ca2057c1c024fa5ee3a26fc7.jpg","纸本,水墨","36.7x33.1cm",[],{"id":1436,"slug":1437,"title":1438,"dynasty":73,"author":1194,"museum":950,"description":1439,"tags":1440,"thumbUrl":1441,"material":175,"size":175,"collection":41,"collections":1442,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":1443},203371,"ren-wu-shan-shui-tu-ce-ren-xiong-203371","人物山水图册","两牛相偎，一卧一立憨态可掬；老者凭草闲坐，神情淡然自若。笔墨细腻勾勒形神，清雅设色晕染生机，草木葱茏间尽显田园静谧之趣。工致线条与写意韵致相融，将人与兽的和谐、自然的闲淡凝于尺幅，似能触到风的轻柔，嗅到草的清香，传递出悠然自得的生活意绪。",[78,28,149,510,7,513,57,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4221c5377343c933d18a4411b9f3d12.jpg",[41],"cbbb99",{"id":1445,"slug":1446,"title":1447,"dynasty":51,"author":1448,"museum":950,"description":1449,"tags":1450,"thumbUrl":1456,"material":175,"size":175,"collection":41,"collections":1457,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":1458},201745,"zhen-ge-xiao-xiang-juan-ceng-jing-201745","箴歌肖像卷","曾鲸","画面中，文人端坐松荫间，神情沉静儒雅，衣袂轻扬尽显风骨；童子侧立侍旁，姿态恭谨。古松虬枝盘曲，苍劲挺拔，周遭草木葱茏，石径蜿蜒，清幽之境衬出文人雅致。人物刻画以墨骨晕染见长，面部层次分明，衣纹简练流畅；景物写意相生，与肖像相得益彰。卷首题跋笔墨纵横，行书流畅自然，书画合璧，尽显晚明文人书画交融的审美意趣与精神风貌。",[24,27,1451,149,1452,78,28,609,610,253,307,30,7,1453,1454,1455,23],"肖像","松","童子","衣纹","晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a53b7fb77f13a897d6117189d4892f9.jpg",[41],"c0b092",{"id":1460,"slug":1461,"title":1462,"dynasty":18,"author":1463,"museum":950,"description":1464,"tags":1465,"thumbUrl":1469,"material":175,"size":175,"collection":175,"collections":1470,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":1471},201322,"da-mao-feng-tu-zhou-wang-meng-201322","大茅峰图轴","王蒙","峰峦盘礴，皴笔如麻，将大茅峰的峭拔与幽深铺展于绢素。山石以解索皴层层皴染，苔点密布如星，草木葱郁间隐见茅舍，尽显元人山水的清寂之韵。笔墨苍劲中含温润，线条婉转却不失骨力，云雾缭绕于峰谷，似有隐者踪迹，传递出文人寄情丘壑的逸趣。构图饱满而透气，虚实相生，密致处见空灵，是王蒙山水的典型之作，于繁密笔墨中藏简淡心境。",[24,26,30,29,79,83,7,1466,1467,1468],"笔","墨","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd68d6d7560ab60afe2160bf7ee5ba3d6.jpg",[],"a99a85",{"id":1473,"slug":1474,"title":1475,"dynasty":1352,"author":74,"museum":199,"description":1476,"tags":1477,"thumbUrl":1482,"material":456,"size":457,"collection":175,"collections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对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[1368,1614,149,1615,1616,7,924],"斗彩","小碗","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e44093ee92ed31cde0002a8e01783e0.jpg",[],{"id":1620,"slug":1621,"title":1622,"dynasty":73,"author":74,"museum":199,"description":1623,"tags":1624,"thumbUrl":1627,"material":456,"size":457,"collection":175,"collections":1628,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":415},261486,"wu-yin-kuan-wu-cai-san-shou-tu-zun-yi-ming-261486","戊寅款五彩三兽图尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[1368,1625,82,1626,402,468,7],"五彩","尊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3f957516251b42bfe5c8eddd770c27.jpg",[],{"id":1630,"slug":1631,"title":1632,"dynasty":73,"author":74,"museum":199,"description":1633,"tags":1634,"thumbUrl":1636,"material":456,"size":457,"collection":175,"collections":1637,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":113},260874,"cheng-hua-kuan-dou-cai-ren-wu-tu-pan-yi-ming-260874","成化款斗彩人物图盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[1368,1614,149,1635,7],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0b789c0350e523f0a81f5080f08bce.jpg",[],{"id":1639,"slug":1640,"title":1641,"dynasty":73,"author":74,"museum":199,"description":1642,"tags":1643,"thumbUrl":1645,"material":456,"size":457,"collection":175,"collections":1646,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":113},238588,"qing-ren-lie-quan-tu-ce-yi-ming-238588","清人猎犬图册","此作工致写实，右幅绘柳下回廊之畔，细犬伏地休憩，棕白相间的毛色晕染细腻，身形舒展灵动，目光警觉有神，将猎犬温顺又不失机敏的神态勾勒得鲜活生动。垂柳依依拂动，苔草点缀阶侧，浅淡设色晕染出庭院的幽寂闲雅。左幅行书题字笔墨舒展雅致，文与图相映成趣。整作敷色柔和清雅，将灵犬神韵与庭院静景相融，既有写生的生动写实，又饱含文人雅逸意趣，尽显中式小品画作的闲静雅致之美。",[24,26,320,28,82,1644,921,60,7,609],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e32766fa086215c925a6a30aac8acda.jpg",[],{"id":1648,"slug":1649,"title":1650,"dynasty":51,"author":1651,"museum":199,"description":1652,"tags":1653,"thumbUrl":1654,"material":175,"size":175,"collection":175,"collections":1655,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":113},233572,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233572","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。",[24,26,320,79,28,60,7,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F041b1fe96cb6ade8aaf99c1a0bfb024a.jpg",[],{"id":1657,"slug":1658,"title":1659,"dynasty":73,"author":1660,"museum":950,"description":1661,"tags":1662,"thumbUrl":10,"material":175,"size":175,"collection":175,"collections":1664,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1665},202988,"shan-shui-hua-niao-ce-fan-yun-202988","山水花鸟册","樊云","这幅山水以水墨为底，笔意苍润。山峦间林木错落，几间茅舍倚崖而筑，隐于葱茏绿意中。皴擦点染的技法勾勒出山石肌理，草木扶疏间似有小径蜿蜒，意境清幽淡远。笔墨简练却韵味十足，将自然的静谧与文人的雅致凝于尺幅，尽显传统山水的空灵之趣，仿佛能让人感受到林间的清风与山野的闲适。",[79,30,29,498,7,1663,1468],"空灵",[],"c9c4b2",1777535703289]