[{"data":1,"prerenderedAt":2854},["ShallowReactive",2],{"subject-cao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},267,"cao","草","草画高清赏析","精选中国历代草题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832ba6e56afd0cabad67733e033aaed7.jpg",0,269,[14,44,69,88,108,126,143,163,185,197,211,221,236,247,262,274,288,301,311,320,334,347,361,371,385,409,420,433,441,451,463,479,486,499,507,516,527,539,550,561,572,583,595,607,620,634,643,655,667,678,689,699,711,721,731,742,751,760,773,785,796,813,822,843,855,866,878,886,898,911,924,935,946,957,968,978,986,998,1008,1016,1027,1042,1051,1080,1089,1100,1111,1121,1130,1142,1151,1162,1172,1182,1191,1202,1213,1223,1231,1242,1254,1265,1274,1284,1294,1306,1316,1327,1337,1344,1355,1367,1376,1384,1392,1400,1413,1424,1433,1444,1453,1462,1473,1483,1493,1503,1512,1522,1532,1540,1548,1559,1568,1579,1588,1598,1613,1623,1633,1641,1650,1661,1671,1682,1692,1699,1710,1723,1734,1744,1757,1765,1771,1777,1790,1800,1808,1821,1832,1843,1853,1863,1873,1884,1894,1905,1912,1919,1930,1937,1945,1955,1961,1972,1980,1989,2000,2009,2020,2030,2037,2047,2053,2061,2072,2080,2089,2099,2107,2114,2125,2144,2152,2163,2170,2181,2190,2199,2208,2216,2223,2234,2244,2252,2260,2268,2278,2286,2296,2306,2314,2323,2329,2337,2347,2356,2368,2379,2388,2396,2405,2414,2424,2431,2446,2454,2463,2474,2483,2490,2500,2509,2522,2532,2541,2555,2566,2572,2581,2588,2598,2606,2615,2624,2632,2641,2649,2658,2664,2678,2689,2702,2710,2720,2727,2739,2749,2759,2768,2775,2784,2792,2798,2804,2810,2821,2832,2839,2847],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},214254,"qiu-shui-fu-yi-tu-ren-ren-fa-214254","秋水凫鹥图","元","任仁发","上海博物馆","秋水凫鹥图是元朝作者任仁发的一幅代表作。这幅画作描绘了秋天的水鸟生活。\n\n在这幅画作中，任仁发巧妙地捕捉了秋天的水鸟的生活情景。他用浓墨重彩的画法，勾勒出了水鸟的身形。他还用细腻的线条勾勒出了水鸟的面容，让人感受到了水鸟的自然和优美。\n\n此外，任仁发在这幅画作中还描绘了水鸟周围的景色。他用色彩丰富的画法，描绘了水鸟周围的山川和河流。这些景色与水鸟的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，秋水凫鹥图是一幅精美的画作，描绘了秋天的水鸟生活。它让我们感受到了元朝作者任仁发对自然的崇敬之情，也让我们感受到了元朝文化的魅力。\n\n在这幅画作中，任仁发运用了丰富的色彩和细腻的线条，将水鸟的生活场景展现得淋漓尽致。他还用精美的画法描绘了水鸟周围的景色，让人感受到了自然与动物的和谐共存。\n\n秋水凫鹥图是元朝文化中的经典之作，也是任仁发的代表作之一。它不仅展现了任仁发的艺术才华，也是一幅能够唤起人们对自然的崇敬之情的画作。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7],"高清","国画","工笔","设色","花鸟","飞鸟","水禽","鸭子","孤石","菊花","树枝","花叶","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65117c93f7cf534891203b9f9c5bbf5.jpg","绢本,设色","","花鸟画精选",[39],1515,25,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":64,"material":37,"size":38,"collection":39,"collections":65,"showCount":66,"zanCount":67,"manualWeight":11,"mainColor":68},216202,"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","明","项圣谟","私人收藏","花卉十开图册是明朝项圣谟的一部著作，收录了十张以花卉为主题的图画。项圣谟是明朝时期著名的绘画家，他的作品被誉为中国古代花卉画的杰作。 花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[23,24,53,26,25,54,55,56,27,57,58,59,60,61,62,63,31,7],"册","印章","书法","行书","梅","兰","菊","荷","桃花","牡丹","石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg",[39],1280,21,"BDBDBD",{"id":70,"slug":71,"title":72,"dynasty":18,"author":73,"museum":50,"description":74,"tags":75,"thumbUrl":83,"material":37,"size":84,"collection":39,"collections":85,"showCount":86,"zanCount":87,"manualWeight":11,"mainColor":43},218979,"xi-yuan-chun-se-tu-liu-guan-dao-218979","西园春色图","刘贯道","蛱蝶蹁跹于花草丛中，翅羽斑斓如霞，或振翅欲飞，或停驻吮香，姿态灵动鲜活。草叶舒展，花蕊微绽，淡彩晕染出春日的柔媚生机。旁侧书法笔墨流转，行草相间，墨色浓淡相宜，与工致的花鸟相映成趣。书画交织处，既有自然野趣的鲜活，又有文人笔墨的雅致，仿佛能闻春风里的花香，听纸间墨韵的轻响。整体气息清逸，将西园春日的盎然生机与文人雅兴融于一卷，尽显古典艺术的和谐之美。",[76,24,77,78,25,26,27,79,80,7,81,82,56,55,54],"名画","书画","长卷","蝴蝶","荷花","花卉","虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec39f61ffab9b2bf23461034a8902f3b.jpg","23x137cm",[39],694,14,{"id":89,"slug":90,"title":91,"dynasty":92,"author":93,"museum":94,"description":95,"tags":96,"thumbUrl":100,"material":101,"size":102,"collection":103,"collections":104,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":68},220997,"hua-hui-tu-ce-zhu-shi-tu-yun-shou-ping-220997","花卉图册·竹石图","清","恽寿平","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,24,77,26,53,97,98,31,7,99,27],"没骨","竹","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddb009d00a9d8acb3b4ebc9060d819d.jpg","纸本 设色","24.5×29.3cm","设色画精选",[103,105],"竹石精选",511,3,{"id":109,"slug":110,"title":111,"dynasty":92,"author":112,"museum":113,"description":114,"tags":115,"thumbUrl":120,"material":121,"size":122,"collection":38,"collections":123,"showCount":124,"zanCount":125,"manualWeight":11,"mainColor":68},235526,"he-hua-liao-shi-tu-zhou-wang-wu-235526","荷花蓼石图轴","王武","藏地不详","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[76,24,77,116,26,25,80,117,118,119,7,27],"立轴","荷叶","蓼石","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4adc90c09b933312107f54c136768ed.jpg","未知","Xcm*Xcm",[],477,10,{"id":127,"slug":128,"title":129,"dynasty":92,"author":130,"museum":131,"description":132,"tags":133,"thumbUrl":140,"material":37,"size":38,"collection":39,"collections":141,"showCount":142,"zanCount":107,"manualWeight":11,"mainColor":43},219036,"mu-dan-yu-lan-tu-jiang-ting-xi-219036","牡丹玉兰图","蒋廷锡","大英博物馆","画面铺展间，花木扶疏尽显生机。玉兰绽如雪团，缀于虬枝，禽鸟栖停顾盼生姿；牡丹热烈盛放，粉白紫三色交织，花瓣层叠如锦，墨绿叶片衬得花容更艳，一抹朱红点缀其间，添了灵动。树下顽石苍古，纹理拙趣，旁生细草闲花，柔媚与苍劲相映。工笔细腻见匠心，线条婉转，设色相宜，既有富贵雍容之态，又不失清雅灵动之韵，仿佛闻花间细语，观禽鸟轻啼，一派生机盎然的春日盛景跃然眼前。",[23,24,77,27,25,26,62,134,135,136,137,138,139,7],"玉兰","鸟","花","枝","叶","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg",[39],456,{"id":144,"slug":145,"title":146,"dynasty":147,"author":148,"museum":149,"description":150,"tags":151,"thumbUrl":156,"material":157,"size":158,"collection":159,"collections":160,"showCount":161,"zanCount":162,"manualWeight":11,"mainColor":43},221443,"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","宋","崔白","台北故宫博物院","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[23,24,76,77,116,25,26,27,152,153,28,154,7,155],"兽","兔","枯树","土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","绢","纵193.7厘米、横103.4厘米","宋画精选",[159,39,103],358,5,{"id":164,"slug":165,"title":166,"dynasty":48,"author":167,"museum":20,"description":168,"tags":169,"thumbUrl":178,"material":179,"size":180,"collection":181,"collections":182,"showCount":183,"zanCount":184,"manualWeight":11,"mainColor":68},214674,"san-jue-tu-yao-shou-214674","三绝图","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,77,26,170,171,172,173,7,174,175,176,177],"水墨","山水","人物","松树","石头","渔乐","远山","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd490e9ed3930554b04863c0b5aa07e4.jpg","纸本,设色","纵31.2 厘米 横48.3 厘米","山水画精选",[181],254,2,{"id":186,"slug":187,"title":188,"dynasty":92,"author":189,"museum":131,"description":190,"tags":191,"thumbUrl":194,"material":179,"size":38,"collection":39,"collections":195,"showCount":196,"zanCount":162,"manualWeight":11,"mainColor":43},216736,"hu-tu-yi-ming-216736","虎图","佚名","猛虎蹲踞于地，双目炯炯凝视前方，蓄势待发的姿态暗藏山林王者的威慑。墨线勾勒斑纹，浓淡交错间晕染出毛发的细腻层次，笔触兼具工致与雄健。背景丛草以简笔写意，虚实相生中凸显虎的主体地位。整体色调古朴沉敛，虽佚名却见娴熟笔墨功底，将虎的威猛与沉静之态融于画面，尽显清代兽畜画写实与传神的特质，静中寓动，气韵生动。",[24,77,192,26,25,193,152,7],"清代","虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93c5c1a0ef67b390978f2e35d1221fd.jpg",[39],242,{"id":198,"slug":199,"title":200,"dynasty":147,"author":201,"museum":113,"description":202,"tags":203,"thumbUrl":206,"material":207,"size":208,"collection":159,"collections":209,"showCount":210,"zanCount":107,"manualWeight":11,"mainColor":43},221504,"he-cao-chong-tu-wu-bing-jia-221504","禾草虫图","吴炳嘉","宋代花鸟在中国花鸟绘画史中达到了一个高峰，院体花鸟画下了很多传世精品，还有大量的典藏记载。其中，花鸟小品占据了主要地位，花鸟画以小品形式迅速发展，成为美术史上的一个代表艺术之一。宋人小品花鸟画形制多为圆中见方的尺牍小幅，以内敛的结构和开合呼应的构图方式，描绘特定的场境和瞬间情态，于状物精微的同时力求构思新奇，营造格调优雅而隽永的意境，表现出独特的趣味。",[23,76,24,77,26,25,27,7,82,79,204,205,54],"蜻蜓","蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6d56f3d921df6f611ba36478d1d50.jpg","绢本；设色","纵：49cm，横：30cm",[159,39,103],221,{"id":212,"slug":213,"title":214,"dynasty":92,"author":93,"museum":113,"description":215,"tags":216,"thumbUrl":217,"material":121,"size":122,"collection":38,"collections":218,"showCount":219,"zanCount":220,"manualWeight":11,"mainColor":68},239444,"hua-niao-ce-yun-shou-ping-239444","花鸟册","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,77,53,26,25,27,28,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19250735f901fd0882f83c6edac72376.jpg",[],206,1,{"id":222,"slug":223,"title":224,"dynasty":18,"author":225,"museum":226,"description":227,"tags":228,"thumbUrl":230,"material":231,"size":232,"collection":233,"collections":234,"showCount":235,"zanCount":184,"manualWeight":11,"mainColor":43},220869,"zhu-shi-tu-zhou-zhao-meng-fu-220869","竹石图轴","赵孟頫","北京故宫博物院","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。",[23,24,77,116,170,229,98,31,7],"皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e366d2b4e02d71e45a12788491653e.jpg","绢本，墨笔","纵108.2厘米，横48.8厘米","水墨画精选",[233,105],205,{"id":237,"slug":238,"title":239,"dynasty":92,"author":240,"museum":241,"description":242,"tags":243,"thumbUrl":245,"material":179,"size":38,"collection":39,"collections":246,"showCount":235,"zanCount":184,"manualWeight":11,"mainColor":68},218126,"yu-xiang-jiao-ye-tu-shi-tao-218126","雨乡蕉叶图","石涛","美国弗利尔美术馆","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。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。",[23,24,170,26,56,54,244,7],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d80c7cb86c795587ab382481f9fcbed.jpg",[39],{"id":248,"slug":249,"title":250,"dynasty":92,"author":251,"museum":113,"description":252,"tags":253,"thumbUrl":256,"material":257,"size":258,"collection":39,"collections":259,"showCount":260,"zanCount":261,"manualWeight":11,"mainColor":43},222662,"hua-niao-tu-ma-quan-222662","花鸟图","马荃","马荃（生卒年不详），字江香，江苏常熟人。清代女画家。马元驭之（1669—1722）女（一作马元驭孙女），逸妹。生活于康熙、乾隆年间，\n时与女画家恽冰齐名。\n龚克和妻。工花卉，妙得家法。其夫亦工书、画，偕游京师，以绘事给衣食，颇怡。夫亡归里，绸缠染翰，饮冰茹茶，而名益高，四方以缣素兼金求画者益聚。常蓄婢数人，悉令调铅杀粉。而琴川多贵游士女，皆来求授指法。时常州恽冰画以没骨名，而江香以勾染名，江南人谓之双绝。康熙三十五年（1696）作花卉草虫册十二页，乾隆四年（1739）作琳池草虫扇。马荃代表作品价位2008年行情在3—5万\u002F平尺，市场升值潜力较大，为很多书画收藏家所追捧。",[23,24,76,77,116,25,26,27,79,254,255,31,7],"百合","罂粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ce5762f0e4335685920a74b317b42.jpg","设色绢本","82cm 43cm",[39,103],184,6,{"id":263,"slug":264,"title":265,"dynasty":92,"author":93,"museum":266,"description":267,"tags":268,"thumbUrl":270,"material":37,"size":271,"collection":38,"collections":272,"showCount":273,"zanCount":184,"manualWeight":11,"mainColor":43},216109,"yun-shou-ping-hua-guo-shu-cai-ce-ye-2-yun-shou-ping-216109","恽寿平花果蔬菜册页-2","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。",[76,24,77,53,26,25,98,269,7,54],"竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29bf8f805f27469ebc51bee115db2b4.jpg","26.1x19.9cm",[],161,{"id":275,"slug":276,"title":277,"dynasty":278,"author":279,"museum":149,"description":280,"tags":281,"thumbUrl":283,"material":157,"size":284,"collection":39,"collections":285,"showCount":286,"zanCount":184,"manualWeight":11,"mainColor":287},221151,"shan-zhe-ji-que-tu-huang-ju-cai-221151","山鹧棘雀图","五代十国","黄居寀","山鹧棘雀图是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,76,24,25,26,27,28,154,31,282,7,54],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5a20f43ca35824f3daa158e61bf297.jpg","纵97厘米，横53.6厘米",[39,103],151,"37474F",{"id":289,"slug":290,"title":291,"dynasty":92,"author":292,"museum":226,"description":293,"tags":294,"thumbUrl":297,"material":179,"size":298,"collection":103,"collections":299,"showCount":300,"zanCount":184,"manualWeight":11,"mainColor":68},219175,"shuang-mao-kui-yu-tu-cheng-zhang-219175","双猫窥鱼图","程璋","此图绘制的是一幅秋天的美好图景。一弯池水迂回荡漾，岸边苇草萌发，树枝随风而动，显得古朴与优雅。池塘边两只花猫，葡匐在岸上，双眼紧盯着沟渠中的游鱼。仿佛在欣赏他们惬意的身姿，溪水对岸，淡色轻染，烟霭迷濛。全画以水彩设色技法来体现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是因为画家懂得生物百态，所以画的木头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能符合自然景物的真实性。并利用干、湿、浓、淡的笔力墨法所产生的差异，整体变得稳重、秀润。",[23,76,24,77,116,26,25,170,295,296,154,174,7,119],"猫","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 横80.8cm",[103],137,{"id":302,"slug":303,"title":304,"dynasty":48,"author":189,"museum":113,"description":305,"tags":306,"thumbUrl":308,"material":26,"size":38,"collection":103,"collections":309,"showCount":310,"zanCount":220,"manualWeight":11,"mainColor":43},219904,"cha-mei-san-qin-tu-yi-ming-219904","茶梅三禽图","画面章法错落，斜出的花枝贯穿画面，山茶如烈焰点染绢素，梅花似堆雪缀于枝桠，红白相映，撞色鲜活亮眼。\n\n枝上双禽依偎理羽，姿态闲静安适；石畔绶带鸟垂首啄饮，灵动生趣。湖石、幽竹与冰姿玉骨的水仙铺陈下景，衬出花木禽鸟的清隽雅致。\n\n设色妍丽不失清雅，工笔勾勒禽鸟羽毛、花瓣脉络，晕染柔和自然，写意绘就湖竹野趣，将隆冬时节的盎然生机定格，尽显院体花鸟雅致隽永的东方意趣，藏着岁末清和的鲜活生机。",[23,24,76,25,26,27,57,135,98,307,7,119],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bbd5614909282f3d3a425af305ca027.jpg",[103],134,{"id":312,"slug":313,"title":314,"dynasty":92,"author":93,"museum":113,"description":315,"tags":316,"thumbUrl":317,"material":38,"size":38,"collection":38,"collections":318,"showCount":319,"zanCount":11,"manualWeight":11,"mainColor":68},233909,"hua-hui-shan-shui-ce-yun-shou-ping-233909","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,77,53,26,97,81,31,7,282,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6174e80dbb9482ece91dbfbb01b8787f.jpg",[],130,{"id":321,"slug":322,"title":323,"dynasty":18,"author":324,"museum":149,"description":325,"tags":326,"thumbUrl":330,"material":37,"size":331,"collection":181,"collections":332,"showCount":333,"zanCount":184,"manualWeight":11,"mainColor":43},218137,"qiu-lin-gao-shi-tu-sheng-mao-218137","秋林高士图","盛懋","这幅画上绘着一位身穿红衣的高士，坐于秋林坡地上，作侧身远眺之状。图分前、中、远三景，前景画杂树数株，高低参差、疏密有致，运笔极为老到；树下高士在画面上显得极为细小，反衬出青山丛林的崇峻，高士姿态生动自然，勾画简练闲放，颇具逸致。溪边苇荻数丛，布局、运笔富于变化，亦得风吹草动之态。隔溪中景秋林，不作勾勒，纯以浓淡墨积点为之，树梢浓浓淡淡，隐现于层云薄雾之中，着墨不多，笔简意足。远景层峦叠嶂，重重雾锁。两座主峰的画法，以披麻皴间以乱柴皴，结构转折处以浓墨打苔点树，雄峻逸秀，气格高朗，得秋天清旷情趣。",[23,24,77,171,172,170,26,327,139,328,229,329,7],"树木","云雾","秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78bb700dfdd2f5ed8ea30c6490135420.jpg","纵135.3厘米、横59厘米",[181],125,{"id":335,"slug":336,"title":337,"dynasty":147,"author":338,"museum":113,"description":339,"tags":340,"thumbUrl":342,"material":343,"size":344,"collection":38,"collections":345,"showCount":346,"zanCount":107,"manualWeight":11,"mainColor":43},232879,"li-nu-xian-qu-tu-juan-liang-kai-232879","狸奴闲趣图卷","梁楷","宋代画坛，因为有皇家画院的支持和倡导，各类题材的国画大多崇尚描摹精微、细致逼真的画风。这种风格将我国古代工笔画推向了顶峰，也长久以来占据主流地位。但物极必反，严整的工笔画到达极致，必定会走向散乱的写意。这一方面，梁楷可谓是我国古代写意画的开山祖师。\n梁楷是南宋著名画家，师从贾师古。贾师古以师法吴道子的写实工笔著称，而梁楷能在其基础上更胜一筹，青出于蓝。梁楷曾在宁宗朝的画院供职，他继承吴道子写实技法的画风，无疑是非常受皇帝青睐的。他常常奉皇帝诏令，画了许多细腻严整的工笔画。\n这一时期的梁楷已经享有盛名，人们见到他精妙的画作，“无不敬服”。比如《狸奴闲趣图卷》里面的猫，形态各异细腻活泼，通体的毛都纤毫毕现。更不必说周围逼真的山石、花草、蝴蝶，刻画之精细，给人如在目前之感。",[23,24,76,78,26,25,295,98,136,341,307,7,152],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F980cc771075692f3c9ed45d7b13dcd33.jpg","绢本","33.2x185.4厘米",[],118,{"id":348,"slug":349,"title":350,"dynasty":92,"author":351,"museum":149,"description":352,"tags":353,"thumbUrl":356,"material":357,"size":358,"collection":39,"collections":359,"showCount":360,"zanCount":220,"manualWeight":11,"mainColor":68},222775,"hua-shi-jun-quan-jin-chi-xian-zhou-lang-shi-ning-222775","画十骏犬金翅猃轴","郎世宁","画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[116,25,26,152,354,173,355,136,7,31,54],"犬","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d9b7654a0339edd6a81f4425fe0115.jpg","绢本 设色","每幅纵246.6厘米，横163.9厘米",[39,103],117,{"id":362,"slug":363,"title":364,"dynasty":92,"author":365,"museum":149,"description":366,"tags":367,"thumbUrl":368,"material":179,"size":38,"collection":38,"collections":369,"showCount":370,"zanCount":220,"manualWeight":11,"mainColor":68},214837,"xie-sheng-ce-23-hua-yan-214837","写生册-23","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,77,53,25,170,26,27,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554a2a03ccf067e9257790a3edcb8044.jpg",[],116,{"id":372,"slug":373,"title":295,"dynasty":92,"author":374,"museum":266,"description":375,"tags":376,"thumbUrl":380,"material":381,"size":382,"collection":38,"collections":383,"showCount":384,"zanCount":11,"manualWeight":11,"mainColor":68},223235,"mao-ren-yi-223235","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。",[23,24,26,170,377,295,378,379,7,31],"兼工带写","芭蕉","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3992e488d1b2dab6e076bb2a4b4a642e.jpg","纸本设色","150cmx40cm",[],115,{"id":386,"slug":387,"title":388,"dynasty":147,"author":389,"museum":226,"description":390,"tags":391,"thumbUrl":404,"material":405,"size":406,"collection":38,"collections":407,"showCount":408,"zanCount":184,"manualWeight":11,"mainColor":68},231422,"xie-sheng-tu-fa-chang-231422","写生图","法常","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。\n这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。",[23,24,77,78,170,392,393,27,394,395,396,296,397,398,63,81,62,80,32,98,399,7,400,401,402,117,403,139],"写生","写意","禽鸟","野鸡","麻雀","水果","桃子","芦苇","蔬菜","葱","藕","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c560c5bf16abfce7333669f1d842b1.jpg","纸本","纵47.3厘米，横814．1厘米",[],110,{"id":410,"slug":411,"title":224,"dynasty":92,"author":93,"museum":149,"description":412,"tags":413,"thumbUrl":414,"material":415,"size":416,"collection":233,"collections":417,"showCount":418,"zanCount":11,"manualWeight":11,"mainColor":419},220994,"zhu-shi-tu-zhou-yun-shou-ping-220994","图绘湖石一块，呈山字型耸立，边缘以浓墨点缀，棱角坚锐；后侧的一丛竹子杆直修长，以没骨法淡墨绘竹叶微微右倾，似敷上一层薄薄的寒霜；地面杂草数丛，霜后渐以枯败。虽为深秋初冬之时，但画面错落有致，清新自然。",[23,24,116,170,98,307,7,393],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1acd4f20c3b94cb797c72d0233bd11.jpg","白纸本","141x74cm",[233,105],106,"F48FB1",{"id":421,"slug":422,"title":423,"dynasty":92,"author":424,"museum":266,"description":425,"tags":426,"thumbUrl":428,"material":343,"size":429,"collection":38,"collections":430,"showCount":431,"zanCount":432,"manualWeight":11,"mainColor":68},222683,"si-ji-hua-niao-tu-ping-6-chen-mei-222683","四季花鸟图屏6","陈枚","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[23,24,25,26,27,427,135,31,7],"芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78822ac937e1da347d3173f152b03859.jpg","139X41CM",[],103,4,{"id":434,"slug":435,"title":436,"dynasty":92,"author":365,"museum":149,"description":366,"tags":437,"thumbUrl":439,"material":179,"size":38,"collection":38,"collections":440,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":68},214840,"xie-sheng-ce-21-hua-yan-214840","写生册-21",[192,24,77,392,25,26,193,152,7,438,54],"昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f0efa4299c6b9b513e46407f757961.jpg",[],{"id":442,"slug":443,"title":444,"dynasty":92,"author":424,"museum":266,"description":425,"tags":445,"thumbUrl":448,"material":343,"size":429,"collection":38,"collections":449,"showCount":450,"zanCount":220,"manualWeight":11,"mainColor":68},222684,"si-ji-hua-niao-tu-ping-7-chen-mei-222684","四季花鸟图屏7",[23,24,26,25,27,57,32,135,33,446,447,7],"岩石","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaf378e4fccac3e55f9b45892458c5c.jpg",[],96,{"id":452,"slug":453,"title":454,"dynasty":147,"author":189,"museum":149,"description":455,"tags":456,"thumbUrl":458,"material":459,"size":460,"collection":39,"collections":461,"showCount":462,"zanCount":184,"manualWeight":11,"mainColor":43},218910,"ku-mu-zhu-shi-tu-yi-ming-218910","枯木竹石图","在这幅画中，用飞白的方法在画面上画了一个石块，墨色淡而笔力强。三两根竹子站在岩石的背面，叶子用优雅而厚实的笔画着，仿佛是春山上的云朵。在一棵寒冷的树枝上，栖息着一种山鸟，它的羽毛非常精致。仔细观察笔触和墨迹，艺术家已经开始形成与赵孟𫖯的相似性。",[23,24,77,76,170,229,27,457,98,31,28,7],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae588fde6c3ba57b3dc0a96ffdc698.jpg","绢本,水墨","107.9x51.1厘米",[39],93,{"id":464,"slug":465,"title":466,"dynasty":48,"author":467,"museum":468,"description":469,"tags":470,"thumbUrl":475,"material":405,"size":476,"collection":38,"collections":477,"showCount":478,"zanCount":220,"manualWeight":11,"mainColor":68},220025,"dong-zhuang-tu-ce-zhi-he-dong-shen-zhou-220025","东庄图册之鹤洞","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。",[23,24,77,53,170,229,171,471,472,473,327,139,474,7],"鹤","洞","流水","篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae2436dfdae7b3a2935aef740291ff1.jpg","纵28.6厘米，横33厘米",[],92,{"id":480,"slug":481,"title":482,"dynasty":92,"author":365,"museum":149,"description":366,"tags":483,"thumbUrl":484,"material":179,"size":38,"collection":38,"collections":485,"showCount":478,"zanCount":220,"manualWeight":11,"mainColor":68},214854,"xie-sheng-ce-10-hua-yan-214854","写生册-10",[76,24,77,53,26,393,295,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c22dd57e8312db10b0da18f4b21fb8c.jpg",[],{"id":487,"slug":488,"title":489,"dynasty":92,"author":490,"museum":226,"description":491,"tags":492,"thumbUrl":495,"material":37,"size":496,"collection":39,"collections":497,"showCount":498,"zanCount":220,"manualWeight":11,"mainColor":68},219221,"duan-yang-jing-tu-yu-zhi-219221","端阳景图","余穉","本图借助对动植物的描绘来体现端阳时节大地回暖的场景。在日丽水暖的郊外，牡丹花、野菊花等植物竞相绽放，青蛙、蟾蜍和蜻蜓等植物在春光中跳跃、飞翔，一派生机盎然的欢悦景象。此图是作者任职宫廷之后所作，线条工细、匀整、流畅，设色淡雅富丽并充满装饰性。动植物造型精确且充满生趣，显示出作者较强的写实手法。",[23,24,25,26,27,81,7,493,204,152,438,494],"青蛙","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee229c4c1e5619fb234c345e8e4f6d14.jpg","纵137.3厘米，横68.8厘米",[39],91,{"id":500,"slug":501,"title":502,"dynasty":92,"author":365,"museum":149,"description":366,"tags":503,"thumbUrl":504,"material":179,"size":38,"collection":38,"collections":505,"showCount":506,"zanCount":220,"manualWeight":11,"mainColor":68},214845,"xie-sheng-ce-17-hua-yan-214845","写生册-17",[24,26,170,392,393,53,493,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2311999714a7fff92f6e461b753aac20.jpg",[],88,{"id":508,"slug":509,"title":510,"dynasty":92,"author":365,"museum":149,"description":366,"tags":511,"thumbUrl":513,"material":179,"size":38,"collection":38,"collections":514,"showCount":515,"zanCount":11,"manualWeight":11,"mainColor":68},214847,"xie-sheng-ce-16-hua-yan-214847","写生册-16",[24,170,26,392,53,512,7,31],"蛇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7317d554cf7fbebd00ff1714c73feef.jpg",[],87,{"id":517,"slug":518,"title":214,"dynasty":92,"author":365,"museum":519,"description":520,"tags":521,"thumbUrl":523,"material":179,"size":524,"collection":39,"collections":525,"showCount":526,"zanCount":220,"manualWeight":11,"mainColor":68},233943,"hua-niao-ce-hua-yan-233943","美国弗瑞尔美术馆","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等，老年自喻飘篷者，福建上杭蛟洋华佳(家)人(原白砂里人)，后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称三绝，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年(1703)华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上高山云鹤、水国浮牛、青松悬崖和倚马题诗四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，得交当路巨公，名闻于上，但并不得意，据戴熙《习苦斋画絮》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、李鳝、郑板桥及盐商巨子马曰管、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。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[24,77,53,26,170,393,27,135,7,522,54],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7a15ddd053c23937374547a7f95ffdd.jpg","31.2×44.7厘米",[39],86,{"id":528,"slug":529,"title":530,"dynasty":92,"author":531,"museum":20,"description":532,"tags":533,"thumbUrl":534,"material":535,"size":536,"collection":39,"collections":537,"showCount":538,"zanCount":220,"manualWeight":11,"mainColor":68},218902,"mao-tu-zhou-wang-shi-shen-218902","猫图轴","汪士慎","此轴画一黑白相间的猫蹲踞石上，双目斜睨画外，神态生动。画上题诗“每餐先备买鱼钱，曾记携归小似拳，一自爪牙动黠鼠，傍人安稳卧青氊”。并题为雍正六年戊申（1728）九月所画，时年32岁。",[24,170,393,116,295,174,7,33,55,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e98d0a6a379b6c7d84e39c07b0d0aec.jpg","纸本,水墨","纵125.7厘米，横60.8 厘米",[39],83,{"id":540,"slug":541,"title":542,"dynasty":48,"author":543,"museum":241,"description":544,"tags":545,"thumbUrl":546,"material":535,"size":547,"collection":38,"collections":548,"showCount":549,"zanCount":11,"manualWeight":11,"mainColor":68},220100,"shi-er-mo-hua-tu-juan-3-xu-wei-220100","十二墨花图卷-3","徐渭","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,76,24,77,78,170,27,98,60,7,55,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e70c5fdddd68d2662d99287215d9176.jpg","全卷32.8cm×544cm",[],81,{"id":551,"slug":552,"title":553,"dynasty":92,"author":554,"museum":113,"description":555,"tags":556,"thumbUrl":558,"material":38,"size":38,"collection":38,"collections":559,"showCount":560,"zanCount":184,"manualWeight":11,"mainColor":68},238191,"hua-hui-chong-die-zhou-yu-sheng-238191","花卉虫蝶轴","余省","此作以工细之笔铺展秋日野趣，湖石错落间，萱花似燃、夕颜凝白，杂花柔枝相衬，野趣横生。画师以极细笔触晕染草虫蛱蝶，翅脉通透、触须纤毫毕现，振翅欲飞间将秋郊生机尽数铺展。设色秀雅清淡，妍而不俗，花叶俯仰生姿，瘦挺草叶穿插其间，疏密布局相得益彰。\n左侧题诗与画作呼应，诗画合璧更添文雅意境，将清秋幽寂又鲜活的意趣藏于尺幅之中，尽显写生精妙功底，把自然小景绘得雅致动人。",[24,77,116,26,25,81,557,79,136,7,31,438,27],"虫蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6199de4d5acfeaec5e8cafcd7497b4c3.jpg",[],80,{"id":562,"slug":563,"title":564,"dynasty":18,"author":565,"museum":149,"description":566,"tags":567,"thumbUrl":568,"material":459,"size":569,"collection":39,"collections":570,"showCount":571,"zanCount":11,"manualWeight":11,"mainColor":43},219473,"mo-zhu-tu-gu-an-219473","墨竹图","顾安","顾安（活动于1345－1373），字定之，江苏人。书学赵孟俯，以墨竹著称，师法北宋文同，元代李衎、赵孟俯，用笔遒劲，融入书法意趣。绘坡石间三竹，枝干劲挺，茎叶逆风翻转飘动。用笔浓淡变化，衬托出迷蒙雾气。构图简洁，重在表现动态，具写实精神，又富有文人写意情调。",[24,77,170,98,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb5d92e714290aee8a17305935e6cdf.jpg","122.9x53",[39],79,{"id":573,"slug":574,"title":575,"dynasty":48,"author":576,"museum":149,"description":577,"tags":578,"thumbUrl":579,"material":37,"size":580,"collection":39,"collections":581,"showCount":582,"zanCount":11,"manualWeight":11,"mainColor":68},221942,"hua-hua-die-zhou-zhao-wen-chu-221942","画花蝶轴","赵文俶","赵文俶，长洲（今苏州）人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名「寒山草木昆虫状」，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。赵文俶此卷迭经恭亲王奕砢、觯斋郭世五收藏，明女史画家作品妍雅若此，甚属难得。",[23,24,116,26,25,27,31,136,341,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c039a1b9f0137adce7892838c9292e0.jpg","149.3x47",[39,103],78,{"id":584,"slug":585,"title":586,"dynasty":18,"author":587,"museum":50,"description":588,"tags":589,"thumbUrl":592,"material":535,"size":593,"collection":181,"collections":594,"showCount":582,"zanCount":11,"manualWeight":11,"mainColor":68},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","高克恭","《云巢图》是一幅以云巢山为主题的山水画。画中山峰环绕，云雾缭绕，景色宏伟壮观。山间小溪流过，水流潺潺，鸟儿欢快地游翔。画中还有山间小屋、山村村庄和农民劳作的场景。整幅画充满了自然的气息，令人感受到大自然的静谧之美。\n\n高克恭在画《云巢图》时，注重构图布局、选材搭配和色彩运用。他运用了元朝画风中常用的黑白灰三色基调，并在其中穿插了少量的彩色。在选材方面，他认真观察了山水景观的细节，并准确再现了各种山体、水流、云雾、树木等元素。在构图方面，他采用了分割画面的手法，将画面分成上下两部分，使得整幅画更加丰富多彩。",[23,24,77,116,170,229,171,355,590,28,7,446,591,55,54],"瀑布","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[181],{"id":596,"slug":597,"title":598,"dynasty":147,"author":599,"museum":20,"description":600,"tags":601,"thumbUrl":604,"material":37,"size":605,"collection":39,"collections":606,"showCount":582,"zanCount":107,"manualWeight":11,"mainColor":43},216082,"an-chun-tu-ye-li-an-zhong-216082","鹌鹑图页","李安忠","此宋人鹌鹑图页，无作者款印。图绘鹌鹑一只，体形滚圆，斑纹、毛羽如生，作回首状，点缀平坡、秋黍等。清代曾经清耿昭忠、耿嘉祚父子收藏，各有鉴藏印记。近代经吴湖帆、潘静淑夫妇收藏，有吴湖帆题签：“北宋李安忠鹌鹑”。",[23,24,77,76,602,25,26,27,603,7,54],"册页","鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d691dcbeca802bd7e1c7806aa13adcd.jpg","纵23.5厘米，横23.1厘米",[39],{"id":608,"slug":609,"title":610,"dynasty":48,"author":611,"museum":612,"description":613,"tags":614,"thumbUrl":616,"material":381,"size":617,"collection":38,"collections":618,"showCount":619,"zanCount":11,"manualWeight":11,"mainColor":68},222570,"hua-hui-tu-9-chen-chun-222570","花卉图9","陈淳","美国波士顿博物馆","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 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。",[23,76,24,77,393,170,26,27,81,615,31,7],"叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f0254a2eb9eb07ea7e50656f0f7475.jpg","32.5×57.3厘米",[],74,{"id":621,"slug":622,"title":623,"dynasty":92,"author":624,"museum":226,"description":625,"tags":626,"thumbUrl":629,"material":630,"size":631,"collection":39,"collections":632,"showCount":633,"zanCount":220,"manualWeight":11,"mainColor":68},233442,"ren-wu-shan-shui-ce-luo-pin-233442","人物山水册","罗聘","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。",[24,170,26,53,172,171,627,473,355,7,628,229],"孤舟","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a819271c2f702af1a4af64f0b7b134.jpg","纸本，设色","纵24.2厘米，横30.7厘米",[39,181,103],73,{"id":635,"slug":636,"title":637,"dynasty":147,"author":189,"museum":113,"description":638,"tags":639,"thumbUrl":641,"material":38,"size":38,"collection":38,"collections":642,"showCount":633,"zanCount":11,"manualWeight":11,"mainColor":43},223614,"zhu-que-shuang-tu-tu-yi-ming-223614","竹雀双兔图","《竹雀双兔图》是辽代佚名画家创作的绢本设色画，现藏于辽宁省博物馆。\n图绘双钩墨竹一丛，其中有长竹三竿，耸立其间，又有三只麻雀，分踞竹上：有的寻觅食物，有的静立下观，有的自理羽毛，神态各殊；丛竹之下生长的三株野花，左为蒲公英，中为地黄，右为白头翁，显得鲜艳肥大，引人注意；花前的两只灰兔为此图的主题：一只在吃草，一只在探望，神态逼真、活泼清新。\n图上画三竿翠竹，竹上落有三雀，一雀静立枝头，一雀用喙整理毛羽，另一雀侧身瞰视，神情各异。\n丛竹下画有蒲公英、地黄和白头翁三株野花及许多野花小草。\n两只苍兔蹲踞地上，一只在吃草，一只敛耳抬头张望。\n契丹族，是中国北方一支古老的民族，契丹人逐水草而居，以狩猎游牧为生。\n契丹神册元年（916年），耶律阿保机统一了契丹各部，建立了强大的辽王朝，先后与五代和北宋并立。\n其绘画作品，继承唐及五代传统，却又独具特色。\n花卉鸟兽是辽画中常见的题材。\n1974年5月，在辽宁省法库县叶茂台发掘了一座辽代萧氏贵族砖墓，规模较大，出土遗物较多，《竹雀双兔图》就在其中出土。\n关于《竹雀双兔图》的年代，因画上既无作者名款，也没有题识和收藏印记，只能从绢画本身加以分析研究，以确定流派与时间。\n由于画幅出土于辽墓之中，从墓室结构和数百件随葬品综合来考察，可以断定是辽代早期的墓葬，且不晚于辽景宗耶律贤时期，即北宋太宗赵炅的太平兴国年间（976—98年）。\n也就是说，画的制作年代不晚于这个下限。\n至于它的上限早到何时、关于画的作者族属问题， 做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,24,76,77,116,25,26,98,640,153,60,27,152,7,136],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],{"id":644,"slug":645,"title":646,"dynasty":92,"author":647,"museum":113,"description":648,"tags":649,"thumbUrl":651,"material":652,"size":38,"collection":38,"collections":653,"showCount":654,"zanCount":11,"manualWeight":11,"mainColor":68},234129,"hua-hui-tu-juan-zhu-da-234129","花卉图卷","朱耷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。\n朱耷的绘画以水墨为多，用笔恣意纵横，浑厚酣畅，花鸟画成就突出。他在学习陈淳、徐渭等前代写意大家的同时，在绘画实践中逐渐突出用笔奇峭，构图险怪，造型夸张的特点，形成了强烈的个人风格，对后世的写意花鸟画发展产生了深远的影响。在他的花鸟画作品中，现收藏于天津博物馆的《河上花图》可谓精品中的精品。",[23,24,170,78,393,98,58,307,136,99,7,650],"蜂巢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488c99931bac41583c1af07fdb126a07.jpg","纸本，水墨",[],72,{"id":656,"slug":657,"title":658,"dynasty":659,"author":660,"museum":661,"description":662,"tags":663,"thumbUrl":665,"material":38,"size":38,"collection":38,"collections":666,"showCount":654,"zanCount":11,"manualWeight":11,"mainColor":68},220565,"li-ma-xu-bei-hong-220565","立马","民国","徐悲鸿","中央美术学院美术馆","以浓淡变幻的墨色勾勒晕染，将骏马劲健的肌肉线条与昂扬姿态尽铺纸上。昂首嘶鸣的骏马鬃尾肆意飞扬，筋骨勃发，满是雄悍剽悍的野性力量。浅笔淡墨铺就秋野荒草，愈发衬出骏马的卓然不群。左侧题字与画面浑然相融，晕开文人写意的雅致意趣。画作揉合中西技法，以写意笔墨定格骏马喷薄的生命力，将骐骥傲骨诉诸笔端，既是对骏马风采的极致描摹，更寄寓着奔腾不息的精神气魄，寥寥笔墨间尽显神骏意气。",[23,24,77,170,116,664,7],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380920094f10abaf30aff10c3f89ebed.jpg",[],{"id":668,"slug":669,"title":670,"dynasty":147,"author":671,"museum":50,"description":672,"tags":673,"thumbUrl":675,"material":37,"size":38,"collection":39,"collections":676,"showCount":677,"zanCount":220,"manualWeight":11,"mainColor":287},219309,"luo-hua-you-yu-tu-zhao-ke-fu-219309","落花游鱼图","赵克复","鱼儿鲜艳活泼，红花顺流而下，画面气势磅礴。 整幅画是水，不是一笔一划，而是海藻随波逐流，鱼群追逐，红花飘扬。 这是非常生动的。 所有的绘画方法都是渲染的，而不是轮廓。",[24,76,26,25,27,296,674,7],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140f4302cb2d72fab458841216deaf68.jpg",[39],71,{"id":679,"slug":680,"title":681,"dynasty":18,"author":682,"museum":20,"description":683,"tags":684,"thumbUrl":686,"material":535,"size":687,"collection":39,"collections":688,"showCount":677,"zanCount":11,"manualWeight":11,"mainColor":43},219282,"fu-rong-yuan-yang-tu-zhou-zhang-zhong-219282","芙蓉鸳鸯图轴","张中","此图描绘了一幅秋高气爽时节的生动景象，水边的木芙蓉枝叶舒展，枝头花朵绽放；两只鸳鸯在水中嬉戏，其中雌鸳鸯昂首鸣叫，雄鸳鸯垂首清波。此图笔墨简洁古朴，山石不修饰以苔点，以水墨点触晕染，生动写实而清雅隽永，富于韵味。",[23,24,77,116,170,25,27,427,685,119,7,174],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eac47218af15810079b2edc1cc7f16f.jpg","纵147 厘米，横56.8 厘米",[39,233],{"id":690,"slug":691,"title":692,"dynasty":48,"author":611,"museum":20,"description":693,"tags":694,"thumbUrl":695,"material":535,"size":696,"collection":38,"collections":697,"showCount":698,"zanCount":11,"manualWeight":11,"mainColor":68},214625,"hua-hui-ce-18-chen-chun-214625","花卉册-18","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[24,170,393,27,81,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d29db848218962fb82090da831c3eb.jpg","纵28 厘米 横37.9 厘米",[],70,{"id":700,"slug":701,"title":702,"dynasty":18,"author":703,"museum":149,"description":704,"tags":705,"thumbUrl":707,"material":405,"size":708,"collection":38,"collections":709,"showCount":710,"zanCount":220,"manualWeight":11,"mainColor":68},231403,"qiu-gua-tu-qian-xuan-231403","秋瓜图","钱选","该图中描绘了瓜熟之际，野草旁生，新花又开的田园一景。该图以工笔淡彩方法处理瓜、花、叶，而野草则勾线设色与没骨法兼用，怒意洒落，尤显野逸。此图精致典雅，与宋代小品画一脉相承，然而又透出一股书卷气，作者意在追求一种清润淡雅的画格。画家以朴素无华的笔调拟绘田园景物，在题诗中表达了一个知识分子对隐逸生活的态度和情怀。\n图中写甜瓜一柄，老叶几片，一丛杂草，蜿蜒的藤蔓上开着白花。\n画家在图中题诗一首：“金流石烁汗如雨，削入冰盘气似秋。写向小窗醒醉目，东陵闲说故秦侯。”\n中国花鸟画的题材包罗万象，各种动植物都隶属其中。其中对于蔬果的细致描绘，要属北宋赵昌较早。自此而后，蔬果遂成为画家们反复描绘的对象。宋元时，西瓜成为蔬果画的主题，其中部分作品流传下来，《秋瓜图》便是钱选在写生的基础上绘制而成的，它是一幅较早描绘蔬果类的作品，且其所描绘的就是西瓜。\n该图题诗中引用“东陵侯种瓜”的典故，秦朝的东陵侯召平，在秦亡后降为平民，因家贫，种瓜于长安城东以为业。由于他种的瓜味道特别甜，遂被称为东陵瓜。东陵侯召平，由王侯贵胄而跌落红尘，历经谋生的艰难，反因种瓜而留名后世。因此，“东陵侯”成为传统文化中隐士的象征，“东陵瓜”也成为传统象征隐士品德的重要文化符号。东陵种瓜，钱选售画，两者均经历世变的沧桑与跌落凡尘的劫难。画家透过题诗，个体生命与历史文化进行连接与对话，显示画中秋瓜图的作者实为隐士的真正身份。这样，钱选在历史文化的记忆中找到自我生命的安顿。钱选笔下的秋瓜，显然不是现实之物，而是承载历史文化记忆的传统之物，是根植于传统文化脉络之上的果实，是可以在炎热的夏季令人警醒的文化记忆。\n该图所摄取景物集中于画幅的下端，画瓜地中秋瓜一枚，秋瓜果呈长圆形，近椭圆，瓜皮乌黑发亮，瓜楞清晰可见，且黑白对比鲜明，非常醒目。瓜藤蔓延，藤花绰约，有野草数茎衬托其后，瓜叶宽大，其中有瓜叶一片着地半萎，已是瓜果成熟的秋季。硕大的秋瓜用墨绿渍染，呈现碧绿油亮的色彩，瓜楞施以白粉，瓜楞分明，瓜叶脉用细笔勾勒，用笔细致精到，设色淡雅，翠色斑烂。藤花先用细笔勾勒，施以白粉，白色的花朵和墨绿的瓜果和叶形成黑白鲜明的对比。\n该图构图简洁，作者用折枝法在写生基础上经过了艺术的提炼，删繁就简，突出了画面的意境情趣。该图最明显的特点，画幅不大，却画得精致典雅，但精致而不艳丽，细腻而不纤巧，具有清润淡雅的格调，该图呈竖长方形构图，下不留地，上留有较大的空白，近于画面二分之一弱，有作者自题诗给填补，对整个画幅起到了充实其内容及平衡作用。\n台北故宫博物院院长石守谦：《秋瓜图》的精致写实、细腻处理，也显示了南宋职业画中不可或缺的高度技巧，不过他却刻意地采用轻淡的设色，以示其与一般画师之区别。",[76,24,77,116,25,26,27,706,615,81,7,54],"瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80176e7550578ceea6d1fcbd2d4966b9.jpg","纵63.1厘米，横30厘米",[],69,{"id":712,"slug":713,"title":714,"dynasty":18,"author":189,"museum":149,"description":715,"tags":716,"thumbUrl":718,"material":179,"size":719,"collection":39,"collections":720,"showCount":710,"zanCount":184,"manualWeight":11,"mainColor":43},218835,"hua-e-xiao-jing-tu-yi-ming-218835","花鹅小景图","白鹅曲颈伫立，绒羽以细笔晕染，柔润如凝脂，尾羽纹理纤毫可见。身旁草叶疏朗，野花含露轻绽，淡紫与浅红的花瓣似携微风颤动；后方岩石以简劲笔触皴擦，苍朴质感与鹅的柔媚相映成趣。古旧纸色衬得景物愈发温润，笔触间藏着细腻生机——仿佛能听见鹅喙轻啄草叶的细碎声响，或是风拂野花的微颤。整幅小景虽简，却将自然的恬淡雅致凝于尺幅，细处见工致，疏处显意趣，尽显宋元小景画的清逸之韵。",[76,24,77,25,26,717,136,31,7],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aca3e9066be932f6397474cf4d654f4.jpg","57.5x37cm",[39],{"id":722,"slug":723,"title":724,"dynasty":92,"author":725,"museum":113,"description":726,"tags":727,"thumbUrl":728,"material":121,"size":122,"collection":38,"collections":729,"showCount":730,"zanCount":107,"manualWeight":11,"mainColor":43},288240,"hu-die-cao-chong-tu-ce-wu-shu-lan-288240","蝴蝶草虫图册","吴淑兰","此作以工细笔触写蝶，三只彩蝶神态迥然，或振翅欲举，或悠然憩立，翅脉纹路纤毫毕现，晕染出蝶翼绒光与斑斓色泽，写实中带着雅致意趣。淡绿细笔绘出丛生细草，线条柔韧舒展，似有微风拂过，将草叶轻曳之态尽显，衬得蝶影愈发灵动。\n\n左侧题款笔墨清隽，朱红印信点缀留白，融书画印为一体，文气盎然。古旧纸色晕开岁月温润质感，将草间蝶戏的幽谧小景，晕染出冲淡平和的古典意韵，尽显细腻情思与娴静审美。",[24,53,26,25,27,79,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3ca5528649c3da0dbdb34e16762f0c.jpg",[],66,{"id":732,"slug":733,"title":734,"dynasty":92,"author":735,"museum":149,"description":736,"tags":737,"thumbUrl":739,"material":37,"size":740,"collection":39,"collections":741,"showCount":730,"zanCount":220,"manualWeight":11,"mainColor":68},219447,"qiu-cheng-sheng-zhi-zhou-chen-shu-qiu-219447","秋塍生植轴","陈书秋","秋草葳蕤间，秀穗垂曳似携风露。蜻蜓振翅掠叶，粉翅沾着晓光；彩蝶翩跹，翅间星斑如缀墨玉；蚂蚱或伏或跃，肢足纤毫毕现。近坡双鹌相倚，一者低头啄虫，羽纹细腻如织，另一侧首凝睇，眸含憨态。细菊绽蕊淡香似溢，红果点翠添秋温润。笔墨工细却不板滞，生灵姿态鲜活，草木纹理清晰，藏着对自然的深情。静中有动，恬淡里透着蓬勃生机，仿佛能听见虫鸣唧唧，风拂草叶轻响，将秋日田园意趣尽揽其中。",[24,77,116,25,26,54,27,438,7,603,79,204,738,59,494],"蚂蚱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a0fe93ad5cc02980e9601cf4c1e288.jpg","100.1x29.2",[39],{"id":743,"slug":744,"title":745,"dynasty":48,"author":611,"museum":20,"description":693,"tags":746,"thumbUrl":748,"material":535,"size":696,"collection":38,"collections":749,"showCount":750,"zanCount":11,"manualWeight":11,"mainColor":68},214627,"hua-hui-ce-16-chen-chun-214627","花卉册-16",[24,170,393,53,81,747,7],"白菜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84bb14fac9bc80e3378b9dace3eb0549.jpg",[],64,{"id":752,"slug":753,"title":754,"dynasty":48,"author":611,"museum":612,"description":613,"tags":755,"thumbUrl":757,"material":381,"size":617,"collection":38,"collections":758,"showCount":759,"zanCount":220,"manualWeight":11,"mainColor":68},222569,"hua-hui-tu-8-chen-chun-222569","花卉图8",[23,24,77,76,393,170,26,27,81,522,756,7,54],"兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911c35cd24a96007a25681937880c5d3.jpg",[],63,{"id":761,"slug":762,"title":763,"dynasty":92,"author":240,"museum":113,"description":764,"tags":765,"thumbUrl":770,"material":38,"size":38,"collection":38,"collections":771,"showCount":772,"zanCount":220,"manualWeight":11,"mainColor":43},228982,"liu-xi-xing-zhou-tu-shi-tao-228982","柳溪行舟图","此作诗书画印浑然相融，尽展林泉野致。山峦以皴擦互用，写就岩崖苍厚嶙峋，林麓间山居藏隐，藏露之间暗合幽栖雅意。\n溪湾扁舟轻漾，独棹的渔翁将画面意趣引向空濛烟水，板桥连缀溪谷，荒草苍松点染其间，朴茂苍劲。笔墨干湿浓淡交叠，带着萧散旷达的文人心性，把丘壑烟岚的清寂诗意落于笔底，将文人山水的诗境与画韵揉合为一，尽显幽远空疏的林下风致。",[23,24,170,229,116,77,56,171,766,767,768,473,769,307,7,172],"柳","舟","小桥","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ee2c58c5ce1b367e94b44021285a3.jpg",[],62,{"id":774,"slug":775,"title":776,"dynasty":48,"author":467,"museum":468,"description":469,"tags":777,"thumbUrl":783,"material":405,"size":476,"collection":38,"collections":784,"showCount":772,"zanCount":11,"manualWeight":11,"mainColor":68},220033,"dong-zhuang-tu-ce-zhi-dao-qi-shen-zhou-220033","东庄图册之稻畦",[23,24,77,53,170,171,778,779,473,780,7,781,782],"稻","田","树","屋","田埂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5694bd462c6b7cd7977b9ef743f30161.jpg",[],{"id":786,"slug":787,"title":788,"dynasty":147,"author":789,"museum":113,"description":790,"tags":791,"thumbUrl":793,"material":37,"size":794,"collection":159,"collections":795,"showCount":772,"zanCount":184,"manualWeight":11,"mainColor":43},218558,"he-hua-chong-jie-tu-lin-chun-218558","荷花虫介图","林椿","这幅画描绘了一个有着厚厚的白色条纹和点状绿色皮肤的大绿瓜，红色的蜻蜓和两只蜜蜂在瓜上盘旋，似乎是水果的香味吸引了它们；一只绿色的蚱蜢蹲在宽大的叶面上，似乎也在向瓜爬来。",[76,24,77,25,26,27,80,792,31,7],"虫介","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11bbb375e79fb24e593b6af6beedad0f.jpg","28x26",[159],{"id":797,"slug":798,"title":799,"dynasty":48,"author":189,"museum":113,"description":800,"tags":801,"thumbUrl":810,"material":38,"size":38,"collection":38,"collections":811,"showCount":812,"zanCount":184,"manualWeight":11,"mainColor":43},234932,"ming-ren-xia-jing-huo-lang-tu-zhou-yi-ming-234932","明人夏景货郎图轴","这张画描绘了一位乔装打扮的冷饮博士在皇宫花园里为一位年轻的桑亚西倒冰饮。茶壶上的龙雕表明这不是一个普通的家庭，或者说明朝的御用画家为适应某些场景而绘制了皇帝的御用造型，比如今天的 "角色扮演"，皇帝、嫔妃、公主和小王子都是演员。",[24,26,25,172,173,802,81,803,804,805,806,807,307,7,808,809],"栏杆","器","儿童","妇女","男性","货郎担","灌木","地面植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8a6a7974ea6f9fa050bef2d57c5eda.jpg",[],61,{"id":814,"slug":815,"title":816,"dynasty":92,"author":240,"museum":226,"description":817,"tags":818,"thumbUrl":819,"material":405,"size":820,"collection":38,"collections":821,"showCount":812,"zanCount":11,"manualWeight":11,"mainColor":68},234082,"yuan-ji-zhu-ju-xiu-shi-tu-zhou-shi-tao-234082","原济竹菊秀石图轴","此画集中体现了石涛所谓“化”、“略无纪律而纪律自在其中”的艺术特点。画面左下侧湖石挺拔而起，矗立至画幅左中部。湖石脚下画有数茎兰花，花朵吐出清幽的芳香，散发在湿润的空气中。山石腰部和顶端长了花草。湖石后面，耸立着两竿新竹，竹叶直伸展画面顶端，竹叶交迭穿插，有的仰俯，有的平展，有的下垂。湖石后面又一株菊花，依石与新竹穿插生长，花朵盛开，枝叶茂盛。\n此画构图紧凑，画面虽竖长条，上不留天，下不留地，在画的右侧下，有作者自题识。此画的竹、菊全以浓墨写出，仅以淡墨点几点苔点及花萼、花蕊。画成以后，即以淡墨水全幅遍染，仅仅留出菊花的花瓣的白底子，在灰色的背景下，显得格外清亮。在背景的淡墨水将干未干之际，用较深的墨作草书题款。由于对水分的掌握恰到好处。字迹与画的底色渗化融合，浑然一体。总之，此画中的菊、竹、湖石画得淋漓挥洒，纵横豪宕绝无霸悍之气，似乎信手拈来，一挥而就，且无一笔不合画理和法度，达到了天才和功力的完美统一，是一幅笔墨意境均出神入化的佳作。",[24,170,116,393,98,59,31,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d6e081a28cf954997b56c68ef141d0.jpg","51.16*129.02厘米",[],{"id":823,"slug":824,"title":825,"dynasty":48,"author":826,"museum":113,"description":827,"tags":828,"thumbUrl":837,"material":838,"size":839,"collection":840,"collections":841,"showCount":842,"zanCount":220,"manualWeight":11,"mainColor":68},220966,"tao-yuan-ming-yin-jiu-shi-si-shou-juan-dong-qi-chang-220966","陶渊明饮酒诗四首卷","董其昌","陶渊明对于后世书法家的影响不可谓不深远。明代的书陶者以“吴中三家”祝允明、文徵明、王宠的成就为最高，但在现存的针对“吴中三家”的研究文献中，对于王宠的研究为最少，论及陶渊明于王宠之影响者更少。在笔者看来，王宠书法承祝、文二家而自出机杼，书法中的禅趣古意实则为三家中最高者，实则获陶渊明之精髓。而随后的董其昌更是在理论的高度吸收了陶渊明的思想，提倡平淡率真的书法品格，对后世产生了巨大影响。但以往对董其昌与陶渊明关系的分析又多浮于表面，多数仅就意象、风格之相似或文辞用典的使用做文章。笔者旨在通过考查王宠、董其昌二人的书法、书论，来进一步阐述陶渊明对于中国文化的巨大影响。",[23,55,56,78,59,829,135,769,7,830,831,832,833,834,835,836],"山","霜","日夕","杯","林","酒","田园","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa855cec2eb1d059b8471f7fba71c89f4.jpg","行草","25x269厘米","书法精选",[840],60,{"id":844,"slug":845,"title":846,"dynasty":48,"author":847,"museum":149,"description":848,"tags":849,"thumbUrl":851,"material":179,"size":852,"collection":39,"collections":853,"showCount":854,"zanCount":11,"manualWeight":11,"mainColor":68},218847,"shuang-ji-tu-lu-zhi-218847","双鸡图","陆治","双鸡相倚石畔，一羽红冠微昂，一羽低首敛翅，毛羽以细笔勾染，晕出柔润光泽。石体干墨皴擦，纹理苍劲，与旁侧舒展的草叶形成刚柔对比。蜻蜓振翅悬于草尖，细足轻点，姿态灵动如真。笔墨间工写交织，设色淡雅却藏生机，题款朱印错落，更添古朴意蕴。整幅画似截取田园一隅，静谧中透着鲜活气息，将寻常物态绘出文人雅趣，尽显笔墨之妙与自然之趣，读之如沐林间清意，心随画境沉于恬淡。",[24,77,116,26,27,850,31,7,438],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28bf2849a86dd45fd3a78edb2b1cdfa.jpg","63.2x31.5cm",[39],59,{"id":856,"slug":857,"title":858,"dynasty":48,"author":611,"museum":612,"description":613,"tags":859,"thumbUrl":863,"material":381,"size":617,"collection":38,"collections":864,"showCount":865,"zanCount":220,"manualWeight":11,"mainColor":68},222567,"hua-hui-tu-6-chen-chun-222567","花卉图6",[23,24,77,26,170,393,27,81,7,31,522,860,861,862],"明代","花鸟写意","水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68019c2e22e4fd3401f2575cba804984.jpg",[],58,{"id":867,"slug":868,"title":869,"dynasty":48,"author":870,"museum":20,"description":871,"tags":872,"thumbUrl":874,"material":405,"size":875,"collection":181,"collections":876,"showCount":865,"zanCount":11,"manualWeight":11,"mainColor":68},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。",[23,24,77,170,873,53,172,154,802,54,7],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0573efbe7b213e884e25992b2193b58.jpg","纵28.5 厘米横46.5 厘米",[181,877],"人物画精选",{"id":879,"slug":880,"title":489,"dynasty":48,"author":881,"museum":149,"description":882,"tags":883,"thumbUrl":884,"material":37,"size":38,"collection":39,"collections":885,"showCount":865,"zanCount":11,"manualWeight":11,"mainColor":68},219446,"duan-yang-jing-tu-chen-jia-yan-219446","陈嘉言","墨石崚嶒，以浓淡干湿之笔写出苍劲肌理，似含嶙峋风骨。石畔百合舒卷有致，瓣白如玉，清雅绝尘；艳艳红花点缀其间，色如渥丹，相映成趣。细碎野花丛生，黄绿枝叶错落，笔墨兼工带写，设色明丽却不艳俗。整幅画面生机盎然，野趣中透着雅致，仿佛能嗅到端阳时节的草木清气，尽显文人画的疏朗意韵。笔意洒脱，构图疏密得当，于不经意间流露自然之美，引人沉醉于这方清幽小景里。",[24,116,26,170,393,27,31,254,81,494,615,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ef5005627b1e39b1323e869dbb1145.jpg",[39],{"id":887,"slug":888,"title":889,"dynasty":48,"author":890,"museum":50,"description":891,"tags":892,"thumbUrl":893,"material":179,"size":894,"collection":38,"collections":895,"showCount":896,"zanCount":184,"manualWeight":11,"mainColor":897},216261,"ming-za-hua-ce-4-wang-zhong-216261","明杂画册-4","汪中","汪中指的是汪建中（1501-1593年），他是明朝时期的一位著名画家。明杂画册是指他绘制的一组绘画作品集，通常指其中一部名为《汪中杂画册》的作品。《汪中杂画册》是一部非常著名的画册，由汪建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[24,26,25,53,31,27,59,7,79,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ab5d750f60cfb64615b60a29b53388.jpg","30x27cm",[],57,"FDD835",{"id":899,"slug":900,"title":901,"dynasty":659,"author":902,"museum":903,"description":904,"tags":905,"thumbUrl":907,"material":908,"size":38,"collection":38,"collections":909,"showCount":910,"zanCount":11,"manualWeight":11,"mainColor":68},220595,"gong-chong-ce-ye-guo-guo-qi-bai-shi-220595","工虫册页·蝈蝈","齐白石","中国现当代美术文献研究中心","此作以工写相映成趣，左侧赭红草叶写意挥就，笔致苍劲洒脱，寥寥数笔便勾勒出舒展野逸之态，淡墨晕染的浅淡底色晕开朦胧乡野意韵。右侧蝈蝈则以工笔细描，翠色躯体鲜亮通透，触须纤毫毕现，肢节纹理分明，振翅欲动，仿佛下一秒便要跃向草叶，将乡野小虫的灵动鲜活凝于纸面。\n\n简笔写意的朴拙与精微工细的鲜活彼此映衬，把寻常乡野小景绘得生机满溢，藏着对自然烟火的细腻体察，于平淡日常里撷取鲜活意趣。",[24,77,53,25,26,27,906,7],"蝈蝈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf64a8cd4f60805de0416aa2528db217.jpg","纸本水墨设色",[],56,{"id":912,"slug":913,"title":914,"dynasty":92,"author":915,"museum":226,"description":916,"tags":917,"thumbUrl":919,"material":920,"size":921,"collection":38,"collections":922,"showCount":923,"zanCount":220,"manualWeight":11,"mainColor":68},233736,"wu-jun-qing-yan-lai-hong-zhou-wu-chang-shuo-233736","吴俊卿雁来红轴","吴昌硕","本幅设色。款：“安吉吴俊卿”。\n吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[24,77,116,26,31,918,7,81],"雁来红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8648de328c40626b7f14d113b0bcb0fb.jpg","金笺 ，设色","纵174.7cm，横47.5cm",[],55,{"id":925,"slug":926,"title":927,"dynasty":147,"author":599,"museum":113,"description":928,"tags":929,"thumbUrl":931,"material":405,"size":932,"collection":39,"collections":933,"showCount":934,"zanCount":184,"manualWeight":11,"mainColor":43},218549,"an-chun-tu-li-an-zhong-218549","鹌鹑图","画面分上下两帧，各绘一只鹌鹑，姿态迥异却各得神韵。上方鹌鹑低头探向草丛，羽翅纹理细密如织，绒毛质感似触手可及；下方鹌鹑昂首而立，目光警觉，尾羽舒展间尽显灵动。背景以疏淡笔墨勾出枯苇、细枝，与鹌鹑的工致刻画形成对比，清雅中透着野趣。绢本设色温润古朴，禽鸟的鲜活与环境的萧瑟相映，既见宋代院体画的精致写实，又藏自然生机的悄然流动，尽显宋人观物入微的审美意趣。",[76,24,77,25,26,27,394,603,7,930],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3b3fb868cf2e335d61dbfc6fae97c5.jpg","23x25",[39],54,{"id":936,"slug":937,"title":938,"dynasty":18,"author":939,"museum":241,"description":940,"tags":941,"thumbUrl":943,"material":179,"size":944,"collection":181,"collections":945,"showCount":934,"zanCount":11,"manualWeight":11,"mainColor":68},214383,"yu-le-tu-fang-cong-yi-214383","鱼乐图","方从义","画面中，一个樵夫与渔民在岸边上喝酒，反映了工人的简单情感和生活细节。一棵垂柳树耸立在画中，映衬着翠绿的山丘和海滩。这幅画是素描，笔触强烈而尖锐，色彩明亮而优雅。虽然这幅画是由方从义题写的，但其风格更接近明代的戴进和吴伟的风格。",[23,24,77,116,170,229,171,780,942,172,7,31,175],"河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00272ba6a9af3a5abb90b8e961a2292f.jpg","143.8x43.2",[181],{"id":947,"slug":948,"title":949,"dynasty":48,"author":950,"museum":113,"description":951,"tags":952,"thumbUrl":954,"material":38,"size":38,"collection":38,"collections":955,"showCount":956,"zanCount":107,"manualWeight":11,"mainColor":43},228894,"gua-shu-tu-ce-ye-zhu-zhan-ji-228894","瓜鼠图册页","朱瞻基","画面取隅角小景，湖石朴拙沉静，石顶细草轻立，石畔缀着深紫垂萝，晕染出幽谧闲静的氛围。\n\n小鼠憨态可掬，正贪啃半颗荔枝，柔细绒毛纤毫毕现，将小兽馋态描摹得灵动鲜活。荔枝丹红似火，果壳糙粝的肌理写实逼真，汁水淋漓的碎屑散落，将鲜果的甜润感烘托尽致。\n\n设色古雅柔澹，绢本晕染细腻，将日常细碎生趣凝于尺幅，融俗世恬然意趣与文人雅致留白为一体，以精湛写生功底，定格下天真平和的治愈瞬间。",[76,24,77,53,25,26,953,99,31,7,54],"鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e45121baa27799f442e64863b39946d.jpg",[],53,{"id":958,"slug":959,"title":960,"dynasty":147,"author":961,"museum":226,"description":962,"tags":963,"thumbUrl":964,"material":965,"size":966,"collection":38,"collections":967,"showCount":956,"zanCount":11,"manualWeight":11,"mainColor":68},221581,"cai-wei-tu-juan-quan-juan-li-tang-221581","采薇图卷全卷","李唐","这是一幅历史题材的绘画作品，是以殷末伯夷、叔齐“不食周粟”的故事为题而画的。司马迁所著之《史记》中即有“伯夷列传”，伯夷和叔齐是殷的诸侯孤竹君（国在今河北卢龙南）的两个儿子，孤竹君立其三子叔齐为继承人。孤竹君死后，叔齐要把继承权让给哥哥伯夷，伯夷不肯接受，说这是父命，不可违背，最后逃跑了。叔齐见状也离家出走。兄弟二人出走后先后投奔了西伯姬昌（即周文王），不久姬昌死，儿子姬发（即周武王）要出兵讨伐纣王。伯夷、叔齐拦住姬发的马头谏阻，认为臣子造反讨伐君王是大逆不道的。武王伐纣取得胜利后，伯夷、叔齐深以为耻，表示决心不吃从周朝土地上长出来的粮食，于是逃隐至首阳山（在山西永济县境），采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首采薇歌：“登彼西山兮，采其薇矣！以暴易暴兮，不知其非矣！神农虞夏忽焉没兮，我安适归矣？于嗟徂兮，命之衰矣！”表示了坚决不屈服的志向。\n李唐所画的《采薇图》，即着力刻划了这两个古代宁死不愿意失去气节的人物。图中描绘伯夷、叔齐对坐在悬崖峭壁间的一块坡地上，伯夷双手抱膝，目光炯然，显得坚定沉着；叔齐则上身前倾，表示愿意相随。伯夷、叔齐均面容清癯，身体瘦弱，肉体上由于生活在野外和以野菜充饥而受到极大的折磨，但是在精神上却丝毫没有被困苦压倒。作者着墨不多，就把伯夷、叔齐在特定环境下的神态描绘得淋漓尽致，达到了很高的水平。\n李唐采用这个历史故事来表彰保持气节的人，谴责投降变节的行为，在当时南宋与金国对峙的时候，可谓是“借古讽今”，用心良苦。",[23,24,78,170,26,172,171,327,446,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f5d231ca2edb3f9d85a65a937277ec.jpg","绢本，水墨淡设色","纵27.2厘米，横90.5厘米",[],{"id":969,"slug":970,"title":971,"dynasty":659,"author":902,"museum":903,"description":972,"tags":973,"thumbUrl":975,"material":908,"size":38,"collection":38,"collections":976,"showCount":977,"zanCount":11,"manualWeight":11,"mainColor":68},220598,"gong-chong-ce-ye-huang-feng-qi-bai-shi-220598","工虫册页·黄蜂","这幅画作以简繁相映的妙趣定格乡野意韵。左侧兰叶以大写意挥就，淡赭勾染出舒展姿态，笔势疏朗写意，尽显清逸雅致。右侧两只黄蜂却以极细腻的工笔绘就，翅翼薄如蝉翼，脉络纤毫毕现，躯体斑纹鲜活饱满，振翅欲飞的灵动神态呼之欲出，仿佛下一秒就要循着草香翩然远去。\n\n简淡的写意草木与精微的写实虫豸相映成趣，文人笔墨的清雅与自然生灵的鲜活融为一体，于尺幅之间铺陈出鲜活的野趣生机，举重若轻间尽显创作功底，将日常小景晕染成耐人品味的雅致画卷。",[24,77,53,25,393,26,438,974,7],"黄蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96fb49e577614dd52f34cd012446293.jpg",[],52,{"id":979,"slug":980,"title":981,"dynasty":659,"author":902,"museum":903,"description":982,"tags":983,"thumbUrl":984,"material":908,"size":38,"collection":38,"collections":985,"showCount":977,"zanCount":11,"manualWeight":11,"mainColor":68},220596,"gong-chong-ce-ye-ma-zha-qi-bai-shi-220596","工虫册页·蚂蚱","淡赭草叶肆意纵横，看似漫不经心，实则错落有致，晕开秋日郊野的慵懒野趣。工笔精绘的蚂蚱静栖草间，翠色头颅油润鲜亮，玄色鞘翅纹理历历分明，纤细触须微颤，足爪紧扣草茎，仿佛正敛息休憩，下一刻便会振翅跃入荒草深处。\n写意荒草的简淡疏朗，将工笔秋虫的鲜活质感全然托举而出，萧索秋意与虫豸生机交织融合，把乡野日常的细碎意趣凝于尺幅之间，以极简笔墨勾勒出自然一隅的灵动诗意，尽显对乡野风物的细腻共情。",[24,77,53,25,26,438,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bbe682bec5240ca3a1fb0abd6f032ca.jpg",[],{"id":987,"slug":988,"title":989,"dynasty":147,"author":189,"museum":149,"description":990,"tags":991,"thumbUrl":995,"material":37,"size":996,"collection":39,"collections":997,"showCount":977,"zanCount":184,"manualWeight":11,"mainColor":43},218707,"han-tang-qun-yan-tu-yi-ming-218707","寒塘群雁图","这是一幅描绘池塘一角的画，岸边有枯草和树叶，给人一种寒意。几只大雁聚集在一起，其中一只飞向空中，与伸出头来的那只大雁遥相呼应，形成一个生动的画面。笔触和色彩的灵感来自于崔白。",[23,24,76,77,25,26,992,28,993,780,7,119,994,394],"雁","池塘","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71dfdb429461da18280483cbdee873a7.jpg","194.4x109.2",[39],{"id":999,"slug":1000,"title":1001,"dynasty":147,"author":189,"museum":149,"description":1002,"tags":1003,"thumbUrl":1004,"material":37,"size":1005,"collection":159,"collections":1006,"showCount":1007,"zanCount":220,"manualWeight":11,"mainColor":43},231057,"fu-gui-hua-li-tu-yi-ming-231057","富贵花狸图","枝桠遒劲舒展，牡丹素瓣柔润晕染，似凝露轻绽。花叶疏密错落，暗衬盛放雍容。花狸伏身软草间，墨白毛色过渡自然无痕，双目凝注身前游虫，警觉中带着憨柔慵懒，将灵动感藏于静息姿态。\n\n整幅设色古雅沉静，绢底旧调晕开澹澹古韵，工细写实中带着雅致意趣，将繁花雍容与狸奴野趣相映成趣，闲静画面里暗涌鲜活生机，于清淡古拙间晕开平和悠然的氛围感，尽显小景中的雅致禅意。",[23,24,76,116,25,26,27,62,295,7,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8509dd73930dd4201e8b570bf5528f6.jpg","141x107.5",[159],51,{"id":1009,"slug":1010,"title":1011,"dynasty":18,"author":225,"museum":226,"description":227,"tags":1012,"thumbUrl":1013,"material":231,"size":1014,"collection":233,"collections":1015,"showCount":1007,"zanCount":11,"manualWeight":11,"mainColor":43},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839","古木竹石图轴",[23,24,77,76,116,170,873,355,98,31,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[233,105],{"id":1017,"slug":1018,"title":1019,"dynasty":18,"author":1020,"museum":149,"description":1021,"tags":1022,"thumbUrl":1024,"material":535,"size":1025,"collection":39,"collections":1026,"showCount":1007,"zanCount":11,"manualWeight":11,"mainColor":43},219360,"wan-xiang-gao-jie-tu-ke-jiu-si-219360","晚香高节图","柯九思","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。",[76,24,170,393,229,98,307,59,7,1023,54],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ea458d2092b5764321504018ff651.jpg","126.5厘米，横75.2厘米",[39],{"id":1028,"slug":1029,"title":1030,"dynasty":1031,"author":1032,"museum":113,"description":1033,"tags":1034,"thumbUrl":1039,"material":121,"size":122,"collection":38,"collections":1040,"showCount":1041,"zanCount":11,"manualWeight":11,"mainColor":68},231746,"jiang-hu-shi-dai-xia-qiu-cao-tu-ping-feng-qiu-fen-jiu-jing-bao-yi-231746","江户时代 夏秋草图屏风-秋分","不详","酒井抱一","日本画家的的琳派。他以复兴绪方光琳的风格和流行而闻名，并创作了光琳作品的许多复制品。",[23,26,25,27,1035,1036,81,79,7,1037,1038],"藤蔓","绿叶","浮世绘","日本传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115d92d5e47f2f2a6c2be087928f418c.jpg",[],48,{"id":1043,"slug":1044,"title":27,"dynasty":92,"author":1045,"museum":113,"description":1046,"tags":1047,"thumbUrl":1049,"material":38,"size":38,"collection":38,"collections":1050,"showCount":1041,"zanCount":11,"manualWeight":11,"mainColor":68},224309,"hua-niao-li-shan-224309","李鱓","这幅画以水墨写就水畔一隅，布局错落有致。右上角芙蓉枝叶交叠，浓墨点染阔叶，淡墨勾出柔花，枯笔写枝，苍劲中带着秀润。左侧荷花亭亭舒展，墨色晕染出荷叶的清润质感，花瓣用线空灵雅洁。白鹭静立在汀草间，淡墨勾形留白衬出羽毛蓬松，目光低垂神态悠然，将水鸟的闲适之态尽藏其中。\n笔墨干湿浓淡相映，以写意笔法写尽夏日水郊的清寂野趣，禽鸟花木浑然相融，尽显纵逸洒脱又不失雅致的文人写意风骨，将幽淡恬然的郊野生机凝练在尺幅之间。",[23,24,76,116,170,26,393,27,60,427,1048,7,399,117],"鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c32e970d3d12ecf0c1bdd93057eb7f.jpg",[],{"id":1052,"slug":1053,"title":1054,"dynasty":48,"author":1055,"museum":149,"description":1056,"tags":1057,"thumbUrl":1077,"material":157,"size":1078,"collection":181,"collections":1079,"showCount":1041,"zanCount":220,"manualWeight":11,"mainColor":43},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。",[23,24,26,171,25,627,175,98,1058,176,328,473,1059,780,7,399,1060,1061,154,1062,1063,1064,1065,1066,1067,1068,1069,1070,1071,1072,1073,1074,1075,1076],"渔夫","岸","小船","岸石","汀渚","渔人","舟楫","烟波","浅滩","丛竹","近岸","远岫","霭气","水域","坡岸","草木","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","纵270厘米、横174.4厘米",[181,233],{"id":1081,"slug":1082,"title":1083,"dynasty":48,"author":1084,"museum":113,"description":1085,"tags":1086,"thumbUrl":1087,"material":38,"size":38,"collection":39,"collections":1088,"showCount":1041,"zanCount":11,"manualWeight":11,"mainColor":68},221878,"xie-sheng-hua-hui-juan-zhou-tao-cheng-221878","写生花卉卷轴","陶成","此作所绘湖石、竹簧、水仙与山茶树，松竹花石高与纸齐，往往笔力苍挺，气象峥嵘，而乏悠远层迭之趣。水仙与新竹双钩留白，与浓变化的山茶叶呼应对比，煞是美妙。虽率意布置，而秀润苍老，清气满幅，笔情墨法，令人不能窥其稚奥，真独步艺苑。\n陶成，字孟学，一作懋学，后更字敬学，号云湖、云湖山人，尝自署云湖仙人。江苏宝应人，成化七年举人。陶成为明代中前期以“诗书画三绝”盛名于世的奇才，他生性疏狂、不拘小节、放荡不羁，有米南宫、郭忠恕之风而豪荡过之。其艺术活动主要在成化、弘治年间，画芙蓉最著名且为世人所珍。陶成晚年因坐谪而被戍边，虽时间不久，然放归后即离世。",[23,24,77,78,170,26,392,81,59,98,7,139,55,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90df80a9b3832e286d021025ff6327e5.jpg",[39,233],{"id":1090,"slug":1091,"title":1092,"dynasty":48,"author":1093,"museum":149,"description":1094,"tags":1095,"thumbUrl":1096,"material":459,"size":1097,"collection":39,"collections":1098,"showCount":1099,"zanCount":11,"manualWeight":11,"mainColor":43},219508,"zhu-tu-lv-duan-jun-219508","竹图","吕端浚","此作用水墨写就，运笔爽利遒劲，丛竹叶叶交叠，以浓淡墨色区分层次，俯仰向背各具意态，繁密却不失条理，尽显修竹清刚挺拔之姿，仿佛有穿林风声拂过纸面。\n\n下方奇石以淡墨晕染轮廓，焦墨点苔，朴拙古雅，稳稳承托劲竹，与秀逸修竹形成刚柔相济的意趣，地面细草寥寥几笔，野趣自生。\n\n题款与画面相映成趣，整幅以极简水墨承载文人意趣，将竹的君子风骨融于尺素，笔情墨韵间满是萧散出尘的雅致。",[24,116,170,98,31,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944e6c300e61ee66ba74b2b616fa2a07.jpg","169.1x87.6",[39],47,{"id":1101,"slug":1102,"title":1103,"dynasty":48,"author":1104,"museum":131,"description":1105,"tags":1106,"thumbUrl":1108,"material":37,"size":1109,"collection":38,"collections":1110,"showCount":1099,"zanCount":220,"manualWeight":11,"mainColor":43},218349,"ren-wu-gu-shi-ce-2-tang-yin-218349","人物故事册-2","唐寅","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。",[23,24,77,53,26,172,1107,31,355,7,139],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca306525f4cf012010116dad3d5517c.jpg","32x40.5",[],{"id":1112,"slug":1113,"title":1114,"dynasty":18,"author":189,"museum":149,"description":1115,"tags":1116,"thumbUrl":1117,"material":37,"size":1118,"collection":39,"collections":1119,"showCount":1120,"zanCount":11,"manualWeight":11,"mainColor":43},219239,"hua-hu-tu-yi-ming-219239","画虎图","松林石涧间,一巨虎黄皮黑纹,毛色鲜丽,体态威武雄壮.虎之双眼,俱以金粉涂饰,并略染汁绿,显得格外神气逼人.其背隆起,宛如张弓欲发,隐然有即将出击之势.虎口微启,低吟而未啸.树梢,二山鹧见状,相与惊跃鸣叫,更为此猛虎出山的场景,平添紧张、不安的气息.通幅描绘如真,渍染极得润厚的韵致.画无名款,旧签定为元人.惟据画风判断,与明代宫廷画风,颇多相近处,是以推断,本幅或出自明代良工之手",[23,24,116,26,193,139,327,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb563ac7aba93522a5230f6ac6e3bb83c.jpg","206.5x122cm",[39],46,{"id":1122,"slug":1123,"title":1124,"dynasty":147,"author":599,"museum":149,"description":1125,"tags":1126,"thumbUrl":1127,"material":37,"size":1128,"collection":159,"collections":1129,"showCount":1120,"zanCount":220,"manualWeight":11,"mainColor":43},219151,"xiang-bo-tu-li-an-zhong-219151","翔鹁图","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[23,76,24,77,116,25,26,27,28,31,7,136,930,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[159,39,103],{"id":1131,"slug":1132,"title":1133,"dynasty":92,"author":1134,"museum":113,"description":1135,"tags":1136,"thumbUrl":1139,"material":38,"size":38,"collection":38,"collections":1140,"showCount":1141,"zanCount":11,"manualWeight":11,"mainColor":68},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","蒋溥","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[23,24,77,116,25,170,26,153,1137,1138,33,7,55],"桂","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg",[],45,{"id":1143,"slug":1144,"title":1145,"dynasty":92,"author":240,"museum":50,"description":1146,"tags":1147,"thumbUrl":1148,"material":179,"size":1149,"collection":39,"collections":1150,"showCount":1141,"zanCount":11,"manualWeight":11,"mainColor":68},214565,"mo-zui-za-hua-tu-ce-2-shi-tao-214565","墨醉杂画图册-2","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,24,77,53,26,170,229,31,427,60,7,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3bb60e03b8a80aef02ca4e630d97a6a.jpg","纵51.4厘米，横35.4厘米",[39],{"id":1152,"slug":1153,"title":1154,"dynasty":92,"author":1155,"museum":113,"description":1156,"tags":1157,"thumbUrl":1159,"material":121,"size":122,"collection":38,"collections":1160,"showCount":1161,"zanCount":11,"manualWeight":11,"mainColor":68},239454,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239454","邹一桂花鸟草虫图册","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,77,53,25,26,27,1158,79,136,7,54],"草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F384bf1f79890e720543b7671782cefef.jpg",[],44,{"id":1163,"slug":1164,"title":1165,"dynasty":48,"author":1166,"museum":131,"description":1167,"tags":1168,"thumbUrl":1169,"material":459,"size":1170,"collection":877,"collections":1171,"showCount":1161,"zanCount":11,"manualWeight":11,"mainColor":43},218514,"yu-fu-tu-wu-wei-218514","渔夫图","吴伟","该图描绘了一个渔夫在溪边的老柳树下捕捉一条新鲜的鱼。人物造型细致，渔夫捕鱼的喜悦之情刻画得淋漓尽致，山水、服饰用笔浑厚，面部和手脚用笔精细，是吴伟人物的典型特征。",[23,24,77,116,170,172,355,7,31,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e15e29ad6e911cc0f9de6f8bd082ea.jpg","195.8x102",[877],{"id":1173,"slug":1174,"title":1175,"dynasty":659,"author":660,"museum":661,"description":1176,"tags":1177,"thumbUrl":1179,"material":38,"size":38,"collection":38,"collections":1180,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":68},220540,"qun-niu-xu-bei-hong-220540","群牛","以淡墨晕染浅草萋萋，浓墨勾勒水牛筋骨肌理，将乡野牧歌揉进笔墨之间。三头壮硕水牛犄角虬劲，皮毛以枯湿浓淡的墨色晕染，厚重朴拙的神态呼之欲出，幼牛灵动稚嫩，与老牛形成鲜活反差，尽显天趣。\n\n赤脚牧童步履悠然，衣角轻扬，寥寥数笔便将乡间孩童的自在松弛刻画得淋漓尽致。画面留白恰到好处，上部题款填补疏朗空间，诗画相映成趣，将江南郊野寻常放牧的日常，晕染成满是生机的诗意图景，兼具写意笔墨的意趣与田园温情，满溢质朴动人的烟火意韵。",[24,77,170,26,1178,172,7,152],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8efe1268ca4e88a89e6d9327f4fa9fe.jpg",[],43,{"id":1183,"slug":1184,"title":1185,"dynasty":92,"author":554,"museum":149,"description":1186,"tags":1187,"thumbUrl":1188,"material":179,"size":1189,"collection":39,"collections":1190,"showCount":1181,"zanCount":220,"manualWeight":11,"mainColor":68},219651,"dong-li-xiu-se-tu-yu-sheng-219651","东篱秀色图","以没骨晕染绘就秋菊数本，黄紫菊瓣蓬松柔润，敷色雅致清妍，毫无艳俗之感。叶片以淡赭勾筋、绿墨晕染，枯荣交叠，将秋霜侵染后的清隽姿态尽显。坡石细草点缀其间，衬出幽寂清旷的篱边秋境。\n\n整幅画作兼工带写，写生精准又饱含文人写意悠然，配搭题咏书画合璧，将菊花凌霜自持的君子风骨尽融笔底，诠释出东篱赏菊的古典雅韵，尽显秋日花绘的雅致格调。",[24,25,26,27,59,174,7,55,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85c50a6857276b799ebb1f6a3c6622e6.jpg","84.3x67.8",[39],{"id":1192,"slug":1193,"title":1194,"dynasty":48,"author":1195,"museum":149,"description":1196,"tags":1197,"thumbUrl":1199,"material":170,"size":1200,"collection":233,"collections":1201,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":68},219296,"shi-jia-mu-ni-fu-zhou-ding-yun-peng-219296","释迦牟尼佛轴","丁云鹏","此帧画法相庄严的释迦牟尼佛，其双手结禅定印，结跏趺坐于娑罗树下。通幅全用墨笔钩染，不着颜色。人物衣纹线条圆润流畅，释迦牟尼佛身后的老树盘结，树叶或以墨点，或用钩勒，墨色虽有深浅的变化，但已具装饰性。全作笔法生动而富变化，别有一种古拙浑厚的意趣。此帧款云：「佛子丁云鹏敬写」，但未署年款。根据它的画风特色与幅上两则邹之麟的题识，推测此画当成于1606年以后，约为丁氏六十余岁之作。",[24,77,116,1198,172,873,170,355,174,7,54],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79db6107aefbfd5dd16156dfd05f3f4.jpg","156.8x53.1",[233],{"id":1203,"slug":1204,"title":1205,"dynasty":48,"author":1206,"museum":113,"description":1207,"tags":1208,"thumbUrl":1210,"material":38,"size":38,"collection":38,"collections":1211,"showCount":1212,"zanCount":184,"manualWeight":11,"mainColor":43},228487,"kong-que-shuang-qi-tu-lin-liang-228487","孔雀双栖图","林良","以水墨晕染禽鸟神姿，雄雀身姿舒展，尾羽以浓淡墨色递变，将翎羽华美的肌理尽皆铺展，纤毫毕现又不失写意疏朗。雌雀静立石台，憨态温婉，一动一静，恰似郊林里的闲趣日常。\n\n背景竹枝以阔笔挥就，竹叶苍劲有锋芒，枯石野草信笔点染，野逸之态尽显。整幅以墨代彩，摒弃敷色浓艳，依托干湿浓淡的层次变化，将院体花鸟的精致法度与文人写意的随性相融，勾勒出清寂悠然的林间一隅，尽显水墨花鸟的雅致意趣。",[23,24,170,393,116,27,1209,98,174,7],"孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e88008dd1be325e91ec4e4e03a5df8e.jpg",[],41,{"id":1214,"slug":1215,"title":224,"dynasty":18,"author":1216,"museum":226,"description":1217,"tags":1218,"thumbUrl":1219,"material":1220,"size":1221,"collection":233,"collections":1222,"showCount":1212,"zanCount":11,"manualWeight":11,"mainColor":43},221870,"zhu-shi-tu-zhou-xie-ting-zhi-221870","谢庭芝","图中绘坡草湖石，石后挺立疏竹数竿，枝叶下垂，似洒雨露。坡上小竹兰草丛生，三株新笋，两株高窜，一株破土而出，春意盎然。湖石连勾带皴，并以淡墨渲染，玲珑剔透，形态奇异。竹叶以率笔挥洒，浓淡相参，水墨淋漓，清新秀雅。此图为谢庭芝墨竹传世孤本。\n画面以淡墨勾勒画湖石，以砍剁皴和钉头皴相结合画出明暗再以淡墨渲染，使湖石具有质感，达到皱、漏、透、瘦之效果，玲珑剔透，造型奇特。\n湖石后疏竹玉立，竹叶下垂，浓淡相间，参差错落，疏密有致，颇显情趣，画左款暑：至元五年冬十月，仲和。",[23,24,170,116,98,307,31,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0acf41e6dc1be49409c9c5df041b0e.jpg","绢本墨笔.","173.2cmx105.1cm",[233,105],{"id":1224,"slug":1225,"title":1226,"dynasty":18,"author":1020,"museum":149,"description":1227,"tags":1228,"thumbUrl":1229,"material":535,"size":1025,"collection":233,"collections":1230,"showCount":1212,"zanCount":11,"manualWeight":11,"mainColor":68},221831,"wan-xiang-gao-jie-zhou-ke-jiu-si-221831","晚香高节轴","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。\n此景物主要集中于下端：画幅下部画湖石，中间高出，两侧低矮，形成“山”字型。湖石为杂草点缀，右侧的杂草向右倾斜，左侧杂草向左倾斜。湖间有几簇修竹倚石生长，其中一株翠竹拔地而起，枝竿挺拔，竹节较长，枝叶茂密，顶天立地。另有野菊花倚石而长，花朵盛开于茎端。\n款识：五云阁吏为正臣作。\n虞集题：敬仲此幅，清楚出尘，真平日合作也。奎章阁侍书学士虞集题。\n弘历题：绿筠挺出苏卿节，黄菊喷来陶令香。何必其间论世代，忘年交合石渠藏。庚寅秋日御题。",[23,24,170,116,98,307,59,7,393,229,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549ad8c921d08b75438863fa146dd22.jpg",[233,105],{"id":1232,"slug":1233,"title":1234,"dynasty":92,"author":1235,"museum":113,"description":1236,"tags":1237,"thumbUrl":1239,"material":38,"size":38,"collection":39,"collections":1240,"showCount":1241,"zanCount":220,"manualWeight":11,"mainColor":68},238274,"hua-qia-xuan-yuan-tu-ce-huang-yue-238274","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[24,26,27,53,1238,99,615,174,7,438,31],"枸杞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c58126e2ccbab6b27ba717f63b9702.jpg",[39,103],40,{"id":1243,"slug":1244,"title":1245,"dynasty":18,"author":189,"museum":1246,"description":1247,"tags":1248,"thumbUrl":1251,"material":37,"size":1252,"collection":103,"collections":1253,"showCount":1241,"zanCount":11,"manualWeight":11,"mainColor":43},219180,"lin-yuan-shuang-yang-tu-yi-ming-219180","林原双羊图","四川博物馆","此幅为纨扇，工笔。画面溪水静流，草木丛生，古树歪斜，一双羊正埋头觅食。纨色古雅。左上角钤朱文篆刻收藏印“刘氏春禧所藏”，右下角有朱文篆印“忠”字。无款，为元人所绘，稀有难觅。",[23,76,24,77,26,25,1249,152,780,833,1250,7,829],"羊","原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece76ddc27e36003fe0c487787bb73e0.jpg","纵26厘米，横27厘米",[103],{"id":1255,"slug":1256,"title":1257,"dynasty":92,"author":1258,"museum":113,"description":1259,"tags":1260,"thumbUrl":1262,"material":38,"size":38,"collection":38,"collections":1263,"showCount":1264,"zanCount":11,"manualWeight":11,"mainColor":68},230199,"chun-qi-ji-jin-juan-wang-cheng-pei-230199","春祺集锦卷","汪承霈","此作以工笔淡彩绘就春日草木，设色调和柔雅，兼具写实意趣与雅致格调。\n\n攒簇的朱红浆果鲜亮饱满，与嫩绿叶色相映，鲜活夺目；宽叶草木的脉络勾染细腻，晕染出叶片舒展的自然肌理，古雅灵芝旁逸，添上清寂意趣。右侧浅黄、素白的小花袅袅舒展，细竹清瘦挺秀，花叶俯仰生姿，排布疏密得当。\n\n整体笔法秀润工致，将春日花木的幽妍生机尽数铺陈，没有浓烈着色却满是融融春息，静雅清和，把草木舒展的瞬间定格，尽显柔婉雅致的花鸟意韵。",[76,24,77,78,26,25,27,98,136,7,99,1261],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452999763f15c2cc0fd5efdbcdbbc608.jpg",[],39,{"id":1266,"slug":1267,"title":1268,"dynasty":92,"author":365,"museum":113,"description":1269,"tags":1270,"thumbUrl":1271,"material":38,"size":38,"collection":38,"collections":1272,"showCount":1273,"zanCount":11,"manualWeight":11,"mainColor":43},224189,"hua-niao-cao-chong-tu-ba-08-hua-yan-224189","花鸟草虫图八-08","这幅小品以空灵留白铺就底色，斜曳竹枝破开空寂，清隽湖石晕染出雅致青绿，与浅赭淡墨调和出柔和古雅的基调。石上狸猫团身酣眠，憨态宛然；石下乳犬抬首凝视，稚拙灵动，另有小犬伏于草间，野趣横生。\n作者以工写兼施之法，将小生灵的情态刻画入微，幽花细草点缀其间，把林下闲时的寻常小景晕染成充满悠然意趣的画卷，尽显恬淡治愈的文人雅韵，灵动雅致间定格住山野闲情。",[23,24,26,53,393,98,31,7,152,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee46bd5b46ec743c1b27057c1a30d048.jpg",[],38,{"id":1275,"slug":1276,"title":1277,"dynasty":48,"author":826,"museum":226,"description":1278,"tags":1279,"thumbUrl":1280,"material":1281,"size":1282,"collection":38,"collections":1283,"showCount":1273,"zanCount":11,"manualWeight":11,"mainColor":68},220910,"shan-shui-ce-4-dong-qi-chang-220910","山水册4","《仿古山水图》册，明，董其昌绘，8开。\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,24,170,53,171,229,829,780,446,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feccfa71cf860af4b66f8db6271dcd239.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[],{"id":1285,"slug":1286,"title":1287,"dynasty":92,"author":365,"museum":113,"description":1288,"tags":1289,"thumbUrl":1291,"material":38,"size":38,"collection":38,"collections":1292,"showCount":1293,"zanCount":11,"manualWeight":11,"mainColor":68},224177,"tao-tan-yu-ya-hua-yan-224177","桃潭浴鸭","暖红桃枝垂曳入水，柔丝轻拂春水，将烂漫春色揉进涟漪。浴鸭憨态可掬，翎毛晕染细腻蓬松，俯身在清波中理羽，把春日闲静慵懒尽数绘出。\n\n整幅画虚实相生，艳而不俗的花色，和淡墨晕开的汀草灵石相映，兼工带写间既有精妙写实，又具疏朗雅致。笔意秀逸清新，将水畔清和的春日温柔晕染开来，把闲淡生机藏在每一处细节，尽显灵动雅致的文人意趣。",[23,24,26,27,25,116,61,30,119,174,7,1290,170,377],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c66d85b5a377c609d50d01fb40a230f.jpg",[],37,{"id":1295,"slug":1296,"title":1297,"dynasty":147,"author":1298,"museum":241,"description":1299,"tags":1300,"thumbUrl":1303,"material":37,"size":1304,"collection":39,"collections":1305,"showCount":1293,"zanCount":11,"manualWeight":11,"mainColor":43},220257,"ying-zhu-ye-qin-tu-chao-shuo-zhi-220257","鹰逐野禽图","晁说之","晁说之（1059-1129），字以道，一字伯以，济州钜野（今山东巨野）人（《宋史·晁补之传》）。因慕司马光为人，自号景迂生。神宗元丰五年（1082）进士。哲宗元祐初，官兖州司法参军，绍圣时为宿州教授，元符中知磁州武安县。徽宗崇宁二年（1103），知定州无极县。后入党籍。大观、政和间监明州造船场，起通判鄜州。宣和时知成州，未几致仕。钦宗即位，以著作郎召，除秘书少监、中书舍人，复以议论不合，落职。高宗立，召为侍读，后提举杭州洞霄宫。建炎三年卒，年七十一。有《嵩山文集》（又名《景迂生集》）二十卷。事见《嵩山文集》附录其孙子健所作文集后记、《晁氏世谱节录》，及集中有关诗文。晁说之诗，以四部丛刊续编影印旧钞本《嵩山文集》（集中“祯”字皆缺，注“今上御名”，当沿宋本之旧）为底本。校以影印文渊阁《四库全书》本（简称四库本）等。新辑集外诗，附於卷末。",[23,24,77,116,25,170,26,27,28,1301,1302,7,33],"鹰","野禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9b3c49df88c28a1d7b446c5a24edbc.jpg","168.2厘米×86.6厘米",[39],{"id":1307,"slug":1308,"title":1309,"dynasty":48,"author":1310,"museum":113,"description":1311,"tags":1312,"thumbUrl":1313,"material":38,"size":38,"collection":840,"collections":1314,"showCount":1315,"zanCount":11,"manualWeight":11,"mainColor":68},239226,"song-xu-ju-shi-zhou-song-xu-239226","宋旭菊石轴","宋旭","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[24,77,116,860,26,229,31,59,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d509212452eb2f4f3e429a23d830191.jpg",[840],36,{"id":1317,"slug":1318,"title":1319,"dynasty":92,"author":374,"museum":1320,"description":1321,"tags":1322,"thumbUrl":1324,"material":381,"size":1325,"collection":38,"collections":1326,"showCount":1315,"zanCount":11,"manualWeight":11,"mainColor":68},223223,"san-yang-kai-tai-tu-ren-yi-223223","三羊开泰图","旅顺博物馆","这是清代著名画家任伯年的代表作品，所画人物形象用笔颇有新意，直接以色彩做画，略加勾线，表现出良好的西洋画素描功夫，对三羊的描绘亦表现出这一点，用浓淡结合的墨色勾勒三只姿态各异的羊，紧紧抓住羊的动态，形成繁简虚实的统一。同时，其画法又保持了中国画造型夸张与线条表现的基本艺术特征，以及书法一气贯通的意韵，可谓中国画艺术在近代融和中西、探求新路的成功之作",[23,24,26,170,393,152,1249,7,1323,54],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04307a52460e0e28b559ac3ccee2c932.jpg","145cmx75cm",[],{"id":1328,"slug":1329,"title":1330,"dynasty":48,"author":49,"museum":113,"description":1331,"tags":1332,"thumbUrl":1333,"material":38,"size":1334,"collection":38,"collections":1335,"showCount":1336,"zanCount":220,"manualWeight":11,"mainColor":68},233915,"hua-hui-cao-chong-ce-xiang-sheng-mo-233915","花卉草虫册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,77,53,26,56,54,628,7,31,473,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924abbb355c3eba59bb164c267fd9492.jpg","23x31cm",[],35,{"id":1338,"slug":1339,"title":1154,"dynasty":92,"author":1155,"museum":113,"description":1156,"tags":1340,"thumbUrl":1341,"material":121,"size":122,"collection":38,"collections":1342,"showCount":1343,"zanCount":11,"manualWeight":11,"mainColor":68},239447,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239447",[24,77,53,26,25,32,615,7,54,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401e2cdf7d2ed07edbdcabcbab0feec.jpg",[],34,{"id":1345,"slug":1346,"title":1347,"dynasty":18,"author":1348,"museum":1349,"description":1350,"tags":1351,"thumbUrl":1352,"material":535,"size":1353,"collection":877,"collections":1354,"showCount":1343,"zanCount":11,"manualWeight":11,"mainColor":68},218404,"xia-zi-he-shang-tu-ke-weng-218404","虾子和尚图","可翁","日本东京国立博物馆","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。",[76,24,77,116,170,873,1198,172,780,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ee01580bb91979022abf804ecfce07.jpg","86.9x34.5",[877],{"id":1356,"slug":1357,"title":1358,"dynasty":48,"author":1359,"museum":113,"description":1360,"tags":1361,"thumbUrl":1363,"material":38,"size":1364,"collection":39,"collections":1365,"showCount":1366,"zanCount":220,"manualWeight":11,"mainColor":43},236107,"sun-qi-mei-hua-zhou-sun-qi-236107","孙启梅花轴","孙启","此作以淡墨绢地托衬，老梅古干嶙峋遒劲，枝桠盘折如铁，横斜破壁，满缀素色梅花。作者以焦墨点苔刻画出老干的沧桑质感，浓墨写枝尽显虬劲姿态，圈花留白晕染出梅花冰肌玉骨之态，冷香暗涌纸面。\n\n画幅下方以浅淡笔墨绘拳石细草，清寂空疏，愈发烘托出冬梅凌霜孤高的品格。整幅布局空灵雅致，以极简笔触写尽文人心底的清雅意趣，笔意苍秀古拙，将梅花傲雪不屈的风骨与幽淡清逸的气韵相融，藏暗香于素绢，含清韵于笔端。",[24,77,116,170,393,1362,31,7,81,860],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51c92a8adcfb9367d4420abfbb471a7.jpg","纵156.8cm,横61.6cm",[39,103],33,{"id":1368,"slug":1369,"title":1370,"dynasty":147,"author":148,"museum":149,"description":1371,"tags":1372,"thumbUrl":1373,"material":179,"size":1374,"collection":39,"collections":1375,"showCount":1366,"zanCount":11,"manualWeight":11,"mainColor":68},219644,"liu-yin-xi-e-tu-cui-bai-219644","柳阴戏鹅图","此作为边角小景，以极简笔意铺陈幽淡意境。柔垂柳丝以淡墨写就，细枝袅袅垂落晕开浅绿，晕染出水岸阴凉。白鹅卧于坡岸，白羽刻画工细写实，绒软质感呼之欲出，它垂首驻足浅滩，似正流连水畔，憨态悠然尽显生机。坡岸杂草以浓墨点染，枯润相生，将白鹅衬得愈发莹洁剔透。\n\n整幅小品不事雕琢，清雅柔和，将郊野水岸的闲静氛围凝于尺幅之间，以小见大，尽显精微写实与诗意意境相融的雅致美感，让人仿佛置身初夏水岸，独享这片刻宁谧悠然。",[24,77,76,53,26,25,27,766,717,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6175d0a863e4aed9c5ea44bb06d9fe.jpg","22.4x17.9",[39],{"id":1377,"slug":1378,"title":869,"dynasty":92,"author":647,"museum":113,"description":1379,"tags":1380,"thumbUrl":1381,"material":121,"size":122,"collection":38,"collections":1382,"showCount":1383,"zanCount":11,"manualWeight":11,"mainColor":68},235505,"za-hua-ce-zhu-da-235505","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[24,170,53,153,7,54,393],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cbc32cb105dc79b84d7242b1e6cb60a.jpg",[],31,{"id":1385,"slug":1386,"title":1387,"dynasty":92,"author":531,"museum":113,"description":1388,"tags":1389,"thumbUrl":1390,"material":38,"size":38,"collection":38,"collections":1391,"showCount":1383,"zanCount":11,"manualWeight":11,"mainColor":68},230363,"hua-hui-tu-ce-12-kai-wang-shi-shen-230363","花卉图册12开","此作用没骨淡彩绘就田间蚕豆花，叶片以柔毫晕染青绿，脉络隐现，舒展灵动自带生机。粉白花瓣轻晕淡红，嫩蕊娇柔，将乡野花蔬描摹得楚楚动人。\n\n左侧行书题诗与画作相映，笔致清逸秀雅，文气与画意浑然相融。整幅画面不见浓艳，以幽澹之韵取胜，将田间寻常小景化为清雅逸品，尽显闲淡疏朗的文人意趣，把乡野清芬纳入笔下，尽显冲淡平和的审美意致。",[76,24,77,53,26,27,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb307a89d6f339862bc7cddeb25759f0.jpg",[],{"id":1393,"slug":1394,"title":1395,"dynasty":92,"author":240,"museum":113,"description":1396,"tags":1397,"thumbUrl":1398,"material":38,"size":38,"collection":38,"collections":1399,"showCount":1383,"zanCount":220,"manualWeight":11,"mainColor":68},224517,"shan-shui-tu-ce-8-kai-5-shi-tao-224517","山水图册8开-5","此作用笔松秀灵动，以淡墨勾勒皴擦近坡顽石，苍润朴厚，浅滩留白暗合流泉婉转之姿，石畔杂草萧疏，野意自生。湖面空阔明净，一扁舟轻泛其上，渔翁独钓，寥寥数笔写尽江湖散淡之趣。\n\n右上角题字朴拙率意，与画境浑然相融，尽显诗书画合一的文人雅趣。整幅简淡幽远，以简驭繁，将天地清寂与隐逸襟怀融为一体，淡墨轻岚间漾着萧散空寂之美，观之便觉湖风拂面，恍若身临幽旷水滨，静赏江湖闲逸之境。",[23,24,77,53,170,229,171,627,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1a75acc650de321142f50190900d8.jpg",[],{"id":1401,"slug":1402,"title":1403,"dynasty":18,"author":1404,"museum":519,"description":1405,"tags":1406,"thumbUrl":1409,"material":405,"size":1410,"collection":38,"collections":1411,"showCount":1412,"zanCount":11,"manualWeight":11,"mainColor":43},231491,"xue-zhong-lu-tu-zhou-yuan-231491","雪中鹿图","周渊","虬曲老梅横亘画幅上端，朱红花朵破开沉褐底色，积雪凝缀枝梢，晕开冬日清寒。白鹿身形劲健修长，莹润雪色皮毛以淡墨晕染而出，犄角舒展，垂首静立在覆雪坡石间，安然沉静，与周遭萧寒景致浑然相融。枯涩墨线勾勒梅枝苍劲筋骨，淡墨轻晕出积雪的蓬松虚灵，冷色调底纸烘托出冬夜荒寂空濛，冷冽氛围里，白鹿的温驯清逸更显动人，将冬日的萧寒与生命静雅相融，晕开一卷幽淡空寂的林泽冬景。",[24,77,76,116,26,152,1407,1408,780,7,139],"鹿","雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6ce42914c8804d95d64ffa52147924.jpg","179.7x92.4厘米",[],30,{"id":1414,"slug":1415,"title":1416,"dynasty":48,"author":189,"museum":241,"description":1417,"tags":1418,"thumbUrl":1421,"material":37,"size":1422,"collection":39,"collections":1423,"showCount":1412,"zanCount":11,"manualWeight":11,"mainColor":43},219267,"cang-lu-tu-yi-ming-219267","苍鹭图","棕褐底色如岁月晕染的笺纸，铺展一派静谧。苍鹭身姿闲雅，一者昂首引颈，喙尖似欲触碰风的纹理；一者敛翅依偎，绒羽软润如凝露。几茎青绿芦苇斜逸而出，叶尖轻颤，为沉敛色调注入鲜活气息。水面涟漪隐现，萍藻点点，似有细浪无声漫过。笔触细腻处，羽毛的绒感与芦苇的韧劲相映，写意间藏着自然的温情与野趣，将瞬间的宁静定格成永恒的恬淡。",[24,77,116,25,26,1419,7,119,1420],"苍鹭","荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8b251d6b4a971245fde4fe36122468.jpg","纵99横43.2厘米",[39],{"id":1425,"slug":1426,"title":1427,"dynasty":92,"author":189,"museum":113,"description":1428,"tags":1429,"thumbUrl":1431,"material":37,"size":38,"collection":38,"collections":1432,"showCount":1412,"zanCount":11,"manualWeight":11,"mainColor":43},216719,"hong-lou-meng-fu-tu-ce-6-yi-ming-216719","红楼梦赋图册-6","疏朗亭廊下，草木扶疏，远处青芜与浅水隐约相连，清旷意境漫溢画面。亭中二人相对而立：一者素衣垂首，似含温婉心事；一者衣袂沉稳，姿态间藏着关切。笔墨柔婉，设色淡雅，亭柱的质朴纹理、草木的葱郁生机，与人物的娴静气质相融相生。画面虽简，却暗合红楼深处的细腻情愫——那段园林里的无声絮语，似将旧梦的雅致与怅惘，凝于尺幅之间，引人沉入古典仕女图的娴静韵致，遐想不尽。",[23,24,25,26,53,172,1430,7,780],"亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab6e5f06f547d4f83b04b352a321ef.jpg",[],{"id":1434,"slug":1435,"title":1436,"dynasty":48,"author":1084,"museum":113,"description":1437,"tags":1438,"thumbUrl":1441,"material":38,"size":38,"collection":38,"collections":1442,"showCount":1443,"zanCount":11,"manualWeight":11,"mainColor":68},228321,"shu-guo-xie-sheng-tu-tao-cheng-228321","蔬果写生图","此作用水墨写意绘蔬果蔬叶，以浓淡墨色晕染出鲜活生姿，脱略形似，尽显野逸生机，寥寥数笔便将寻常菜蔬勾勒出超脱意趣。\n长卷后一众明清文人题咏相伴，行草书法笔致纵逸跌宕，诗画合璧，尽显雅集风流。诗书画印融为一体，以极简笔墨托物言志，将日常田家风物，晕染出林下清逸的文人情致，是文人写意花鸟的上乘佳制，空灵雅致，余韵悠长。",[23,76,24,77,78,170,26,392,56,1439,54,1440,747,7,59,98,139],"草书","蔬果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0591c51b34bf7336630bd522fa6a437d.jpg",[],29,{"id":1445,"slug":1446,"title":1447,"dynasty":48,"author":1448,"museum":113,"description":1449,"tags":1450,"thumbUrl":1451,"material":38,"size":38,"collection":38,"collections":1452,"showCount":1443,"zanCount":11,"manualWeight":11,"mainColor":68},228294,"luo-han-tu-chen-hong-shou-228294","罗汉图","陈洪绶","此作以古拙高简之笔，绘就禅意萧疏之境。罗汉席地而坐，凸额深目大耳，面容奇崛清癯，手持长策侧目凝神，沉静出尘。衣纹以涡旋状高古游丝描勾勒，繁复层叠却丝毫不显冗杂，将僧袍厚重垂坠之态尽显，笔力圆劲凝练。\n\n背景淡墨晕染，虬曲老树枝桠舒展，繁花缀于青叶间，幽草疏落生姿，衬出林间幽寂空远之境。淡设色清雅内敛，以夸张变形的造型，脱尽世俗烟火气，尽显超拔出尘的禅家意韵，古韵悠然，奇骇雅致。",[23,76,24,77,26,25,172,1198,327,31,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b69c8b504945e6a0218915535961f3.jpg",[],{"id":1454,"slug":1455,"title":1456,"dynasty":18,"author":1457,"museum":113,"description":1458,"tags":1459,"thumbUrl":1460,"material":121,"size":122,"collection":38,"collections":1461,"showCount":1443,"zanCount":11,"manualWeight":11,"mainColor":43},228070,"feng-zhu-tu-xue-chuang-228070","风竹图","雪窗","僧普明，字雪窗。元代著名画家，在苏州为僧。1338年在虎丘云岩寺当住持，1344年改承天能仁寺住持，其后一度因老病引退，1348年复出，为能仁寺住持。\n雪窗以画兰花著称，与他同时的画家柏子庭写苏州风俗说：家家恕斋字，户户雪窗兰。春来行乐处，只说虎丘山。今传世作品十余件，多藏于日本，美国。",[23,24,77,116,170,98,307,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb8ad77edfd7868a2b0caa6e47ad30f.jpg",[],{"id":1463,"slug":1464,"title":1465,"dynasty":48,"author":467,"museum":149,"description":1466,"tags":1467,"thumbUrl":1469,"material":1470,"size":1471,"collection":39,"collections":1472,"showCount":1443,"zanCount":11,"manualWeight":11,"mainColor":68},222124,"zhi-shi-tu-shen-zhou-222124","芝石图","此作未署年款，画芝石笔墨肥润，其书法及款印，与画秋葵相近，似为同年作品。题识：“烨烨神芝，钤冈之。九英挺秀，五色纷披。兆厥祥，杰阁宏基。宸翰辉赫，日丽星义。表以延恩，汪无涯。奕叶朱房，灵光永绥。”钤印：“石田”“日夕堂”。",[23,24,77,76,1468,170,26,1261,307,7,56,54],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14977f5430a499d1e4b5206e785058b3.jpg","泥金，纸本，设色","纵18.1厘米，横52.4 厘米",[39,103],{"id":1474,"slug":1475,"title":1476,"dynasty":92,"author":1477,"museum":50,"description":1478,"tags":1479,"thumbUrl":1480,"material":459,"size":1481,"collection":38,"collections":1482,"showCount":1443,"zanCount":220,"manualWeight":11,"mainColor":68},216329,"jin-nong-ba-kai-hua-niao-tu-5-jin-nong-216329","金农八开花鸟图-5","金农","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[24,77,53,170,27,136,7,98,135,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3624b134698d73acc1f2146b4414230f.jpg","30.5x40.9cm",[],{"id":1484,"slug":1485,"title":1486,"dynasty":92,"author":130,"museum":226,"description":1487,"tags":1488,"thumbUrl":1490,"material":630,"size":38,"collection":38,"collections":1491,"showCount":1492,"zanCount":11,"manualWeight":11,"mainColor":43},234365,"rui-gu-tu-zhou-jiang-ting-xi-234365","瑞谷图轴","蒋廷锡（1669—1732），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。",[24,25,26,116,1489,7,135,54],"谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0929a4c044c295d21e5fe7c28110245d.jpg",[],26,{"id":1494,"slug":1495,"title":1496,"dynasty":92,"author":1497,"museum":226,"description":1498,"tags":1499,"thumbUrl":1500,"material":1501,"size":38,"collection":38,"collections":1502,"showCount":1492,"zanCount":220,"manualWeight":11,"mainColor":68},232942,"hua-hui-tu-ce-fan-ting-zhen-232942","花卉图册","范廷镇","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n范廷镇是恽寿平的亲传弟子，最能得恽南田没骨写生花卉之神髓，他的个别作品甚至可以达到乱真的地步，也是恽寿平的主要代笔人。包括他的书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。",[24,77,53,25,26,27,81,136,615,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab207a06b8dcd58c96b61485747f7522.jpg","绢本设色",[],{"id":1504,"slug":1505,"title":1506,"dynasty":92,"author":374,"museum":266,"description":1507,"tags":1508,"thumbUrl":1509,"material":381,"size":1510,"collection":38,"collections":1511,"showCount":1492,"zanCount":11,"manualWeight":11,"mainColor":68},223236,"qun-ji-zi-shou-tu-ren-yi-223236","群鸡紫绶图","绘篱笆外一棵紫薇风劲叶摆，篱笆墙内二只老鸡带着一群小鸡觅食玩耍，公鸡大红色的鸡冠，伸长了脖子，圆瞪着眼，警惕的盯着四周动静，母鸡紧盯着一群小鸡仔，母爱洋溢，一幅乡村农家的温馨景象映入眼帘。",[23,24,77,76,116,26,170,27,394,850,780,474,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef31e39a6fb133ccbf71818592553fc3.jpg","134cmx65cm",[],{"id":1513,"slug":1514,"title":1515,"dynasty":92,"author":1516,"museum":113,"description":1517,"tags":1518,"thumbUrl":1520,"material":38,"size":38,"collection":39,"collections":1521,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":68},237580,"wang-hui-ke-mu-zhu-shi-zhou-wang-hui-237580","王翚柯木竹石轴","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》。",[24,77,116,170,229,98,1519,307,119,7,54,55,56],"柯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c301fee55a5c4f3a9597b8c83070258.jpg",[39],{"id":1523,"slug":1524,"title":1525,"dynasty":48,"author":881,"museum":226,"description":1526,"tags":1527,"thumbUrl":1528,"material":1529,"size":1530,"collection":39,"collections":1531,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":68},221919,"ji-ming-tu-shan-ye-chen-jia-yan-221919","鸡鸣图扇页","本幅自识：“癸酉八月之望写鸡鸣图。陈嘉言。”按“癸酉”为明万历元年（1573年），时年作者34岁，“八月之望”为八月十五。后钤“嘉言”白方印、“孔彰”朱方印各一方。\n破晓时分，太阳在薄云间隐现，曙色微露。庭院中竹翠欲滴，秋菊清丽，一只雄鸡在草坡上引吭高歌。图中雄鸡用小写意笔法，不以笔锋勾勒形体而以细笔直接写出，笔致细劲松秀，雄鸡的头和背以设色表现，而胸腹和尾部则以墨色的浓淡过渡，写实而又传神。\n雄鸡高歌，唤醒万物，新的一天即将到来。此画的创作时间恰在万历元年，应有恭贺新帝登基改元之意。",[23,24,77,76,1468,26,25,850,98,307,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a560a78ebd0e570cabb52ad92244d6.jpg","金笺本，设色","纵17厘米，横52.4厘米",[39,103],{"id":1533,"slug":1534,"title":1535,"dynasty":147,"author":189,"museum":149,"description":1536,"tags":1537,"thumbUrl":1538,"material":37,"size":38,"collection":159,"collections":1539,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},220388,"sha-yuan-fang-mu-tu-yi-ming-220388","莎原放牧图","收集中....",[23,24,170,26,1178,152,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22188db02b9ab7fe1635f882a8d17db8.jpg",[159],{"id":1541,"slug":1542,"title":1543,"dynasty":147,"author":189,"museum":50,"description":1544,"tags":1545,"thumbUrl":1546,"material":37,"size":38,"collection":39,"collections":1547,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},218884,"sui-an-tu-yi-ming-218884","岁安图","禽鸟安栖于丛草间，羽上星点似碎金散落，眼波流转藏着几分闲逸。细劲的草叶以墨绿勾染，或垂或扬，如微风轻拂时的慵懒姿态。古绢的棕褐底色晕染出岁月温厚，与鲜妍草色相映成趣，更显画面静谧雅致。整幅画无喧嚣之态，仅以极简物象勾勒平和景象，仿佛能闻草叶摩挲轻响，见禽鸟敛翅安然。从容笔墨恰是对“岁安”的生动诠释——寻常草木间藏岁月静好，细微生灵中见天地祥和。",[24,1468,26,25,27,135,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a5c1b955da4147b8d5797d7bc282a2d.jpg",[39],{"id":1549,"slug":1550,"title":214,"dynasty":92,"author":351,"museum":226,"description":1551,"tags":1552,"thumbUrl":1554,"material":1555,"size":1556,"collection":38,"collections":1557,"showCount":1558,"zanCount":220,"manualWeight":11,"mainColor":68},232975,"hua-niao-ce-lang-shi-ning-232975","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[76,24,77,25,26,1553,27,79,81,494,438,7],"中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a5b70c75f435968ca94dcef15bf7a87.jpg","绢本，设色","纵32.6厘米，横28.6厘米",[],24,{"id":1560,"slug":1561,"title":1562,"dynasty":18,"author":1563,"museum":113,"description":1564,"tags":1565,"thumbUrl":1566,"material":38,"size":38,"collection":38,"collections":1567,"showCount":1558,"zanCount":11,"manualWeight":11,"mainColor":68},228161,"qiu-jing-chun-que-tu-wang-yuan-228161","秋景鹑雀图","王渊","此作为水墨花鸟精品，以全景式铺陈秋日小景。枝桠虬劲舒展，数只雀鸟或振翅翻飞、或栖枝理羽，灵动鲜活，将秋空的清寂晕开几分生机。坡石苍朴古拙，枯笔写意勾勒尽显嶙峋质感，旁侧竹篁挺秀、野菊含芳，笔墨秀雅细腻，晕染间尽显草木清疏之态。\n\n坡下鹌鹑伏于浅草间，羽色纹理描摹入微，憨态尽显。整作纯以水墨绘就，摒去设色浮华，以浓淡干湿变化表现物象肌理，工写相融，既有禽鸟刻画的精工雅致，又有花木坡石的写意苍润，将秋日郊野的清旷意趣与灵动生机揉合一处，尽显清淡古雅的文人意韵。",[23,24,77,116,170,25,27,98,59,31,28,640,54,7,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5177d8103b4a3a8119cd7797cf489d1.jpg",[],{"id":1569,"slug":1570,"title":1571,"dynasty":92,"author":1572,"museum":1320,"description":1573,"tags":1574,"thumbUrl":1576,"material":630,"size":1577,"collection":39,"collections":1578,"showCount":1558,"zanCount":11,"manualWeight":11,"mainColor":43},222660,"meng-hu-tu-zhou-gao-qi-pei-222660","猛虎图轴","高其佩","水墨绘猛虎背部示人，皮毛黑棕相间，体格肥硕，虎腿如柱般粗壮，尾巴如鞭子似的拖在地，四周杂草丛生，树森茂盛。高其佩，字韦之，号且园，清代官员、画家，工诗善画，所绘人物山水，均苍浑沉厚。",[23,24,1575,26,193,152,327,7,116],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75beb1bc24481f5fe3898790ad8d473c.jpg","41cmx85cm",[39,103],{"id":1580,"slug":1581,"title":1582,"dynasty":48,"author":189,"museum":113,"description":1583,"tags":1584,"thumbUrl":1585,"material":121,"size":122,"collection":38,"collections":1586,"showCount":1587,"zanCount":11,"manualWeight":11,"mainColor":68},235116,"wen-chu-hua-die-tu-shan-ye-yi-ming-235116","文俶花蝶图扇页","此作为泥金扇面，淡彩轻绘野花蛱蝶，雅致脱俗。粉花晕染细腻，花瓣由尖至根浅深渐变，柔润娇妍，细笔点出的淡墨花蕊，更添生机。草叶以嫩绿细劲勾勒，舒展摇曳，尽显野卉自在之态。墨色蛱蝶勾勒精细，翅脉纤毫分明，翩然停驻于花侧，似将振翅穿花。\n\n画面留白疏朗，以简淡笔墨铺就闲逸生机，尽显小品画作的清雅文气，把郊野花间蝶戏的悠然之景，凝于尺幅扇面，淡冶天真，意韵悠长，尽显文人写意风神。",[24,77,1468,25,26,27,136,341,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6d4b97e92f4f30190099722e0a6659.jpg",[],23,{"id":1589,"slug":1590,"title":1591,"dynasty":147,"author":1592,"museum":113,"description":1593,"tags":1594,"thumbUrl":1596,"material":38,"size":38,"collection":38,"collections":1597,"showCount":1587,"zanCount":11,"manualWeight":11,"mainColor":43},227982,"xi-yuan-tu-xia-gui-227982","戏猿图","夏圭","画面以边角取景，右侧老槎盘曲，苔痕苍古，藤蔓附枝斜曳，左侧苍猿长臂勾挂柔条，探身悠荡，圆目灵动，肢体舒展如在乘风嬉游。\n\n以水墨晕染出空茫寒寂的汀渚水岸，淡墨扫出远天荒阔，枯笔勾勒长草随风偃仰，将猿猴的跳脱野趣，融于萧疏冷逸的江天氛围中。简劲洗练的笔墨衬出灵猿鲜活生机，虚实相映间，把山野幽趣藏在淡远空寂里，于尺幅间写尽林皋间自在天真的意趣。",[23,147,24,77,76,170,26,152,1595,780,522,7,25],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f519ea9d84cee61338c616ca4061ccf.jpg",[],{"id":1599,"slug":1600,"title":1601,"dynasty":1031,"author":1602,"museum":113,"description":1603,"tags":1604,"thumbUrl":1610,"material":121,"size":122,"collection":1611,"collections":1612,"showCount":1587,"zanCount":11,"manualWeight":11,"mainColor":43},225756,"grass-and-butterflies-may-july-fan-gao-225756","Grass and butterflies (May - July )","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[1605,1606,1607,7,79,1608,1609],"油画","厚涂","后印象派","花朵","沙地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b611e16ff1c155c04dec0db7304f7fd.jpg","油画精选",[1611],{"id":1614,"slug":1615,"title":1616,"dynasty":147,"author":189,"museum":226,"description":1617,"tags":1618,"thumbUrl":1620,"material":1501,"size":1621,"collection":38,"collections":1622,"showCount":1587,"zanCount":11,"manualWeight":11,"mainColor":43},223332,"san-yang-tu-yi-ming-223332","三羊图","彩绘柳树伞下的气球在坡草间游荡觅食。 蓬松的，富有一定的。 用笔擦干树干，笔变粗。",[23,24,76,77,1619,25,26,152,1249,780,307,7],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7a68d3cb18be30324ec6098db75923.jpg","21.2x20厘米",[],{"id":1624,"slug":1625,"title":1626,"dynasty":48,"author":1627,"museum":113,"description":1628,"tags":1629,"thumbUrl":1630,"material":38,"size":38,"collection":38,"collections":1631,"showCount":1632,"zanCount":11,"manualWeight":11,"mainColor":43},236838,"hua-shi-yuan-yang-zhou-lv-tang-236838","花石鸳鸯轴","吕棠","《吕棠花石鸳鸯图轴》是明代吕棠创作的绢本设色画。\n无款署，钤“竹村”、“吕氏怀芳”。\n此幅图追随吕纪粗笔花鸟风格绘制。\n山石用宋人“大斧劈”皴法，笔墨简练纯熟。\n以山花红叶点缀其间，色彩对比强烈。\n水边鸳鸯羽毛鲜艳，神态安详，使画面充满喜悦和平的气氛。\n作品从题材到技法都为明代院画的典型风格，虽年深日久，屡经揭裱，色墨脱落，但仍可想见其当时的富丽典雅。",[24,77,116,26,25,27,685,31,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb985c8407b206ecd0d907e24d3bf6da.jpg",[],22,{"id":1634,"slug":1635,"title":214,"dynasty":48,"author":1636,"museum":113,"description":1637,"tags":1638,"thumbUrl":1639,"material":121,"size":122,"collection":38,"collections":1640,"showCount":1632,"zanCount":220,"manualWeight":11,"mainColor":68},235727,"hua-niao-ce-tan-zhi-yi-235727","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[860,24,170,26,602,873,378,174,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7486c9fe29cdba9dfe51b4efdeb60d3.jpg",[],{"id":1642,"slug":1643,"title":1644,"dynasty":48,"author":847,"museum":113,"description":1645,"tags":1646,"thumbUrl":1648,"material":38,"size":38,"collection":38,"collections":1649,"showCount":1632,"zanCount":11,"manualWeight":11,"mainColor":68},233704,"shan-ju-le-shi-ce-lu-zhi-233704","山居乐事册","陆治五十岁左右隐居支硎山之后，读书作画， 用功更勤，对大自然的观察和体验也逐渐深刻。从 传世的《陆包山遗稿》来看，陆治的诗文多见纪游山 水和咏赞植物花卉之作。\n他淡泊宁静的生活状态也 同样反映在画作里。此套《山居乐事图册》即描绘了 文人山村幽居之乐，画面透出清逸脱俗的气质。\n此册共十页，内容分别为梦蝶、笼鹤、观梅、采 药、晚雅、停琴、渔父、放鸭、听雨、踏雪等文人山居 乐事。每幅皆有浓郁的山野生活气息，画法简逸，构 图多样，笔墨疏放清逸，线条苍劲挺立，意趣横生， 属画家晚年的代表作。 其中，“梦蝶”一幅是文人对庄周梦蝶的畅想。 这一经典在每个传统文人画家心中都有一个清新 可爱的画面。陆治中年以后退出仕途，隐居山间，对 庄子的道家精神极为推崇，画这样一幅册页，再自 然不过。画中，庄子团坐伏一大石而睡，安静舒适， 鬓角的发须在清风吹拂中微微扬起。\n整个人物造型 涉笔不多，却是相当传神。景物描绘也十分生动有 趣，柳条零落疏散、深深浅浅，地面上的灌木蓬勃而 浓密，两者在笔墨上形成了节奏与疏密的对比。“笼 鹤”一幅从笔墨到构图则相对中规中矩。景物刻画 细致周密，布景平稳，技法也是陆治最熟练与常见 的。“听雨”画大雨滂沱，狂风大作。雨中，一文士檐 下卧榻听雨，神情专注，体态闲适；一仆从撑伞前 行，低头躬身，行步艰难。整幅作品将风雨大作的景 象，通过淋漓的水墨与酣畅的用笔，皴染结合，充分 地表现",[24,77,53,26,172,355,31,1647,135,7,176,1071],"鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0aa8bf1b39d4b2a018b0488df291e99.jpg",[],{"id":1651,"slug":1652,"title":1653,"dynasty":48,"author":1654,"museum":131,"description":1655,"tags":1656,"thumbUrl":1658,"material":37,"size":1659,"collection":39,"collections":1660,"showCount":1632,"zanCount":220,"manualWeight":11,"mainColor":43},219045,"su-chun-tu-bian-wen-jin-219045","粟鹑图","边文进","画的是细高的粟杆，粟穗下垂，草地上画着小米草和杂草，五只鹌鹑悠然自得，一只在天空中即将飞翔；画面中间的两只麻雀，一只在粟穗上晃动，偷吃粟粒，自然是美不胜收。",[23,24,77,27,25,26,116,28,603,1657,7],"粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ab1e393798b5942b180f5334e5e8a5.jpg","纵139.7横50.8厘米",[39],{"id":1662,"slug":1663,"title":1664,"dynasty":92,"author":1665,"museum":113,"description":1666,"tags":1667,"thumbUrl":1669,"material":38,"size":38,"collection":181,"collections":1670,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},237468,"shan-shui-tu-zhou-zhou-tang-237468","山水图轴","周棠","周棠（1806 ～ 1876），字召伯，一字少白，号兰西，山阴（今浙江绍兴）人。官光禄寺署正。写意花卉酷似徐渭、陈淳。山水则师石涛。晚年专画石，张之万称为清代画石第一。朝鲜使者每乞其画归。能诗，兼工篆、隶，善刻印章。",[24,77,116,170,393,171,1668,327,172,7,54],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d739fa2aaf5310e49b14142a60cf5b.jpg",[181,233],{"id":1672,"slug":1673,"title":1674,"dynasty":92,"author":1675,"museum":226,"description":1676,"tags":1677,"thumbUrl":1679,"material":630,"size":1680,"collection":38,"collections":1681,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},233729,"gu-bai-ling-zhi-tu-zhou-zhao-zhi-qian-233729","古柏灵芝图轴","赵之谦","图绘一株参天的柏树，粗壮的树干久经岁月的磨难，疤痕累累。交叠成荫的叶片郁郁葱葱，春意盎然，古柏因此表现出顽强的生命力。柏树下低矮的灵芝茁壮而富有生气，颇有“迈众芳而秀出，冠杂卉而当闱”之神采。\n此图以刚劲有力的书法技法绘枝干，并以焦墨皴擦勾勒，生动地表现出古树的伟岸。叶片和树下的青草、灵芝仿恽寿平的没骨法点染，笔致灵活，颇具神韵与情趣，与树干刚柔相济，令画作具有多层次的视觉空间，是赵之谦以书入画的代表作。",[24,77,116,26,393,229,355,1678,1261,7],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F244dac19c17d366964557a6b36ad82bb.jpg","纵140.8厘米，横37.8厘米",[],{"id":1683,"slug":1684,"title":1685,"dynasty":18,"author":189,"museum":113,"description":1686,"tags":1687,"thumbUrl":1690,"material":38,"size":38,"collection":38,"collections":1691,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":43},228183,"dan-feng-niao-que-tu-yi-ming-228183","丹枫鸟鹊图","画面截取深秋一角，虬曲苍劲的枫树枝桠间，残红秋叶点缀，晕开萧索清寒的秋意。三只禽鸟错落栖于枝梢，引吭啼鸣的山雀羽翼晕染细腻写实，将灵动生机揉入冷寂秋景，另外两雀或静立或垂悬，动静相映成趣。\n\n设色调和古雅，工写相融，淡墨皴擦尽显枝干枯涩质感，禽鸟刻画精细入微，将秋日郊野的幽寂野趣藏于笔底，简淡笔意间晕开幽远沉静的林下意趣，尽显雅致空灵的秋日审美意韵。",[23,24,77,76,116,25,26,27,28,1688,1689,447,33,7],"鹊","枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bfefdf57d7bfd435a7b35b437dd982.jpg",[],{"id":1693,"slug":1694,"title":214,"dynasty":48,"author":1636,"museum":113,"description":1637,"tags":1695,"thumbUrl":1696,"material":121,"size":122,"collection":38,"collections":1697,"showCount":1698,"zanCount":11,"manualWeight":11,"mainColor":68},235724,"hua-niao-ce-tan-zhi-yi-235724",[24,77,53,170,26,27,31,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68fa4f245f339557ddc51c8d1503cc52.jpg",[],20,{"id":1700,"slug":1701,"title":1702,"dynasty":48,"author":1703,"museum":226,"description":1704,"tags":1705,"thumbUrl":1706,"material":1707,"size":1708,"collection":38,"collections":1709,"showCount":1698,"zanCount":11,"manualWeight":11,"mainColor":68},233913,"gui-zi-xiang-yuan-tu-zhou-xiang-yuan-bian-233913","桂子香园图轴","项元汴","本幅墨笔，上方自题：”园同三五夜，香并一枝芬。项元汴戏为客写桂枝香园图，并题二美交胜，两间造化生物之妙有如此者吾不得而知亦无得而言。请客手眼无隐乎尔。“钦”墨林山人“”檇李“等印。\n项元汴（1524—1590年），明嘉兴（今浙江省嘉兴）人，字子京，号墨林山人，别号香岩居士、鸳鸯湖长、退密斋主人，收藏家、画家。富藏书画等古名物，在明代私家收藏中堪称巨擘。精鉴赏。常见主要印记有“项元汴印”、“子京”、“檇李项氏世家珍玩”、“神品”等。",[24,77,116,170,56,55,54,1137,98,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d180f3eaa8b34b9f6e6327b9d5e9f1a.jpg","纸本 ，墨笔","纵104.5cm，横34.8cm",[],{"id":1711,"slug":1712,"title":1713,"dynasty":48,"author":1714,"museum":226,"description":1715,"tags":1716,"thumbUrl":1719,"material":1720,"size":1721,"collection":38,"collections":1722,"showCount":1698,"zanCount":11,"manualWeight":11,"mainColor":68},233121,"zhao-xian-juan-zhang-ling-233121","招仙卷","张灵","此图又名《朝仙图》，是幅以景寓情的杰作。皓月当空的桥头处，一清丽女子低眉笼袖悄然伫立。作者通过绘女子的饰带微微上扬，岸边的芦荻摇摆不定，巧妙地暗示出晚风席地而起的寒意。通过构图上大面积留白的处理烘托出画面寂寞凄凉的氛围。女子在此萧索的情景中不禁惆怅慨叹之情陡起，而这种凄婉的心境亦是作者自身不得志的写照。 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。",[24,77,78,170,873,1717,1718,7,768],"美人","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed1d30780fb498a81dae48abdae7351.jpg","纸本，墨笔","纵29.8厘米，横111.5厘米",[],{"id":1724,"slug":1725,"title":1726,"dynasty":48,"author":1448,"museum":50,"description":1727,"tags":1728,"thumbUrl":1731,"material":37,"size":1732,"collection":38,"collections":1733,"showCount":1698,"zanCount":11,"manualWeight":11,"mainColor":68},220220,"hua-niao-cao-chong-xie-sheng-ce-gu-huai-shuang-qi-chen-hong-shou-220220","花鸟草虫写生册-古槐双栖","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,76,24,77,53,26,25,1729,135,7,1730,174,81,27],"古槐","水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa01e695edfc2fd300f23a10ec0be2930.jpg","21.5×16cm",[],{"id":1735,"slug":1736,"title":1737,"dynasty":92,"author":1738,"museum":226,"description":1739,"tags":1740,"thumbUrl":1741,"material":630,"size":38,"collection":38,"collections":1742,"showCount":1743,"zanCount":11,"manualWeight":11,"mainColor":68},237178,"hua-niao-kun-chong-ce-zhou-quan-237178","花鸟昆虫册","周铨","沈铨 （1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[24,77,53,26,25,27,438,427,7,205,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41aa9c65a510594189b75d82abf7fce.jpg",[],19,{"id":1745,"slug":1746,"title":1747,"dynasty":48,"author":1748,"museum":226,"description":1749,"tags":1750,"thumbUrl":1752,"material":1753,"size":1754,"collection":233,"collections":1755,"showCount":1756,"zanCount":11,"manualWeight":11,"mainColor":68},236415,"shu-yi-lan-shi-zhou-shu-yi-236415","叔伊兰石轴","叔伊","周天球题跋：“待雪香非浅，临风意自多。周天球题。”作者钤印：“句吴人”朱文圆印、“参军大夫”朱文方印。 鉴藏印：“周氏公瑕”白文方印、“竹垞审定”白文方印、“□望楼”朱文方印、“虞琴秘笈”朱文方印、“孔彰珍玩”白文方印。款识：自题：“叔伊笔。”",[24,77,116,170,393,1751,174,7],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa171098b9edcd832689ba6c621bb8ba5.jpg","纸本墨笔","纵91cm，横42.3cm",[233],18,{"id":1758,"slug":1759,"title":1760,"dynasty":48,"author":189,"museum":113,"description":1761,"tags":1762,"thumbUrl":1763,"material":343,"size":38,"collection":38,"collections":1764,"showCount":1756,"zanCount":11,"manualWeight":11,"mainColor":43},236286,"wang-zi-yuan-hua-niao-ce-yi-ming-236286","王子元花鸟册","此作以芙蓉栖禽入画，粉紫芙蓉柔瓣舒展，晕染出娇妍层次，枝叶墨色浓淡相衬，鲜活饱满，尽显花绽之姿。石上双禽依偎，翎毛细劲工致，亲昵恬和的神态尽显灵动。周遭浅草疏枝淡笔勾勒，虚实相生，晕开清寂悠然的秋日氛围。\n\n整画工写兼具，设色明雅柔和，将花木柔媚与禽鸟恬然相融，把寻常小景晕染出幽淡隽雅的诗意，尽显雅致温婉的花鸟意趣。",[24,26,27,25,427,135,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4a342ecf0dff4de7a0f4be078271f0.jpg",[],{"id":1766,"slug":1767,"title":214,"dynasty":48,"author":1636,"museum":113,"description":1637,"tags":1768,"thumbUrl":1769,"material":121,"size":122,"collection":38,"collections":1770,"showCount":1756,"zanCount":11,"manualWeight":11,"mainColor":68},235737,"hua-niao-ce-tan-zhi-yi-235737",[24,26,170,25,31,1730,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe201c1615d8b0c90e521f26da6376f24.jpg",[],{"id":1772,"slug":1773,"title":214,"dynasty":48,"author":1636,"museum":113,"description":1637,"tags":1774,"thumbUrl":1775,"material":121,"size":122,"collection":38,"collections":1776,"showCount":1756,"zanCount":11,"manualWeight":11,"mainColor":68},235721,"hua-niao-ce-tan-zhi-yi-235721",[24,77,53,25,170,54,27,136,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f04da4fed1cbef99f2f3a78cdf356fb.jpg",[],{"id":1778,"slug":1779,"title":1780,"dynasty":48,"author":1781,"museum":20,"description":1782,"tags":1783,"thumbUrl":1787,"material":37,"size":1788,"collection":38,"collections":1789,"showCount":1756,"zanCount":11,"manualWeight":11,"mainColor":43},219778,"lin-song-ren-hua-ce-2-chou-ying-219778","临宋人画册-2","仇英","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[76,24,77,1468,25,26,1784,172,1717,1785,152,780,7,802,1786],"临摹","小孩","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b3411bd2288e57ce8b2f954e1d79e30.jpg","27.2x25.5厘米",[],{"id":1791,"slug":1792,"title":1793,"dynasty":18,"author":189,"museum":113,"description":1794,"tags":1795,"thumbUrl":1797,"material":38,"size":38,"collection":39,"collections":1798,"showCount":1799,"zanCount":220,"manualWeight":11,"mainColor":43},238064,"po-shu-kun-chong-ye-yi-ming-238064","坡蔬昆虫页","此作以小品之境写就郊野秋意，淡墨晕染坡岸，尽显荒疏松软的野地质感。野蔬茎干挺秀，菜叶以赭红晕染，舒展间带着晚风轻拂的柔态，旁侧兰叶修长劲挺，笔墨清简古雅。\n\n三只草虫各得其所，伏于菜叶的凝神静立，栖于长茎的振翅欲飞，勾勒精细入微，翅脉纤毫毕现，将秋虫灵动之态定格。整体设色浅淡含蓄，意境清寂淡远，把乡野一隅的幽微生机全然铺展，尽显简淡空灵的审美意韵，藏着秋日郊野的闲静野趣。",[76,24,77,25,26,1796,400,438,494,7],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a3dd3a5853542e3360f6f0e64b0218.jpg",[39],17,{"id":1801,"slug":1802,"title":1803,"dynasty":92,"author":240,"museum":113,"description":1804,"tags":1805,"thumbUrl":1806,"material":38,"size":38,"collection":38,"collections":1807,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":68},235891,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235891","原济黄山游图册","这幅山水以水墨晕染烟岚，春山隐在翻涌云气间，虚实掩映晕出空山新雨的湿润。近景茅庐藏于芦荻深处，水牛静卧溪头，田畴青苗含露。\n以枯湿浓淡的多变笔墨绘就山峦苔点，苍劲朴拙，烟霭则以淡墨留白晕染，铺展出山野初春的空蒙柔润。题诗与画境相融，将山农冒雨春耕的野趣藏在淡烟疏柳里，揉合田园闲逸与山野生机，笔底兼具自然意趣与文人气韵，寄寓着隐逸耕读的林下雅情。",[24,170,229,393,76,171,829,328,7,1178,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a1219c43d19bd359589ad745709dc4.jpg",[],{"id":1809,"slug":1810,"title":1811,"dynasty":92,"author":1812,"museum":1320,"description":1813,"tags":1814,"thumbUrl":1818,"material":343,"size":1819,"collection":38,"collections":1820,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":68},222981,"hong-lou-meng-106-sun-wen-222981","红楼梦106","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,24,25,26,171,172,768,473,1815,327,1816,1817,307,7],"楼阁","家禽","狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023d8c11c694a1cead3245a34ef7bf56.jpg","纵43.3厘米、横76.5厘米",[],{"id":1822,"slug":1823,"title":1824,"dynasty":659,"author":660,"museum":661,"description":1825,"tags":1826,"thumbUrl":1829,"material":1830,"size":38,"collection":38,"collections":1831,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":68},220558,"yin-du-niu-xu-bei-hong-220558","印度牛","以大块沉郁油色铺就水牛躯体，敦实厚重的轮廓尽显巨兽的慵懒与野性张力，它们静卧滩涂，将午后倦怠松弛尽数揉进肌理笔触里。水泽漾着柔润的灰调波光，沿岸枯苇舒展浅黄身姿，暖调砂土托衬出郊野湿暖的呼吸感。作者将西式光影色块与东方写意意境相融，以松弛笔触晕染出郊野静穆氛围，没有刻意雕琢的繁复细节，却把自然野趣的质朴生机晕开在画布之上，让观者仿佛踏入这方慵懒午后的水畔郊原，呼吸裹挟着水汽的暖柔野风。",[1605,26,1827,1178,152,1828,1071,7],"写实","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0501893091f8b1be6af1a55908721b.jpg","油彩",[],{"id":1833,"slug":1834,"title":1835,"dynasty":18,"author":189,"museum":1836,"description":1837,"tags":1838,"thumbUrl":1840,"material":37,"size":1841,"collection":39,"collections":1842,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":43},219100,"xue-xi-ju-qin-tu-yi-ming-219100","雪溪聚禽图","费城艺术博物馆","绢素之上，雪意轻笼溪山。枯树老枝虬曲如篆，枝间似凝薄雪，墨线劲挺却藏温润。坡岸间数羽禽鸟相嬉：或敛翅梳翎，或振翼掠地，墨色点染的羽翮与淡扫的雪痕相映，生机暗蕴于萧寒。远处山影朦胧，溪流隐于雪下，留白处尽是清旷之气。整幅画以简驭繁，墨色浓淡相宜，将冬日聚禽的闲趣与溪山的冷寂融于一体，尽显山水花鸟合一的空灵意境，冷寂中藏着鲜活的生趣，如同一首无声的冬日短歌。",[24,26,25,1408,1839,394,154,139,28,171,27,7],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560750d4ca79c942cea94696d542cf1b.jpg","纵24.5横21.8厘米",[39],{"id":1844,"slug":1845,"title":1846,"dynasty":92,"author":1847,"museum":113,"description":1848,"tags":1849,"thumbUrl":1850,"material":38,"size":38,"collection":181,"collections":1851,"showCount":1852,"zanCount":11,"manualWeight":11,"mainColor":68},238901,"fang-song-yuan-shan-shui-ce-dong-gao-238901","仿宋元山水册","董诰","近处水畔矶石错落，枯木疏柳掩映板桥茅舍，坡岸浅草覆绿，漫着幽居野逸的松弛意趣。山峦层叠延展，以淡墨晕染远山，空濛悠远。山石皴法兼具古意，苍秀温润，设色轻浅雅致，不施浓艳。\n全作以平远视角铺展，虚实相生，将山野间安闲静穆的山居图景缓缓铺陈。笔墨清隽秀雅，带着江南山水的温润灵秀，将文人理想中的林泉高致融于尺幅，观之如临其境，可感幽居独处的淡然意趣，尽显山水小景的意境之美。",[24,77,53,170,26,1784,229,171,1430,327,473,139,176,355,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c1e1e7fe54974f8093e8919216aa07.jpg",[181,103],16,{"id":1854,"slug":1855,"title":1856,"dynasty":92,"author":189,"museum":113,"description":1857,"tags":1858,"thumbUrl":1861,"material":38,"size":38,"collection":38,"collections":1862,"showCount":1852,"zanCount":184,"manualWeight":11,"mainColor":68},238187,"wang-cheng-pei-ji-hui-ming-he-juan-yi-ming-238187","汪承霈集卉鸣和卷","此卷开篇绘幽竹亭亭，鸣虫静栖竹间，溪畔蓝花簇生，野趣盎然。清溪蜿蜒穿流过浅渚，渐入群芳盛放之景：粉菊、蓝花、红卉与素白琼英交织错落，枝叶柔曼舒展。蜻蜓振翅掠水，蛱蝶穿花翩跹，蜂虫流连芳丛，诸般小生灵衬得满卷生机浮动。全作用笔纤柔细腻，工笔淡彩晕染雅致明秀，将郊野春景的清灵意趣缓缓铺展，把花间小景的娴静生机描摹尽致，宛如将融融春日的一隅闲趣，凝于素绢之上。",[23,24,77,78,25,26,27,98,136,79,204,1859,473,139,7,438,60,62,427,1860],"蝉","月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946dcdc9d843fe6490645d4ecbbb0d23.jpg",[],{"id":1864,"slug":1865,"title":1866,"dynasty":92,"author":1867,"museum":113,"description":1868,"tags":1869,"thumbUrl":1871,"material":38,"size":38,"collection":38,"collections":1872,"showCount":1852,"zanCount":11,"manualWeight":11,"mainColor":68},235861,"fang-wu-zhen-shan-shui-ye-cha-shi-biao-235861","仿吴镇山水页","查士标","此作用笔极简，以淡墨晕染远山，留白尽显空濛幽远。近渚枯木虬曲，坡岸人家隐于林樾，寥寥数笔便勾勒出江乡春日清寂之景，尽显简淡萧散的逸趣。\n左侧行书与画境相映，笔意清劲疏朗，诗画合璧，文气悠然。整幅以新安画派特有的冷寂清空之韵，追摹吴镇山水苍浑意趣，却自出灵秀澹泊之姿，将江南春景的幽寂淡远尽数铺陈，尽显文人画以笔遣兴、以墨抒情的雅致品格。",[24,170,171,53,56,55,229,829,780,1870,7,119],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f52947587da7f3f6d7872bc1adb71b.jpg",[],{"id":1874,"slug":1875,"title":1876,"dynasty":48,"author":1877,"museum":226,"description":1878,"tags":1879,"thumbUrl":1880,"material":1881,"size":1882,"collection":38,"collections":1883,"showCount":1852,"zanCount":11,"manualWeight":11,"mainColor":68},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","文徴明","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[23,24,77,78,170,873,56,54,171,27,172,769,98,307,7,135,57,58,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","纸本 墨笔","每段 纵32.6厘米 横50.8厘米",[],{"id":1885,"slug":1886,"title":1887,"dynasty":48,"author":1888,"museum":149,"description":1889,"tags":1890,"thumbUrl":1891,"material":405,"size":1892,"collection":38,"collections":1893,"showCount":1852,"zanCount":11,"manualWeight":11,"mainColor":68},222440,"hua-die-cao-chong-8-du-da-cheng-222440","花蝶草虫8","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,24,170,25,873,27,1158,79,438,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3482b99c9a114f587fe2de4568df48a7.jpg","27x34cm",[],{"id":1895,"slug":1896,"title":1897,"dynasty":48,"author":1898,"museum":1899,"description":1900,"tags":1901,"thumbUrl":1902,"material":652,"size":1903,"collection":38,"collections":1904,"showCount":1852,"zanCount":11,"manualWeight":11,"mainColor":68},222063,"shui-xian-tu-zhou-tian-qiu-222063","水仙图","周天球","辽宁省博物馆","此图细笔微染出花朵和浓淡墨钩出的花叶，突出阴阳向背，表现动的变化。双钩竹和飞白石兼具元人简逸之韵致，承宋之余绪而又不失字家格调。历代画家多用水仙象征高洁，寓意作者的孤傲品格和入泥不染的意志。",[23,24,77,76,78,873,170,1730,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385efbfd3ac4bd968584f474eb574eee.jpg","33.5x858.1cm",[],{"id":1906,"slug":1907,"title":1737,"dynasty":92,"author":1738,"museum":226,"description":1739,"tags":1908,"thumbUrl":1909,"material":630,"size":38,"collection":38,"collections":1910,"showCount":1911,"zanCount":11,"manualWeight":11,"mainColor":68},237182,"hua-niao-kun-chong-ce-zhou-quan-237182",[24,53,26,25,54,27,438,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92d48af594005a5759d52a88d96298a.jpg",[],15,{"id":1913,"slug":1914,"title":1760,"dynasty":48,"author":189,"museum":113,"description":1915,"tags":1916,"thumbUrl":1917,"material":343,"size":38,"collection":38,"collections":1918,"showCount":1911,"zanCount":11,"manualWeight":11,"mainColor":43},236287,"wang-zi-yuan-hua-niao-ce-yi-ming-236287","此帧取景幽致，坡岸之上鹌鹑昂首引吭，翎毛晕染细致入微，将绒羽蓬松柔润的质感尽显笔底。蓝菊柔枝舒展，清妍淡雅，崖畔缀满丹红小果，黑甲虫静伏枝梢，野趣横生。\n\n画作工写相融，设色古雅清淡，以极简虚淡背景托举实景，将秋日郊隅的闲逸生机凝于尺幅。禽鸟憨态可掬，花草柔婉幽妍，相映成趣。既有院体花鸟的精工写实，又暗含文人笔墨的雅致意趣，将郊野刹那鲜活意态定格为隽永画面，尽显写生花鸟的精妙意韵。",[24,77,53,25,26,27,135,59,99,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb62891f8c807f28ec48f13e72eca241.jpg",[],{"id":1920,"slug":1921,"title":1922,"dynasty":1031,"author":1923,"museum":113,"description":1924,"tags":1925,"thumbUrl":1928,"material":121,"size":122,"collection":38,"collections":1929,"showCount":1911,"zanCount":11,"manualWeight":11,"mainColor":68},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,77,78,873,170,25,1595,153,1926,1927,295,135,780,139,7,494,152,172,27],"蛙","狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],{"id":1931,"slug":1932,"title":927,"dynasty":147,"author":189,"museum":113,"description":1933,"tags":1934,"thumbUrl":1935,"material":38,"size":38,"collection":38,"collections":1936,"showCount":1911,"zanCount":220,"manualWeight":11,"mainColor":43},223689,"an-chun-tu-yi-ming-223689","此作工细写实，将郊野一隅的生趣凝于尺幅之间。画面中的鹌鹑刻画入微，羽毛以淡墨晕染结合丝毛技法，斑纹丝丝毕现，其侧首凝神，警觉灵动，仿佛正静听周遭草间动静，野意盎然。穿插的兰草以柔韧舒展的墨线勾勒，疏密有致，将荒坡的幽野氛围烘托尽致，淡墨晕染的坡石质感朴拙温润，与草叶、禽鸟相映相融。\n整幅笔墨古雅柔和，以小见大，捕捉自然里的刹那生机，尽显细腻体察万物的宋人审美，笔简意长，静雅悠然，暗含着平和安宁的野趣意韵。",[23,24,76,77,25,26,27,603,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b918dccddff8032d7ec9a55582dda52.jpg",[],{"id":1938,"slug":1939,"title":214,"dynasty":92,"author":1940,"museum":113,"description":1941,"tags":1942,"thumbUrl":1943,"material":38,"size":226,"collection":38,"collections":1944,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":68},236607,"hua-niao-ce-ma-yuan-yu-236607","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[24,77,53,26,170,27,850,136,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81c93989c7905807254cc4c513d0a43.jpg",[],{"id":1946,"slug":1947,"title":1948,"dynasty":92,"author":1949,"museum":113,"description":1950,"tags":1951,"thumbUrl":1953,"material":121,"size":122,"collection":38,"collections":1954,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":68},234948,"xie-zhao-jiang-ting-xi-bu-jing-yun-li-xiang-zhou-mang-gu-li-234948","写照蒋廷锡补景允礼像轴","莽鹄立","莽鹄立（1672~1736），字树本，伊尔根觉罗氏，初隶蒙古正蓝旗，后改满洲镶黄旗，清朝大臣、画家。",[24,116,26,25,172,780,139,81,1952,7],"卧榻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b2d681c384f9443e813b4ad60db51c.jpg",[],{"id":1956,"slug":1957,"title":214,"dynasty":92,"author":365,"museum":519,"description":520,"tags":1958,"thumbUrl":1959,"material":179,"size":524,"collection":38,"collections":1960,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":68},233944,"hua-niao-ce-hua-yan-233944",[76,24,26,27,28,7,54,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278310beb50feb1c1543485ef6eba788.jpg",[],{"id":1962,"slug":1963,"title":1964,"dynasty":92,"author":240,"museum":113,"description":1965,"tags":1966,"thumbUrl":1969,"material":405,"size":1970,"collection":38,"collections":1971,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":68},233386,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233386","原济金山龙游寺诗意册","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。",[24,170,171,154,139,327,1967,7,1968,54,229],"山峦","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435bc7272985c485bd8f4ebb1b716b7b.jpg","纵24.6cm横17.6cm",[],{"id":1973,"slug":1974,"title":1975,"dynasty":1031,"author":1032,"museum":113,"description":1033,"tags":1976,"thumbUrl":1978,"material":121,"size":122,"collection":38,"collections":1979,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":68},231745,"jiang-hu-shi-dai-xia-qiu-cao-tu-ping-feng-xia-fen-jiu-jing-bao-yi-231745","江户时代 夏秋草图屏风-夏分",[23,1037,26,25,1977,27,7,254,136,494,1036],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb548c61cf45af09f8adccf27384be288.jpg",[],{"id":1981,"slug":1982,"title":1983,"dynasty":92,"author":1984,"museum":113,"description":1985,"tags":1986,"thumbUrl":1987,"material":38,"size":38,"collection":38,"collections":1988,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":43},230920,"yin-tang-xiao-yue-tu-lan-tao-230920","银塘晓月图","蓝涛","此作用笔清隽工细，设色雅致柔和。暮春晓月晕开朦胧柔光，池畔梨花如云叠缀，柔枝轻曳舒展，将春夜清寂揉入花枝。绣眼静栖枝头，羽色苍褐温润，身形灵动传神，似在聆听春夜余声。画面留白疏朗空灵，师法宋元院体意趣，将幽淡宁和的春夜诗意凝于尺幅，尽显古典花鸟的雅致韵致，把塘边春宵的温柔静谧永远定格于绢素之中。",[23,24,77,76,116,25,26,27,1718,135,136,33,766,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcafc6fa2c004fa104f0237b2fc2238e0.jpg",[],{"id":1990,"slug":1991,"title":1992,"dynasty":92,"author":1993,"museum":20,"description":1994,"tags":1995,"thumbUrl":1996,"material":1997,"size":1998,"collection":38,"collections":1999,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":68},222614,"shan-shui-ba-jing-4-gong-xian-222614","山水八景-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。",[23,24,170,229,171,780,1668,627,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4c657c37d420a6e6b5f70b56085e2c.jpg","纸","纵24.4 厘米 横49.7 厘米",[],{"id":2001,"slug":2002,"title":2003,"dynasty":48,"author":1888,"museum":149,"description":1889,"tags":2004,"thumbUrl":2007,"material":405,"size":1892,"collection":38,"collections":2008,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":68},222439,"hua-die-cao-chong-7-du-da-cheng-222439","花蝶草虫7",[23,24,170,25,53,2005,7,2006,54],"蟋蟀","草穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f11d6090cfbb4dde430b3b43ab887e7.jpg",[],{"id":2010,"slug":2011,"title":2012,"dynasty":48,"author":2013,"museum":1349,"description":2014,"tags":2015,"thumbUrl":2017,"material":405,"size":2018,"collection":38,"collections":2019,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":43},216745,"ri-ben-zu-shi-tu-4-shou-ye-yuan-xin-216745","日本· 祖师图-4","狩野元信","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,24,1198,26,172,171,229,173,446,473,591,2016,7],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec277c4b4c7f9b087d5e51db3709512.jpg","176.0x91.8",[],{"id":2021,"slug":2022,"title":2023,"dynasty":48,"author":2024,"museum":149,"description":2025,"tags":2026,"thumbUrl":2027,"material":38,"size":38,"collection":38,"collections":2028,"showCount":2029,"zanCount":11,"manualWeight":11,"mainColor":68},222451,"hua-wu-ming-ji-wang-zhong-li-222451","花坞鸣鸡","王中立","王中立（公元16-17世纪初），明代画家，字振之、彦强，号子正、子和、玄洲、玄洲生，吴县（今江苏苏州）人，生卒年不详。善画花鸟，笔力苍老，钩写兼用，设色绚丽，造型生动，颇有生意。师法陈淳，画风似鲁治、王穀祥，为吴派画家之一。\n传世作品有万历三十六年（1608）作《(松树喜鹊图》轴，现藏故宫博物院；四十三年（1615）作《花鸟图》卷，款署：“万历乙卯十月既望，为秋空禅兄写，王中立。”钤“王中立印”、“玄洲”两白文方印，现藏广州美术馆；万历三十四年作《腊梅双雀图》扇页、三十五年作《梅鹊图》轴、四十四年作《菊花图》轴、天启元年（1621）作《双猫菊石图》轴，均著录于《中国书画家印鉴款识》。",[24,77,1468,26,25,850,173,136,307,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff98788b9f459f6714a03947aa5bb776.jpg",[],13,{"id":2031,"slug":2032,"title":2033,"dynasty":48,"author":1888,"museum":149,"description":1889,"tags":2034,"thumbUrl":2035,"material":405,"size":1892,"collection":38,"collections":2036,"showCount":2029,"zanCount":11,"manualWeight":11,"mainColor":68},222441,"hua-die-cao-chong-9-du-da-cheng-222441","花蝶草虫9",[23,24,170,25,53,1158,7,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51894c941ab97e4210b2e2dcf75e70bd.jpg",[],{"id":2038,"slug":2039,"title":2040,"dynasty":48,"author":2041,"museum":113,"description":2042,"tags":2043,"thumbUrl":2044,"material":121,"size":122,"collection":38,"collections":2045,"showCount":2046,"zanCount":11,"manualWeight":11,"mainColor":68},237685,"hua-hui-ce-sun-ke-hong-237685","花卉册","孙克弘","明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[24,77,53,56,170,58,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046574996353020d0a57e9782c2db571.jpg",[],12,{"id":2048,"slug":2049,"title":1737,"dynasty":92,"author":1738,"museum":226,"description":1739,"tags":2050,"thumbUrl":2051,"material":630,"size":38,"collection":38,"collections":2052,"showCount":2046,"zanCount":11,"manualWeight":11,"mainColor":68},237179,"hua-niao-kun-chong-ce-zhou-quan-237179",[24,26,53,27,31,81,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7fce8b64b25aff393f547c825704c93.jpg",[],{"id":2054,"slug":2055,"title":2056,"dynasty":48,"author":189,"museum":113,"description":2057,"tags":2058,"thumbUrl":2059,"material":121,"size":122,"collection":38,"collections":2060,"showCount":2046,"zanCount":11,"manualWeight":11,"mainColor":68},235590,"wen-chu-hua-hui-ce-yi-ming-235590","文俶花卉册","此作用笔简逸古雅，以水墨皴擦写湖石，嶙峋苍劲，暗合文人赏石之趣。粉花柔枝亭亭而立，没骨晕染出花瓣柔润的娇态，淡绿枝叶舒展灵动，与湖石的朴拙刚硬形成柔刚对照。石畔细草偃仰生姿，枯梢添清寂野趣。\n\n浅淡设色配暗纹笺底，更衬出古雅隽永，朱红印章点缀画面，平衡构图之余，晕开沉静文气。整幅小品清疏淡远，寥寥数笔便将幽庭小景的闲雅意趣尽显，藏着江南庭院的温婉灵秀，静中生韵，淡里含情。",[24,77,53,26,170,25,31,81,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647cd67c4f69c7e2309690c50aabea39.jpg",[],{"id":2062,"slug":2063,"title":2064,"dynasty":92,"author":2065,"museum":468,"description":2066,"tags":2067,"thumbUrl":2068,"material":1720,"size":2069,"collection":38,"collections":2070,"showCount":2046,"zanCount":11,"manualWeight":11,"mainColor":2071},232901,"feng-zhu-tu-li-zhou-li-fang-ying-232901","风竹图立轴","李方膺","李方膺，字虬仲，号晴江，又号秋池，抑园，白衣山人。江苏通州(南通)诸生。先后任山东兰山、安徽潜山、合肥知县，有善政、人德之。以不善逢迎，获罪罢官。寓居金陵借园，自号借园主人。常往来扬州卖画以资衣食，为扬州八怪之一。\n《潇湘风竹图》作于合肥五柳轩，时为乾隆十六年(公元1751年)，作品以秃笔湿墨逆笔取势画风中之竹，通过竹叶的独特造型，表现出狂风大作的动态。画的左下仅晒云:画史从来不画风，我于难处夺天工;请看尺幅潇湘竹，满耳丁东万玉空。\n李方膺常喜欢描绘以风雨为背景的竹石。风是抽象的东西，没有具体的形象，颇难以表现出来的。此画中画家大胆创造，写竹子数根，依于石旁，挺拔修直。\n此画中有粗竹两枝，嫩竹两枝，在狂风中摇曳生姿。主竹挺拔有力，不弯不揖，有参天凌云之气概。整个画面的气势表现在用浓墨、枯墨铺写的枝叶上，所画竹叶不讲成法，秃笔直扫，竹叶画呈扁方状倾斜方向，无叶尖，潇洒随意，尽管风势极强，但枝叶顺风飞扬而不折，透出一种镇静与傲慢。画面中，石与草都是参照物，点染出艰难、恶劣的自然环境。在疾风的鼓荡下，几叶小草已偃伏在地，坚强的石头也似乎极力抗拒，只有劲竹傲立苍穹，岿然不动，片片枝叶都呈现出百折不挠的力量。\n风是抽象的东西，没有具体的形象。画家秃笔直扫，画竹叶扁方状成倾斜方向，有力地表现了疾风的狂肆，作者不但在描绘技法上显得“因难见巧”，而且显示出竹子不畏强风的精神，笔笔枝叶呈现出坚贞不屈的力量。画家通过描绘竹叶的动态变化，有力地表现出疾风的狂吹，使不可见的风有了可视的形象，而且从竹枝飞舞、竹叶相互碰撞中，似乎还可以听到碎琼乱玉的丁东之声，其下笔如风驰雨骤，正像是抒发画家胸中的怒气，正是一种人格的写照。\n板桥之竹如清癯的老者，清淡修整，有超然之态。李方膺则不然，他由于仕途生活中得罪权贵，先后下狱罢官，但从不屈服苟且，这幅画可说是他心境的折射。他的竹宛如在战斗中的猛士，顶天立地，傲岸不屈。他借竹子来抒发情怀，借竹子不怕狂风暴雨、坚韧不拔的品格来自喻。",[23,24,77,170,116,393,98,307,7,55,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9395c78f0d21c4a0ec265201cad2b525.jpg","纵168.3厘米 横67.7厘米",[],"FFFFFF",{"id":2073,"slug":2074,"title":2075,"dynasty":147,"author":189,"museum":113,"description":2076,"tags":2077,"thumbUrl":2078,"material":38,"size":38,"collection":38,"collections":2079,"showCount":2046,"zanCount":11,"manualWeight":11,"mainColor":68},227861,"dou-que-tu-ye-yi-ming-227861","斗雀图页","《斗雀图页》宋代画家佚名创作的一幅绢本设色画。\n本幅无款识。\n鉴藏印钤“真赏”、“庞莱臣珍藏宋元真迹”、“珍秘”、“宜尔子孙”、“丹诚”、“都尉耿信公书画之章”、“信公珍赏”、“公”、“会侯珍藏”、“绍勋”。\n裱边钤“信公监定珍藏”印。\n对幅有耿昭忠题记：“黄居寀能世其家学，点染具简澹野逸之致。\n画史以黄家富贵评之，未必无议。\n千山耿信公。\n”虽题为黄居寀作，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。\n善于抓住瞬间的精彩场面来表现自然界的勃勃生机，是宋人小品的特色之一。\n本幅绘两只小雀在平坡之上嬉戏争斗，滚作一团。\n画家采用虚实结合、突出重点的画法，于雀的翅、尾翎毛只是粗写动态，头、腹毛羽更是淡染轻描。\n着力加以刻画的是雀之爪、喙和二雀相互逼视的双目。\n图中占上风之雀，左爪紧抓住对方的喙，右爪紧握对方的爪，正待欲啄，其喙却也被对方死死地抓住，形成谁也啄不得的僵持局面，颇有情趣。\n两只小雀皆羽翼大张，动感和力度在此充分体现。\n此情此景万难想象而成，当是细致观察所得。",[23,24,77,76,602,25,170,28,640,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75d11a386f36142cfbf9e834d6e91cc.jpg",[],{"id":2081,"slug":2082,"title":2083,"dynasty":18,"author":1563,"museum":149,"description":2084,"tags":2085,"thumbUrl":2086,"material":37,"size":2087,"collection":38,"collections":2088,"showCount":2046,"zanCount":11,"manualWeight":11,"mainColor":43},215004,"xie-sheng-hua-hui-ce-4-wang-yuan-215004","写生花卉册-4","此画册有王渊绘画手法，但元代气息不足，可视为明清之际的王渊款花卉画。此套图册花鸟极其工细，勾勒精致，色彩鲜艳、古拙",[24,76,77,53,25,26,27,81,7,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e11082a9e7e137aac1116db04e4692b.jpg","25.9x23.6cm",[],{"id":2090,"slug":2091,"title":2092,"dynasty":48,"author":2093,"museum":113,"description":2094,"tags":2095,"thumbUrl":2096,"material":38,"size":38,"collection":38,"collections":2097,"showCount":2098,"zanCount":11,"manualWeight":11,"mainColor":43},239509,"mei-shi-shui-xian-zhou-wang-gu-xiang-239509","梅石水仙轴","王穀祥","此作用淡墨写意，取梅与水仙入画。老梅虬枝斜出，繁花轻缀，笔墨清疏尽显虬劲孤高之态。下方双钩水仙修长舒展，冰姿玉色与嶙峋湖石、纤纤幽草相映，愈发清雅出尘。右上角题以行书诗句，诗画相衬，文气盎然。\n\n全幅格调淡远清隽，以极简笔墨勾勒花木风神，将梅的傲骨与水仙的清灵相融，暗合文人寄情草木的雅趣，铺陈出幽寂出尘的意境，尽显清冷自持的文人襟怀，笔墨简淡却意韵悠长。",[24,116,25,170,26,873,57,1730,31,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9300c8454f96ca8882a8f7a60d0a7318.jpg",[],11,{"id":2100,"slug":2101,"title":2102,"dynasty":92,"author":365,"museum":519,"description":2103,"tags":2104,"thumbUrl":2105,"material":38,"size":38,"collection":181,"collections":2106,"showCount":2098,"zanCount":11,"manualWeight":11,"mainColor":68},236735,"shan-shui-ce-hua-yan-236735","山水册","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[76,24,77,53,170,229,31,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ebacb664f2aae0f93f68c6c06d1a97.jpg",[181],{"id":2108,"slug":2109,"title":224,"dynasty":18,"author":1216,"museum":226,"description":1217,"tags":2110,"thumbUrl":2111,"material":2112,"size":1221,"collection":38,"collections":2113,"showCount":2098,"zanCount":11,"manualWeight":11,"mainColor":43},233806,"zhu-shi-tu-zhou-xie-ting-zhi-233806",[24,77,116,170,26,98,307,7,393,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7694fa9087718da61fb9135feb879d.jpg","绢本 墨笔",[],{"id":2115,"slug":2116,"title":2117,"dynasty":48,"author":2118,"museum":149,"description":2119,"tags":2120,"thumbUrl":2122,"material":405,"size":2123,"collection":38,"collections":2124,"showCount":2098,"zanCount":11,"manualWeight":11,"mainColor":68},222576,"hua-lu-ci-cheng-shan-fan-xian-222576","画鹭鹚成扇","范暹","[明]字启东，一作起东，号苇斋，东吴（今江苏苏州一带）人， 一作昆山（今昆山）人，或作镇洋（今太仓）人。\n永乐（一四o三一至一四二四）中徵入画院，供奉三十余一年，花竹翎毛，笔致隽逸。设帐授徒，多所一造就，兼工书法，老于京师。《水东日记》、《画史会要》、《无声诗史》、《明画录》、《嘉定县志》",[23,24,77,1468,26,25,27,2121,7,54],"鹭鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefebf39a0fd61bdbd0627f200f2c8853.jpg","33x50.1",[],{"id":2126,"slug":2127,"title":2128,"dynasty":18,"author":2129,"museum":226,"description":2130,"tags":2131,"thumbUrl":2141,"material":405,"size":2142,"collection":840,"collections":2143,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":68},239623,"wu-gu-shi-tie-ye-zhang-yuan-239623","五古诗帖页","张渊","释文：\n云卧三十年，好闲复爱仙。蓬壶虽冥绝，鸾鹤心悠然。归来桃花岩，得憩云窗眠。对岭人共语，饮潭猿相连。时升翠微上，邈若罗浮巅。两岑抱东壑，一嶂横西天。树杂日易隐，崖倾月难圆。芳草换野色，飞萝摇春烟。入远构石室，选幽开山田。独此林下意，杳无区中缘。永辞霜台客，千载方来檐。用拙斋书。\n钤“张氏清夫”印。鉴藏印钤“仪周鉴赏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”等10方。\n张渊书法学赵孟頫，用笔结字亦步亦趋，形神兼备，有相当的功力。此帖学赵孟頫中年书体，笔画清健，笔力圆劲，结体方阔，点画精美，翩翩有致。",[56,55,2132,54,170,602,2133,829,779,2134,7,2135,2136,2137,61,471,2138,307,591,2139,2140,98],"字帖","笔墨","烟","日","崖","月","潭","峰","雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724ec50f12966d6fdc1a11a385cc48b9.jpg","纵27.4厘米, 横52.7厘米",[840],{"id":2145,"slug":2146,"title":2040,"dynasty":92,"author":2147,"museum":113,"description":2148,"tags":2149,"thumbUrl":2150,"material":121,"size":122,"collection":38,"collections":2151,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":68},235717,"hua-hui-ce-zou-xian-ji-235717","邹显吉","字黎眉，号思静，一号华斋，自称湖北居人，晚号城南老圃，江苏无锡诸生。尝学诗于吴伟业，画摹宋、元，山水、人物均得古法。写生有邹菊之目。著北游集、湖北草堂诗。一门风雅，妻能画梅，兄、弟、子、侄，皆工画，新处各画小品一二种成卷，为时所艳称。康熙三十九年（一七oo）作罗浮佳处卷，时年六十五。",[24,77,53,25,26,27,81,79,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F152b1276379ddbe79d1767ae4797ff38.jpg",[],{"id":2153,"slug":2154,"title":2155,"dynasty":48,"author":2156,"museum":113,"description":2157,"tags":2158,"thumbUrl":2161,"material":38,"size":38,"collection":38,"collections":2162,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":68},235696,"gu-mu-xiu-huang-tu-zhou-yang-ming-shi-235696","古木修篁图轴","杨明时","此作用笔清逸简淡，枯笔写出古木躯干，皴擦结合尽显虬曲苍劲，浓墨点苔更添岁月沧桑，缠绕藤蔓令幽寂野趣顿生。旁侧修篁挺秀，中锋挥写竹叶错落有致，与古木刚柔相济。湖石以淡墨勾勒皴擦，线条简括却见嶙峋质感，和木竹相映成趣。\n\n右上角题字清雅隽秀，书画相融无间，整体萧散空灵，尽显文人画悠然出尘的意境，寄寓着文人幽栖林泉、静悟禅机的襟怀。",[24,170,393,229,2159,98,174,7,116,2160],"古木","文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6985e6ff713d0856313e172b7d0d7a.jpg",[],{"id":2164,"slug":2165,"title":2040,"dynasty":92,"author":1497,"museum":113,"description":2166,"tags":2167,"thumbUrl":2168,"material":38,"size":38,"collection":39,"collections":2169,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":68},235566,"hua-hui-ce-fan-ting-zhen-235566","此作以枯淡水墨绘就梅石，左侧顽石晕染出厚重质感，苔痕暗藏生机，细草柔蔓斜出，中和石之嶙峋冷硬；右侧老梅枝干虬曲苍劲，花苞圆浑饱满，墨色枯润相济，尽显古梅傲雪之姿。\n\n书画相融无间，题诗借旧语寄慨，以梅石抒怀，将幽独清高的文人襟怀寄寓在朴拙笔墨中。整体简淡萧疏，刚柔相衬，以画言情，风骨凛然，尽显诗画相生的雅致意趣，朴拙之中见清逸，余韵悠长。",[24,77,53,170,31,81,379,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408c8a09ac4f62a1af0ad8c556f2968f.jpg",[39],{"id":2171,"slug":2172,"title":2173,"dynasty":1031,"author":189,"museum":113,"description":2174,"tags":2175,"thumbUrl":2179,"material":121,"size":122,"collection":38,"collections":2180,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":68},231792,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-hui-juan-yi-ming-231792","明清日本古画花鸟山水人物粉本-花卉卷","此卷以三段铺展草木清趣：左幅淡墨晕染勾勒，花卉枝叶似笼轻烟，朦胧雅致，尽显晕染之妙；中段设色清妍，蓝花团簇搭配朱红穗草，墨色深浅铺陈绿叶，鲜活自然，将杂卉相生的野趣娓娓道来；右枝蓝花挺秀舒展，线条隽秀利落，把花枝舒展的姿态勾勒尽致。\n\n整体气息静谧清和，笔致简淡却饱含生机，画师以细腻体察捕捉花木的雅致姿态，将写生意趣融于其中，古雅温婉，尽显东方草木美学的隽永意境。",[23,2176,24,77,78,26,873,81,494,7,2177,2178,54],"古画","蓝色小花","叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F556544f3ce8c1f43d39f21b466f94812.jpg",[],{"id":2182,"slug":2183,"title":2184,"dynasty":1031,"author":2185,"museum":113,"description":2186,"tags":2187,"thumbUrl":2188,"material":121,"size":122,"collection":38,"collections":2189,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":68},230492,"jiang-hu-shi-dai-shan-ye-xing-le-tu-ping-feng-er-ping-yu-xie-wu-cun-230492","江户时代 山野行乐图屏风-二屏","与谢芜村","与谢芜村(1716～1783),本姓谷口，别号夜半亭（二世），画名谢长庚、春星等。生于摄津国毛马村。少年时代即爱好艺术。20岁前后丧失家产，漂泊至江户，拜师学习俳谐，寄寓于芭蕉传人早野巴人的夜半亭，为江户俳坛所瞩目。以后10年间游历各地，致力学画。后名声大震。1757年成家，恢复俳谐创作。1766年与其他俳句作者成立“三果社”，提倡俳句的新风格。1767年继承夜半亭俳号，发展成为一代宗匠。",[23,24,77,170,393,116,1718,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fdacae6a1fe94bcd049f5d60a59a990.jpg",[],{"id":2191,"slug":2192,"title":2193,"dynasty":48,"author":890,"museum":113,"description":2194,"tags":2195,"thumbUrl":2196,"material":25,"size":2197,"collection":38,"collections":2198,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":897},222045,"de-qu-zai-ren-ce-13-kai-5-wang-zhong-222045","得趣在人册13开5","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[23,76,24,77,53,26,25,27,31,59,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41fa59af75adeaa4a2a98037e8adbf2f.jpg","30×27厘米",[],{"id":2200,"slug":2201,"title":2040,"dynasty":92,"author":1940,"museum":113,"description":2202,"tags":2203,"thumbUrl":2205,"material":121,"size":122,"collection":38,"collections":2206,"showCount":2207,"zanCount":11,"manualWeight":11,"mainColor":68},239091,"hua-hui-ce-ma-yuan-yu-239091","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[24,77,53,26,25,27,7,136,2204,54],"螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9457b8e43099b500bd10beb99e0bbaa1.jpg",[],9,{"id":2209,"slug":2210,"title":1234,"dynasty":92,"author":1235,"museum":113,"description":1236,"tags":2211,"thumbUrl":2214,"material":38,"size":38,"collection":38,"collections":2215,"showCount":2207,"zanCount":11,"manualWeight":11,"mainColor":68},238284,"hua-qia-xuan-yuan-tu-ce-huang-yue-238284",[24,77,53,26,25,27,204,7,32,2212,2213,1036],"蓝色花朵","黄色花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f3ea6255fc4b15055ab1031953ae3b6.jpg",[],{"id":2217,"slug":2218,"title":1234,"dynasty":92,"author":1235,"museum":113,"description":1236,"tags":2219,"thumbUrl":2221,"material":38,"size":38,"collection":38,"collections":2222,"showCount":2207,"zanCount":11,"manualWeight":11,"mainColor":68},238283,"hua-qia-xuan-yuan-tu-ce-huang-yue-238283",[24,26,25,53,493,2220,61,615,7,494],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a39b3a7af0938c4ac3b55f3903b933b.jpg",[],{"id":2224,"slug":2225,"title":2226,"dynasty":48,"author":1104,"museum":226,"description":2227,"tags":2228,"thumbUrl":2230,"material":2231,"size":2232,"collection":38,"collections":2233,"showCount":2207,"zanCount":11,"manualWeight":11,"mainColor":68},233798,"qiu-kui-tu-shan-ye-tang-yin-233798","秋葵图扇页","唐寅在扇页上重点刻画了三株茁壮的秋葵，并且通过诗文赞美了秋葵在寒霜气候及与杂草丛生、荆棘相伴的恶劣环境下，仍然“此中不改向阳心”的品质。从其咏物感怀的文辞中，可见他对人生的感悟和惆怅之情。全图笔墨技法娴熟，于灵动的勾描、晕染间自得疏散通脱的逸趣。\n扇页左右两边有唐寅友人孙益和与张衮的依韵和诗。整件作品图诗并茂，画作充满浓郁的文人书卷气。",[1468,24,77,170,56,54,2229,31,7],"秋葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a4cf7bc6b161625b30e13b2232420e.jpg","金笺，墨笔","纵18.1厘米 ，横51.3厘米",[],{"id":2235,"slug":2236,"title":2237,"dynasty":1031,"author":189,"museum":113,"description":2238,"tags":2239,"thumbUrl":2242,"material":38,"size":38,"collection":38,"collections":2243,"showCount":2207,"zanCount":11,"manualWeight":11,"mainColor":68},225387,"fu-shi-hui-144-yi-ming-225387","浮世绘144","这幅浮世绘以柔婉笔触定格乡野劳作日常。女子低眉垂目，发间软帽衬出憨朴神态，暗褐和服配柔粉纹袖，团花、龟甲纹样层叠交错，雅致又带着市井鲜活气。她持杵俯身，将日常劳作晕染出娴静温柔。背景红枫斜枝疏淡，浅草溪石晕开秋郊清寂，把烟火日常揉入诗意秋景。清劲流畅的线稿，柔和雅致的淡彩晕染，将江户平民的闲逸日常定格，褪去刻意雕琢，以细腻笔触勾勒出和风市井里的温婉意趣，尽显浮世绘独有的世俗美学韵味。",[1037,2240,26,1717,1689,2241,7],"木刻","木桶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc89d62b4e87d44fd15a8ad705a556a30.jpg",[],{"id":2245,"slug":2246,"title":2247,"dynasty":92,"author":1045,"museum":113,"description":2248,"tags":2249,"thumbUrl":2250,"material":38,"size":38,"collection":38,"collections":2251,"showCount":2207,"zanCount":11,"manualWeight":11,"mainColor":68},224328,"hua-niao-shi-er-kai-6-li-shan-224328","花鸟十二开6","此作用笔兼工带写，左侧草茎以淡赭晕染，细劲清瘦，停驻一只螽斯。虫身刻画入微，翅脉纹理纤毫毕现，似将振翅齐鸣，鲜活灵动感跃然纸面。\n右侧题诗行书纵逸苍劲，笔墨朴拙老辣，与草虫的工致细密形成强烈反差，却又和谐相融。整幅留白疏朗，寥寥数笔便将秋野清寂意趣勾勒尽致，文人雅思托于草虫小景，淡逸间暗藏生趣，把秋日郊野幽谧鲜活的一隅定格，尽显清逸雅致的文人情致。",[23,24,76,77,53,26,56,54,55,27,438,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba01201d5abd9179244671a03940dd41.jpg",[],{"id":2253,"slug":2254,"title":2056,"dynasty":48,"author":189,"museum":113,"description":2255,"tags":2256,"thumbUrl":2257,"material":121,"size":122,"collection":38,"collections":2258,"showCount":2259,"zanCount":11,"manualWeight":11,"mainColor":68},235585,"wen-chu-hua-hui-ce-yi-ming-235585","此作用色清和柔婉，以没骨晕染写芝草情态。赭红逐层晕开灵芝菌盖，浓淡过渡自然，将芝盖的柔润肌理尽显，边缘淡红晕染出通透灵秀之感。墨色绘芝木，苍朴沉凝，与灵秀芝盖相映成趣。衬以浅青细草，寥寥数笔便添清隽生机。\n\n画面施于洒金笺之上，古雅底色更衬物象出尘之态，静穆淡雅中带着祥瑞清和的意趣，尽显文人画尚简崇雅的意韵，笔致简淡却意蕴悠长，将仙草的清灵之气晕染开来，幽林逸趣暗藏其间，清和雅致扑面而来。",[24,77,26,53,25,1261,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51afcb09bfbf5d80de08ce6cea39ad7e.jpg",[],8,{"id":2261,"slug":2262,"title":2040,"dynasty":48,"author":2263,"museum":113,"description":2264,"tags":2265,"thumbUrl":2266,"material":121,"size":122,"collection":38,"collections":2267,"showCount":2259,"zanCount":11,"manualWeight":11,"mainColor":68},235474,"hua-hui-ce-qi-xun-235474","戚勋","戚勋 (明)字世臣，号曲泉。山阴(今属绍兴)人。\n善画山水、花卉，得疏野之趣。",[76,24,77,53,170,26,58,7,31,56,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92b7d1827a7515af9e5c627642f7ec36.jpg",[],{"id":2269,"slug":2270,"title":2271,"dynasty":147,"author":189,"museum":149,"description":2272,"tags":2273,"thumbUrl":2275,"material":459,"size":2276,"collection":38,"collections":2277,"showCount":2259,"zanCount":11,"manualWeight":11,"mainColor":43},231043,"ping-chou-hu-du-tu-yi-ming-231043","平畴呼犊图","《四季牧放》是24年上海书画出版社出版的图书。\n属于《国宝在线》的一册，是中国画中有关四季放牧图的。\n出版社: 上海书画出版社; 第1版 (24年5月1日) 丛书名: 国宝在线 平装: 44页 开本: 8开 ISBN: 7867285 条形码: 97878672855 尺寸: 29.6 22.4 .6 cm 重量: 299 g 欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，上海书画出版社编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 大慨因传说中佛祖和比丘僧为恶牛说法，使之死后转世到仞利天宫，得须陀还果，从此牛以其温厚忠良的形象出现在人们面前。\n除了任劳任怨、辛勤耕作之外，牛似乎还具有着一种人格的隐喻和象征。\n连圣人之师老子也选择骑青牛西去函谷关，在关内太初宫留下了五千言的《道德经》；南朝陶弘景也曾以画牛自喻婉拒梁武帝诏其出山，留下了『山中宰相』的美名。\n古往今来，牛的形象被喜爱它的人们再三图绘表现，不论是嘉峪关的砖画还是敦煌壁画，我们都可以看到许多无名氏的画牛作品。\n即以大家比较熟悉的卷轴画来说，至迟在晚唐五代时期，画家就对这个题材投入了相当的热情和精力，唐代的名家如韩湿和戴嵩，都擅长画牛。\n这些作品，既体现了唐人的努力生产，也反映出唐代那种以现实题材入画的风尚和社会生活的情调。\n当时戴嵩画水牛尤为著名，《唐朝名画录》谓其得『野性筋骨之妙』。\n不过，起初戴嵩画牛还闹过笑话。\n据说，他有次画了一幅斗牛图，观者大加称赞，可是偏偏有位牧童看了之后却拊掌大笑。\n戴嵩觉得奇怪，问其原因。\n牧童解释说：两牛角斗时，尾巴是夹在两股之间的，你怎么把它画成摇着尾巴呢?牧童的善意批评，对戴嵩启发很大，自那以后，他就深入乡间，与牧童交友，以造化为师，画艺自然精进不已，由此可见唐人作画对写生的重视。\n而韩混的《五牛图》，除了准确自然地表现了牛的生活形态外，更是充满了人格化的魅力，甚至可以从中看出每头牛的个性与年龄来，难怪有些研究者认为其中可能含有某种寓意。\n到了北宋，以描绘畜兽包括牛为内容的绘画被归于特殊的门类，如郭若虚撰写《图画见闻志》，就把畜兽、鱼龙、屋木等题材的作品皆归为『杂画』，与山水、人物、花鸟并列，在一定程度上反映了画牛队伍的逐渐壮大。\n从目前存世的作品看，宋代是牧放题材创作的鼎盛时期。\n不论是作品数量还是艺术水准，都是其他时代准以比似的。\n之昕以如此，笔者以为有几方面原因。\n首先，宋代皇家画院在招贤选才方面，可谓后世之楷模。\n由于采取考试制度，使得一大批有才华的民间画家得以进入社会上层，从而有机会更好地施展他们的艺术特长。\n这些原本长期生活在民间的画家把他们熟悉的富于乡土气息的绘画题材带入禁中，以身边熟悉的人和物为描绘对象，表现其自然朴素的情趣。\n因此，在两宋时期，画院里出现不少牧放题材的作品，直观地反映了宋代的农村生活。\n其次，宋代城市工商业的繁荣乃是以农村经济为基础的，画院画家通过描绘农村劳动生活的甘苦，来贯彻统治者劝喻农桑的意图。\n同时，城市工商经济的繁荣又反过来带动了农村经济的发展，从而使得丰年乐业的广大农民，对于自己的生活取得了新的认识，提出了新的要求。\n作为这种新认识、新要求的形象描绘，牧放题材与其说是农村田园生活的真实再现，毋宁说是对通过劳动生活而使人与自然达到本真契合的淳朴情性进行歌颂，与此同时，这其中又在很大程度上掺入了文人士大夫返璞归真的理想，从而使作品获得了更深刻的寓意。\n从画家个体来说，之所以创作出这么多高水准的艺术作品还在于他们能够正确处理观察生活和运用艺术表现语言之间的关系。\n在对生活的体验和观察方面，后世极少有像宋代画家那样精谨细致、具体人微的。\n所以，这类作品不管是高轴长卷，还是案头小品，它们所具有的生活情趣，无论是丰富性还是真实性，都令后人殊难超越。\n从宋人的画牛作品看，画家的用笔，是从对象出发，以对象的形态为旨归，将朴素的情感蕴藏在精妙的笔法中，这与后来文人画家所追求的『单纯化』表现，所谓『逸笔草草，不求形似』相比照，其问的差异是不喻自明的。\n中国传统绘画讲究诗情画意，这些牧题材的作品同样有着诗意盎然、妙趣横生的意境，这是此一题材自身所具有的魅力。\n在喧嚣的尘世中，面对这些笔佳墨妙的作品，想见烟云清雨，牛羊在野，湖岸风来，轻裾致爽，应该也算偷得浮生半日闲了吧。\n唐韩滉五牛图 唐韩滉五牛图之一 唐韩滉五牛图之二 唐韩滉五牛图之三 唐韩滉五牛图（局部） 唐韩滉五牛图（局部） 宋李唐乳牛图 宋李唐彩薇图 宋阎次平四季牧牛图 宋阎次平四季牧牛图之一 宋阎次平四季牧牛图之二 宋阎次平四季牧牛图之三 宋阎次平四季牧牛图之四 宋阎次平四季牧牛图之四（局部） 宋李迪风雨归物图 宋李迪风雨归物图（局部） 宋李迪风雨归物图（局部） 宋佚名平畴呼犊图 宋佚名平畴呼犊图（局部） 宋佚名牧牛图 ……",[24,77,26,25,1178,152,780,7,307,2274],"田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3a60a9cd87946a5051cb9b8246487f.jpg","97x52.4",[],{"id":2279,"slug":2280,"title":2281,"dynasty":92,"author":1045,"museum":113,"description":2282,"tags":2283,"thumbUrl":2284,"material":38,"size":38,"collection":38,"collections":2285,"showCount":2259,"zanCount":11,"manualWeight":11,"mainColor":68},224318,"hua-niao-ce-shi-kai-8-li-shan-224318","花鸟册十开8","画面两只鹌鹑意态生动，一昂首远眺，一侧首低语，翎羽以枯笔皴擦、淡墨晕染，朴拙中饱含灵动生机。野菊柔枝缀满紫黄碎花，伴草叶斜曳，淡墨晕开的坡岸清润松秀，衬出清秋野趣。\n题笔行书奇崛跌宕，诗画印合为一体，以秋日野景寄寓闲淡襟怀，挣脱院体刻板法度，将写生意趣与文人雅思相融，笔底随性疏朗，尽显疏放灵秀的笔墨风神，把郊秋悠然意态凝于尺幅间，满溢着自在野逸的生机。",[23,24,53,26,27,55,54,393,135,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b5d44b2a45a20a5b568915ee916d42.jpg",[],{"id":2287,"slug":2288,"title":2289,"dynasty":92,"author":2290,"museum":149,"description":2291,"tags":2292,"thumbUrl":2293,"material":38,"size":2294,"collection":38,"collections":2295,"showCount":2259,"zanCount":11,"manualWeight":11,"mainColor":68},222690,"xie-yu-tian-ci-yi-zhou-qian-zai-222690","写玉田词意轴","钱载","钱载（1708—1793），字坤一，号萚石，又号匏尊，晚号万松居士、百幅老人，秀水（今浙江嘉兴）人，清朝官吏、诗人、书画家。乾隆十七年进士，改庶吉士，散馆授编修，后授内阁学士兼礼部侍郎，上书房行走，《四库全书》总纂，山东学政。官至二品，而家道清贫，晚年卖画为生。\n工诗文精画，善水墨，尤工兰竹，著有《石斋诗文集》。诗宗北宋大文豪黄庭坚，为乾嘉年间“秀水派”的代表诗人。\n雍正十年，副榜贡生，举博学鸿词、举经学，就试皆未入选。乾隆十七年，成进士，改庶吉士，授编修。七迁内阁学士，直上书房。四十一年，督山东学政。四十五年，命祭告陕西、四川岳渎及帝王陵寝。寻擢礼部侍郎，充江南乡试考官，举顾问为第一，四书文纯用排偶，上以乖文体，命议处。吕氏春秋尧葬谷林，史记不书其地。乾隆元年，以山东巡抚岳濬奏，自东平改祀濮州。\n四十一年，大理寺卿尹嘉铨疏言当在平阳，下部议驳。载督学山东，谒濮州尧陵，自四川还道平阳，得尧陵州东北；及江南典试归，又至东平求旧时所祭尧陵，参互考订，以为在平阳者是。史记汤、武皆未著葬地，盖都於是葬於是则不书，尧亦其例。因疏请釐定。下大学士、九卿议驳，载奏辨；复议，仍寝不行。上谕曰：“经生论古，反覆辨证，原所不禁。但既陈之奏牍，并经廷臣集议，即不当再执成见。载斥吕不韦门下客浮说，不韦即不足取，亦尚不可以人废言。况其门下客所著书，所谓‘悬之国门，不易一字’，岂能谓不足为据？其时去古未远，或尚有所承述。乃欲在数千年后虚揣翻驳，有是理乎？载本晚达，且其事只是考古，是以不加深问。若遇朝廷政治，亦似此哓哓不已，朕必重治其罪。”命传旨申饬。载疏累数千言，语有未明，复为自注，时谓非章奏体，上亦未深诘也。四十八年，休致。五十八年，卒，年八十有五。\n金德瑛论诗宗黄庭坚，谓当辞必己出，不主故常。载初与订交，晚登第，乃为门下门生；诗亦宗庭坚，险入横出，崭然成一家。同县王又曾、万光泰辈相与唱酬，号秀水派。载又为陈群族孙，从陈群母陈受画法，苍秀高劲，亦如其诗。",[23,24,77,116,170,31,58,7,54,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f89cdd4b6dd65bf8c960069e65899b.jpg","137.7x68.4",[],{"id":2297,"slug":2298,"title":2299,"dynasty":92,"author":2300,"museum":20,"description":2301,"tags":2302,"thumbUrl":2303,"material":405,"size":2304,"collection":38,"collections":2305,"showCount":2259,"zanCount":11,"manualWeight":11,"mainColor":68},219825,"ren-wu-ce-ye-10-ren-xiong-219825","人物册页-10","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。",[24,53,26,25,172,1178,7,139,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd852dc16415bd93f6e6b4f19450c567d.jpg","27.2x34.3厘米",[],{"id":2307,"slug":2308,"title":2056,"dynasty":48,"author":189,"museum":113,"description":2309,"tags":2310,"thumbUrl":2311,"material":121,"size":122,"collection":38,"collections":2312,"showCount":2313,"zanCount":11,"manualWeight":11,"mainColor":68},235584,"wen-chu-hua-hui-ce-yi-ming-235584","此帧小品以水墨晕染湖石，枯润相生，尽显嶙峋古拙之态。数茎黄花抽叶绽蕊，嫩茎柔叶舒展自然，设色明雅清隽，将娇柔生机晕染纸上。粉蝶翩跹而来，翅脉纤毫毕现，朱白斑纹点缀翅翼，为静谧小景添灵动生趣。地面细草偃仰错落，补足幽寂小景的意趣。\n\n全作用笔简淡疏朗，工写兼糅，将花木、湖石与草虫融为一体，既有写生的鲜活雅致，又具文人写意的萧散简远，暗含幽居赏玩的闲淡意趣，尽显清雅韵致。",[24,26,170,53,27,31,59,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17156255911e7f286c46754cfdd4844.jpg",[],7,{"id":2315,"slug":2316,"title":2317,"dynasty":92,"author":2318,"museum":113,"description":2319,"tags":2320,"thumbUrl":2321,"material":38,"size":38,"collection":38,"collections":2322,"showCount":2313,"zanCount":11,"manualWeight":11,"mainColor":68},224335,"shi-gu-qi-niu-tu-zhou-yang-jin-224335","石谷骑牛图轴","杨晋","浅设色绘就水滨春野，水牛信步徐行，背脊上的宽袍老者斜倚安坐，斗笠覆顶，垂目敛神，一派萧散恬然。\n\n水牛造型朴拙写实，晕染细腻还原皮毛质感，人物衣纹简练秀雅，淡赭敷色清润柔和。通幅布景极简，只以柔线勾勒浅草坡岸，留白尽显空濛野趣。搭配多段题诗，书画合璧，将文人逸隐林泉、不慕荣利的襟怀融于笔墨间，简淡天真，尽显出世幽怀，是以画寄意的文人画佳构。",[23,24,77,116,170,172,1178,55,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86733bb6975257e03883c9a818dc1e29.jpg",[],{"id":2324,"slug":2325,"title":1234,"dynasty":92,"author":1235,"museum":113,"description":1236,"tags":2326,"thumbUrl":2327,"material":38,"size":38,"collection":38,"collections":2328,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":68},238282,"hua-qia-xuan-yuan-tu-ce-huang-yue-238282",[24,77,53,25,26,27,79,615,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdea2c82bf5fad9fd6e2e233729c8c.jpg",[],{"id":2330,"slug":2331,"title":2332,"dynasty":92,"author":1516,"museum":113,"description":2333,"tags":2334,"thumbUrl":2335,"material":38,"size":38,"collection":38,"collections":2336,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":68},235103,"huai-yin-tu-ce-wang-hui-235103","槐隐图册","此帧以淡墨写就林泉幽隐之境，柔垂柳丝牵起清寂氛围，崖畔幽草簌簌，右侧老槐伴修竹错落而立。笔墨苍秀松灵，山石以淡墨轻皴，不重具象形貌，只取丘壑简淡之致。留白铺陈出空阔疏朗的林下天地，将文人耽幽守寂的襟怀藏在浅淡墨色间。\n\n题款墨痕雅致，与画面浑然相融，笔致松脱空灵，全是随心挥洒的闲适意态，无刻意刻画，仅以逸笔勾勒出山野幽居的清寒澹泊，尽显静穆萧散的林下风流，把寄情林泉的雅趣尽数铺陈开来，是文人写意山水以意驭笔的佳制。",[24,77,53,170,229,98,766,31,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f4d949a1291f30492ce464c1c9df96.jpg",[],{"id":2338,"slug":2339,"title":2340,"dynasty":48,"author":870,"museum":20,"description":2341,"tags":2342,"thumbUrl":2344,"material":179,"size":2345,"collection":38,"collections":2346,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":68},219782,"za-hua-ce-6-guo-xu-219782","杂画册-6","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。",[860,24,77,76,53,170,26,7,2343,393],"阔叶植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8db9326d2cdb2df6f1a4ea583140acde.jpg","纵28.5 厘米 横46.5 厘米",[],{"id":2348,"slug":2349,"title":2350,"dynasty":48,"author":189,"museum":131,"description":2351,"tags":2352,"thumbUrl":2354,"material":37,"size":38,"collection":38,"collections":2355,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":43},218427,"ming-qing-ren-hua-ce-zhi-shi-yi-ming-218427","明清人画册之十","青绿染就的崖壁与苍松虬枝占据左隅，藤蔓垂悬间透着古意。暖黄底色晕开天光，水面如镜，一扁舟浮于其上，篷顶浅覆，舟中数人或对谈、或凭栏，船头一人持篙缓行，姿态悠然。岸畔苇草轻曳，似与水波低语。\n\n整幅画以雅致设色、简练笔触，勾勒出文人雅士江湖泛舟的闲逸图景。笔墨间藏着对自然与自在的向往，山石的苍劲与舟中人物的疏朗相映，尽显林下悠游之趣，观之令人心生旷达。",[24,77,53,26,2353,171,172,627,327,139,177,7],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffde433e61fb118c2ed336362e0fb89.jpg",[],{"id":2357,"slug":2358,"title":2359,"dynasty":92,"author":189,"museum":226,"description":2360,"tags":2361,"thumbUrl":2366,"material":26,"size":38,"collection":38,"collections":2367,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":68},217289,"gu-xiu-wu-shi-san-can-tu-ce-26-yi-ming-217289","顾绣·五十三参图册-26","绣线如笔，勾勒出一方禅意清境。老者席地而坐，衣纹细腻宛转，尽显悠然之态；童子俯身趋前，神态恭谨，似在聆听教诲。旁侧枝桠垂落，花叶错落有致，云霞轻卷于天际，红日晕染出暖光。顾绣以针代墨，将笔墨韵致凝于丝缕之间，人物情态生动传神，景物层次分明。淡雅的色彩晕染，细腻的针脚排布，把五十三参故事中的虔诚与宁静悄然铺展，每一处细节都藏着匠心，仿佛能透过绣面，触碰到那份古雅的禅意与对善知识的敬仰。",[2362,26,25,172,2363,2364,780,591,2135,7,2365],"刺绣","孩童","老者","坐垫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed188d7380173ff127512dc022e92d08.jpg",[],{"id":2369,"slug":2370,"title":2371,"dynasty":92,"author":2372,"museum":113,"description":2373,"tags":2374,"thumbUrl":2377,"material":121,"size":122,"collection":38,"collections":2378,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":43},240150,"shi-juan-yong-rong-240150","诗卷","永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,24,77,78,56,55,54,170,26,25,229,829,119,2137,1323,31,1430,28,2375,355,27,59,57,98,58,60,62,61,427,1730,295,296,473,2376,136,7,780],"枯藤","镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bef9db8d13140b80a43b3a09f5f780.jpg",[],{"id":2380,"slug":2381,"title":2382,"dynasty":48,"author":2383,"museum":113,"description":2384,"tags":2385,"thumbUrl":2386,"material":121,"size":122,"collection":38,"collections":2387,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":68},239260,"shu-hua-tu-ce-cheng-min-239260","书画图册","程敏","此作以水墨写意绘就，构图疏朗空灵。斜出的松枝虬曲苍劲，松针细劲绵密，带着岁月浸淫的古拙意趣。两丛墨竹错落排布，浓墨挥写竹叶，笔锋爽利洒脱，尽显竹之清劲挺拔、疏朗萧然。淡墨勾染的石块造型简括，与苍松劲竹相映，留白衬出画面通透空寂之感。全幅不施丹青，仅以浓淡水墨区分物象层次，将松之坚贞、竹之清刚、石之沉静相融，以物寄怀，寥寥数笔便勾勒出君子风骨，尽显文人画萧散雅致的林下意韵，笔墨简淡却风神自足。",[24,77,170,53,98,307,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2ef6c68906bcfa72d7ffff02823586c.jpg",[],{"id":2389,"slug":2390,"title":2391,"dynasty":92,"author":1847,"museum":113,"description":2392,"tags":2393,"thumbUrl":2394,"material":38,"size":38,"collection":38,"collections":2395,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":68},238337,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238337","画弘历清圹楼咏竹诗意册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,77,53,170,26,98,31,7,55,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef712e608a3179dbcbae8425b9d6089e.jpg",[],{"id":2397,"slug":2398,"title":2399,"dynasty":92,"author":2400,"museum":113,"description":2401,"tags":2402,"thumbUrl":2403,"material":121,"size":122,"collection":38,"collections":2404,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":68},237728,"wu-sheng-shi-yi-tu-ce-huang-yi-237728","无声诗意图册","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,77,53,170,26,172,768,171,7,28,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24362325b7ee87adefb091d91774fb01.jpg",[],{"id":2406,"slug":2407,"title":2408,"dynasty":48,"author":2409,"museum":113,"description":2410,"tags":2411,"thumbUrl":2412,"material":121,"size":122,"collection":38,"collections":2413,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":68},237516,"shan-shui-hua-hui-ce-jiang-shou-cheng-237516","山水花卉册","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[24,77,53,170,56,172,171,780,307,768,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750b646708ded8d5b431ae47025f085.jpg",[],{"id":2415,"slug":2416,"title":2417,"dynasty":48,"author":2418,"museum":113,"description":2419,"tags":2420,"thumbUrl":2422,"material":405,"size":38,"collection":38,"collections":2423,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":68},237270,"zhi-hua-ce-chen-dao-237270","指画册","陈道","陈道（1707-1760），字绍洙，号凝斋。江西新城钟贤（今江西省黎川县中田乡）人。清代文学家、理学家。生于康熙四十六年。从小品行端重，刚入塾学，白天听老师讲课，晚上则随父听诵《小学近思录》，庄诵不倦，并以此作为学与行准则。稍长，协助父亲治理产业及施行善事。一有闲暇，便手不释卷，孜孜以求。国子监肄业时，为主监事孙嘉淦所器重。后从师广昌黄永年，钻研宋儒理学，兼攻水利农田、军政边防等书籍。他尊崇周敦颐、程颢、程颐，研习陆九渊，王守仁，尤服罗点「主静不妄语」、「不为物所役」的主张。乾隆九年（1744）中举。乾隆十三年（1748）中进士，候选知县，以父母年高、无同胞兄弟为由拒官。后皇上令诏经学，他被推举，亦推辞不去。安心在家侍奉双亲，埋头读书。父经商，家境富裕，他辅佐父亲在乡兴办慈善事业。设立义田二千亩扶助贫苦，以使「读书有赡，鳏寡孤独废疾有养，婚丧有助」。捐白银二千两，为「盱江书院」讲学费。二十四年协助知县创建「黎川书院」，捐助学费，并在此掌教多年。还建桥修亭，施棺舍药，遇灾荒年景，奉父命购运粮食，按户计口平粜以救饥，并劝说或强制某些囤粮闭粜的富户粮商参与赈济。陈道一生，为人严毅清苦，「自少至老未一日怠惰」。治学以力行为主。经常与雷宏、夏之瀚、祝淦、涂登、涂瑞等交往切磋，甚得一些贤士、大夫所赏识。卒于乾隆二十五年，年五十四岁。文章多为讲学书稿，文风醇古淡泊，真意盎然。诗歌常流露对社会的不满，反映他不与时俗合流的对抗情绪。尝欲注《春秋五传》和编《江西文统》，未成而终。陈道去世后，其子陈守诚和同邑学生、同乡学者鲁九皋将其文稿收集整理成《凝斋遗集》（文6卷，诗2卷），刊印后被四库馆以《凝道斋集》收入《四库全书总目》，《清史列传》行于世。",[76,24,77,53,170,1575,2421,7,54],"蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d23a3e0731f89b7ae46f160d3c0f3b.jpg",[],{"id":2425,"slug":2426,"title":869,"dynasty":92,"author":365,"museum":113,"description":2427,"tags":2428,"thumbUrl":2429,"material":121,"size":122,"collection":38,"collections":2430,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":68},235058,"za-hua-ce-hua-yan-235058","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》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。",[24,77,53,26,170,152,780,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c35dd6e2ea7e9508497d33a9df9a0f.jpg",[],{"id":2432,"slug":2433,"title":2434,"dynasty":1031,"author":2435,"museum":113,"description":2436,"tags":2437,"thumbUrl":2444,"material":38,"size":38,"collection":38,"collections":2445,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":68},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。",[23,24,77,78,170,26,873,56,54,393,2438,2439,2440,2441,173,1362,7,398,512,2442,397,2443,172,79,591,1138,152],"扇子","篮子","盘子","狮子","龙","猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0668c72e7438d7eaf0064a20e69d82f.jpg",[],{"id":2447,"slug":2448,"title":2449,"dynasty":147,"author":189,"museum":113,"description":2450,"tags":2451,"thumbUrl":2452,"material":38,"size":38,"collection":38,"collections":2453,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":43},227875,"liu-tang-qiu-cao-tu-yi-ming-227875","柳塘秋草图","此作以淡墨晕染水天，将清秋的空濛萧索揉在氤氲水汽中。左侧岸渚垂柳成林，枝叶以细笔点染如烟似雾，把秋的清柔藏在垂绦之间。水面留白处点缀浅渚芦草，笔墨简淡却野意自生，细描的水纹漾开闲静涟漪，晕开塘岸幽寂。\n\n以尺幅小景框住秋郊疏朗之美，摒弃繁复皴法，凭水墨浓淡铺陈远近层次，将深秋的沉静淡愁融在画面里，如同一曲低缓清寂的秋歌，淡而余味悠长，尽显宋画独有的含蓄雅致，藏着文人偏爱的冷澹幽隽意境。",[23,76,24,77,1468,25,170,26,229,171,766,7,993,327,1071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce6b7f466f533a40e0830c8a2449467.jpg",[],{"id":2455,"slug":2456,"title":2457,"dynasty":18,"author":189,"museum":149,"description":2458,"tags":2459,"thumbUrl":2461,"material":37,"size":38,"collection":38,"collections":2462,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":43},218186,"ying-zhen-xiang-zhou-4-yi-ming-218186","应真像轴-4","罗汉趺坐古石之上，袒胸露腹间肌理隐现，袈裟轻覆，衣纹线条婉转如流水。他手持莲花状法器，目光低垂，神情肃穆中藏着几分悠然。身旁松枝苍劲，墨色浓淡相宜，与浅赭底色相映，衬出人物沉静气质。草鞋的编织纹理、石上的苔藓痕迹，皆刻画入微见匠心。画风古朴雅致，以简练笔墨传神，人物与自然相融，尽显禅意悠然的古雅意境，仿佛能窥见千年之前的宁静瞬间。",[24,77,116,26,1198,172,31,780,7,2460,54],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd50f6affb27ab7c6b5a6526c5947016f.jpg",[],{"id":2464,"slug":2465,"title":2466,"dynasty":92,"author":2467,"museum":113,"description":2468,"tags":2469,"thumbUrl":2472,"material":405,"size":38,"collection":840,"collections":2473,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":68},240112,"shi-ye-wang-shi-zhen-240112","诗页","王士祯","王士禎（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字貽上，號阮亭，又號漁洋山人，世稱王漁洋。山東新城（今山東桓台縣）人。清初詩人、文學家、詩詞理論家。 [1]\n王士禎為清順治十五年（1658年）進士，康熙四十三年（1704年）官至刑部尚書，頗有政聲。諡文簡。\n王士禎在實踐“神韻説”，取得卓著詩文成果的同時，還能突破正統文壇和文人偏見，重視和高度評價小説、戲曲、民歌等通俗文學、文體。他的主要成就在詩文創作與理論方面，但在小説、戲曲、民歌、書畫、藏書、史論等方面所取得的成就亦不容忽視。",[56,55,54,170,171,1815,591,2140,1408,7,355,2470,2471,119],"江","城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[840],{"id":2475,"slug":2476,"title":2477,"dynasty":92,"author":189,"museum":113,"description":2478,"tags":2479,"thumbUrl":2481,"material":121,"size":122,"collection":38,"collections":2482,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":68},238583,"ge-pu-tu-ce-yi-ming-238583","鸽谱图册","左幅墨羽信鸽，翎羽泛着幽绿虹彩，一只昂首远眺，一只垂首理羽，红爪素尾立于浅草，情态悠然舒展。右幅粉褐羽色的灵禽，一只低首轻喙打理颈羽，一只侧目凝望同伴，柔羽晕染细腻逼真，旁侧缀以蓝花青枝，点染出清雅致趣。\n整幅画作工笔精细写实，将灵禽的体态神韵尽数勾勒，设色明丽柔和，既有院体花鸟的精工雅致，又兼具写生的鲜活意趣，把信鸽恬然的日常情态定格于纸面，晕染出静谧悠然的生趣，尽显传统禽鸟写生的精妙造诣，仿若能窥见庭院间灵禽嬉游的闲适瞬间。",[24,77,53,25,26,27,2480,7,136],"鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01141859b158c64ae19280d695fe3455.jpg",[],{"id":2484,"slug":2485,"title":1234,"dynasty":92,"author":1235,"museum":113,"description":1236,"tags":2486,"thumbUrl":2488,"material":38,"size":38,"collection":38,"collections":2489,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":68},238281,"hua-qia-xuan-yuan-tu-ce-huang-yue-238281",[24,77,53,26,25,82,174,7,494,2487],"小石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890cbd6d671f51e4395ee87a2b5aab4c.jpg",[],{"id":2491,"slug":2492,"title":2493,"dynasty":92,"author":1516,"museum":149,"description":2494,"tags":2495,"thumbUrl":2498,"material":405,"size":38,"collection":38,"collections":2499,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":68},237381,"shan-shui-ce-yang-jin-chu-shan-qing-xiao-tu-ye-wang-hui-237381","山水册-杨晋楚山清晓图页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,77,53,170,229,2496,171,2497,328,1815,327,590,7],"山水画","山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ba8eddc6857a2d1b33ce8c82ff0ef6d.jpg",[],{"id":2501,"slug":2502,"title":2503,"dynasty":48,"author":2504,"museum":113,"description":2505,"tags":2506,"thumbUrl":2507,"material":405,"size":38,"collection":38,"collections":2508,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":68},237052,"hua-hui-ren-wu-ce-mao-fu-guang-237052","花卉人物册","毛复光","此作以淡逸之笔绘就闲趣小景，留白疏朗雅致，两处水岸分植粉花，浅蓝枝叶晕染轻柔，淡赭水色晕开汀渚，氤氲出暮春清寂的柔润氛围。蛱蝶翩跹穿掠空白，为静谧画面添了灵动生机，于幽淡里生出鲜活意趣。\n左上题字墨色清隽，与画面意境相融无间，笔墨松秀不事雕琢，尽显文人画尚简尚意的审美格调。寥寥数笔便将观花见蝶的悠然闲绪铺陈开来，淡色浅墨间余韵悠长，把春日将尽的慵懒闲寂尽数藏入尺幅之间，是小品佳制。",[24,77,53,26,27,81,28,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d798658157ceb8eb9cc0d6591c8db7.jpg",[],{"id":2510,"slug":2511,"title":2512,"dynasty":1031,"author":2513,"museum":113,"description":2514,"tags":2515,"thumbUrl":2520,"material":121,"size":122,"collection":38,"collections":2521,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":43},232278,"wei-lian-a-dao-fu-bu-ge-luo-4-wei-lian-a-dao-fu-bu-ge-luo-232278","威廉·阿道夫·布格罗4","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n1875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[1605,1827,26,172,804,307,119,780,7,2516,2517,2518,2519],"户外","光影","倒影","木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F236aaec2daa9e3353ab1ac1dc54fe9d1.jpg",[],{"id":2523,"slug":2524,"title":2525,"dynasty":48,"author":2526,"museum":113,"description":2527,"tags":2528,"thumbUrl":2530,"material":38,"size":38,"collection":38,"collections":2531,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":68},224554,"shu-hua-ce-ye-19-xiao-yun-cong-wang-shi-zhen-224554","《书画册页》-19","萧云从 王士祯","以淡墨晕染烟霭长空，崖壁奇崛高耸，文士策杖凭崖，凝望远江平芜。枯木虬枝错落坡岸，间有柔枝茂叶点缀荒寒，笔墨以干淡皴擦勾勒山石肌理，兼得宋画苍劲与文人画雅逸。\n\n题跋朱印错落留白处，诗画相融，将幽居林泉的隐逸心绪藏在萧疏景致间，清寂淡远的古意漫溢纸面，暗合画中孤高文人心志。",[24,77,53,170,26,229,55,54,171,172,355,31,2529,446,327,379,591,7],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaae4723fd04a5f2ab0bf9de09a0ba0.jpg",[],{"id":2533,"slug":2534,"title":2535,"dynasty":92,"author":2536,"museum":113,"description":2537,"tags":2538,"thumbUrl":2539,"material":179,"size":38,"collection":38,"collections":2540,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":68},215101,"tui-bei-tu-ce-7-jiao-bing-zhen-215101","推背图册-7","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。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。",[23,24,77,53,25,26,664,512,152,31,171,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86763678f88afa62a40f3f9360dffeb8.jpg",[],{"id":2542,"slug":2543,"title":2544,"dynasty":92,"author":2545,"museum":2546,"description":2547,"tags":2548,"thumbUrl":2551,"material":2552,"size":2553,"collection":840,"collections":2554,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},241090,"wu-yan-shi-zhou-jiang-chen-ying-241090","五言诗轴","姜宸英","四川省博物馆","姜宸英（1628－1699年），明末清初书法家、史学家，与 字西溟，号湛园，又号苇间，浙江 明末诸生，康熙十九年以布衣荐入明史馆任纂修官，分撰刑法志，记述明三百年间诏狱、廷杖、立枷、东西厂卫之害。又从 在京因得罪大学士 康熙三十六年70岁始成进士，以殿试第三名授翰林院编修。越两年为顺天乡试副考官，因主考官舞弊，被连累下狱死。着有《湛园集》《苇间集》《海防总论》。",[56,55,54,2549,591,2550,590,834,7,829,780,471,296,119,307],"风","门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213bd352cd92152c238af991318ac0c9.jpg","纸本，行书","64.5×32.1cm",[840],{"id":2556,"slug":2557,"title":2558,"dynasty":92,"author":2559,"museum":113,"description":2560,"tags":2561,"thumbUrl":2564,"material":121,"size":122,"collection":38,"collections":2565,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},241038,"qi-lv-zhou-fa-ruo-zhen-241038","七律轴","法若真","法若真（1613－1691）字汉儒，号黄山、黄石，祖籍济南，先祖于明朝景泰年间任职胶州，法氏后人遂定居胶州城里，以为故里。 法若真父亲法寰学识渊博，尤爱好研究经史，对《四书》、《春秋》颇有见解，著作很多，声名一时，他辞官职返乡，在城南怡云岭设学馆，以授徒讲学为业，在胶州造就了大批有用之才。",[55,116,56,170,54,2470,7,136,2562,2139,2563],"海","馬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf3b01a8998f7e9c0096c9510231ca6.jpg",[],{"id":2567,"slug":2568,"title":2399,"dynasty":92,"author":2400,"museum":113,"description":2401,"tags":2569,"thumbUrl":2570,"material":121,"size":122,"collection":38,"collections":2571,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},237719,"wu-sheng-shi-yi-tu-ce-huang-yi-237719",[24,77,53,170,171,31,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00253b5a1d90201c2bccbf7ecb988b53.jpg",[],{"id":2573,"slug":2574,"title":2575,"dynasty":92,"author":2576,"museum":113,"description":2577,"tags":2578,"thumbUrl":2579,"material":121,"size":122,"collection":38,"collections":2580,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},235965,"cai-jia-hua-hui-tu-ce-cai-jia-235965","蔡嘉花卉图册","蔡嘉","蔡嘉(1686-1779)，字松原，一字岑州，号雪堂，一号旅亭，又号朱方老民，清朝江苏丹阳人，侨居扬州。所居曰高寒旧馆。与高翔、汪士慎、朱冕为诗画友。",[24,77,53,26,56,54,60,117,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed769e7b34e44c147d629ef300972991.jpg",[],{"id":2582,"slug":2583,"title":2575,"dynasty":92,"author":189,"museum":113,"description":2584,"tags":2585,"thumbUrl":2586,"material":38,"size":38,"collection":38,"collections":2587,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},235958,"cai-jia-hua-hui-tu-ce-yi-ming-235958","此作用淡墨写兰绘石，兰叶舒展挺秀，穿插顾盼有致，笔力清劲洒脱，将幽兰柔而不折的姿态勾勒尽致。花苞隐于叶间，含露待放，古拙湖石错落布于丛兰之侧，苔点缀饰更添苍润意趣。\n\n画面留白空灵，搭配左侧题诗，诗画相映，尽显文人水墨的萧散简远。整幅画以简驭繁，以淡墨氤氲出清寂出尘的意境，借幽兰寄寓君子孤高脱俗的品格，把中式文人画的清雅高逸之风尽数铺展，笔墨寥寥却神韵具足，意韵悠长。",[24,77,53,873,170,54,58,31,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de71015eb8c0bc0926ad08d809f0d86.jpg",[],{"id":2589,"slug":2590,"title":2591,"dynasty":48,"author":2592,"museum":113,"description":2593,"tags":2594,"thumbUrl":2596,"material":38,"size":38,"collection":38,"collections":2597,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},235625,"fang-gu-shan-shui-ce-shen-hao-235625","仿古山水册","沈颢","此作以水墨晕染村居小景，虬曲古木与柔润新篁并立，刚柔相映生趣。矮墙围合村舍，篱畔野草丛生，平波微漾，远景烟树朦胧氤氲。画中添两步行旅人，为静谧图景晕开人间烟火气。\n\n笔触简淡松灵，以留白铺陈悠远空寂，淡墨晕染出江南乡野的清寂闲逸。左上角题字古雅端方，书画合璧，更添幽淡萧散的文人意趣，将闲淡悠远的林下之思融于尺幅之间，简笔写意中尽得山水小品的空灵意境。",[24,77,76,53,170,229,171,780,2595,7,328],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48490e82e3cc80ca90b86d926e498140.jpg",[],{"id":2599,"slug":2600,"title":2075,"dynasty":147,"author":189,"museum":226,"description":2601,"tags":2602,"thumbUrl":2603,"material":1501,"size":2604,"collection":38,"collections":2605,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},234019,"dou-que-tu-ye-yi-ming-234019","《斗雀图页》绘两只小雀在平坡之上嬉戏争斗，滚作一团。画家采用虚实结合、突出重点的画法，于雀的翅、尾翎毛只是粗写动态，头、腹毛羽更是淡染轻描。着力加以刻画的是雀之爪、喙和二雀相互逼视的双目。图中占上风之雀，左爪紧抓住对方的喙，右爪紧握对方的爪，正待欲啄，其喙却也被对方死死地抓住，形成谁也啄不得的僵持局面，颇有情趣。两只小雀皆羽翼大张，动感和力度在此充分体现。此情此景万难想象而成，当是细致观察所得。",[24,77,53,25,26,27,28,640,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fced263f20e466675063c7cc33d05d7ed.jpg","纵24.2厘米，横25.4厘米",[],{"id":2607,"slug":2608,"title":2609,"dynasty":1031,"author":189,"museum":113,"description":2610,"tags":2611,"thumbUrl":2613,"material":121,"size":122,"collection":38,"collections":2614,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},225480,"fu-shi-hui-238-yi-ming-225480","浮世绘238","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[1037,2240,26,172,1717,471,7,136,2612],"纸折物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7159504ec6d02f7d2b6a638c3a9628c1.jpg",[],{"id":2616,"slug":2617,"title":2618,"dynasty":92,"author":915,"museum":20,"description":2619,"tags":2620,"thumbUrl":2621,"material":38,"size":38,"collection":38,"collections":2622,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":2623},202622,"zi-hua-xiang-tu-zhou-wu-chang-shuo-202622","自画像图轴","画面以水墨写意绘就人物坐像，宽袍大袖间笔墨粗放苍劲，衣纹带金石棱角，显书画同源之韵。面部简笔勾勒却神情毕肖，眉眼间藏沉潜儒雅气度。右侧长题书法笔力雄健，诗、书、画、印浑然一体，尽展文人画风骨。整作于简淡中见厚重，疏放中含蕴藉，是其晚年自况的生动写照。",[24,77,116,170,172,54,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab94a077c10d66de990308cbbdd7ece4.jpg",[],"d9cfc8",{"id":2625,"slug":2626,"title":2627,"dynasty":92,"author":2372,"museum":113,"description":2628,"tags":2629,"thumbUrl":2630,"material":38,"size":38,"collection":38,"collections":2631,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":68},239377,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239377","画载月十咏诗意册","此作用淡墨浅晕铺就萧寒底色，绘出冬郊水村之景。坡岸逶迤，寒苇疏偃于水滨，枯木虬劲褪去繁叶，尽显清瘦骨相。茅舍三两错落石畔林间，篱栅板桥轻简野朴，不见烟火喧嚣，只剩冷寂空茫。\n\n边角题字与画面相映，以诗衬景，将载月归乡的清寂诗意融于尺幅间。笔墨松灵秀雅，皴擦简淡却将冬水冷涩、荒岸萧索尽皆托出，淡赭轻敷晕染天色，把暮晚薄烟弥散的空濛晕开，似将霜夜浸骨的寒意藏进每一缕淡墨之中，尽显冷逸出尘的文人意趣。",[24,170,26,53,229,171,1430,154,446,7,1870,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fe11504628ab01761ca4035fe23d1e.jpg",[],{"id":2633,"slug":2634,"title":2635,"dynasty":92,"author":2636,"museum":113,"description":2637,"tags":2638,"thumbUrl":2639,"material":121,"size":122,"collection":38,"collections":2640,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":68},237484,"shan-shui-tu-ce-yao-song-237484","山水图册","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,77,53,170,56,229,171,627,1107,327,942,176,1059,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4bc78d7045ee7e17f24abd8173b8bf.jpg",[],{"id":2642,"slug":2643,"title":2102,"dynasty":92,"author":2644,"museum":113,"description":2645,"tags":2646,"thumbUrl":2647,"material":121,"size":122,"collection":38,"collections":2648,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":68},236964,"shan-shui-ce-chen-jia-le-236964","陈嘉乐","陈嘉乐（生卒年不详），又名陈嘉荣，字子显，号东原。清代济南历城人。善诗，工书画，尤长于山水。画学王原祁风格，乾隆年间闻名于画坛。后被道光皇帝第九子、孚敬郡王奕譓请到京邸，跟其学画。",[24,170,229,53,171,627,473,175,355,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed1dfd110d73a93b1c335d5f5f2411e.jpg",[],{"id":2650,"slug":2651,"title":2652,"dynasty":48,"author":2653,"museum":113,"description":2654,"tags":2655,"thumbUrl":2656,"material":38,"size":38,"collection":38,"collections":2657,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":68},233310,"shi-zhu-zhai-pu-ce-hu-ri-cong-233310","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,77,53,170,27,135,7,82,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb458c658e7312a8e22d10797b35cbeb2.jpg",[],{"id":2659,"slug":2660,"title":2652,"dynasty":48,"author":2653,"museum":113,"description":2654,"tags":2661,"thumbUrl":2662,"material":38,"size":38,"collection":38,"collections":2663,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":68},233286,"shi-zhu-zhai-pu-ce-hu-ri-cong-233286",[24,77,53,2240,26,54,27,58,136,7,494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dccfce99a5b201d2b8022f1419e670c.jpg",[],{"id":2665,"slug":2666,"title":2667,"dynasty":92,"author":189,"museum":149,"description":2668,"tags":2669,"thumbUrl":2675,"material":405,"size":2676,"collection":38,"collections":2677,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":43},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。",[24,77,25,26,152,780,7,192,343,2670,2671,2672,2673,2674,1073,139],"传统绘画","线条勾勒","设色典雅","神兽","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7499dad40501202d7f76dc3a35bc65.jpg","211.9x178.6厘米",[],{"id":2679,"slug":2680,"title":2681,"dynasty":1031,"author":2682,"museum":113,"description":2683,"tags":2684,"thumbUrl":2687,"material":121,"size":122,"collection":38,"collections":2688,"showCount":184,"zanCount":220,"manualWeight":11,"mainColor":43},231188,"su-miao-442-xi-fang-231188","素描442","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[2685,26,172,1717,1609,7,2686],"素描","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5523e9c4a23952265199db24992de7.jpg",[],{"id":2690,"slug":2691,"title":2692,"dynasty":92,"author":2693,"museum":113,"description":2694,"tags":2695,"thumbUrl":2698,"material":2699,"size":2700,"collection":38,"collections":2701,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":419},224411,"shu-hua-shi-liu-kai-12-wang-shi-min-224411","书画十六开-12","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。",[23,24,77,53,56,170,1323,1718,60,80,117,2696,31,7,2697,119,829],"船","露","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84aedfa28e75d33e856affa0fda90d1.jpg","墨色绢本","48x32",[],{"id":2703,"slug":2704,"title":2705,"dynasty":92,"author":1045,"museum":113,"description":2706,"tags":2707,"thumbUrl":2708,"material":38,"size":38,"collection":38,"collections":2709,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":68},224308,"hua-hui-shi-er-kai-9-li-shan-224308","花卉十二开9","此作用笔简澹写意，以淡墨晕染白鹭白羽，留白衬出绒羽蓬松质感，寥寥数笔勾出尖喙利爪，将水鸟蜷身小憩的悠然神态尽显，灵动鲜活。\n\n旁侧水草以浓淡墨色挥写，笔致纵逸洒脱，柔蔓斜生，与白鹭的静柔形成动静对照。右上角题字极简，书画相映成趣，尽显文人写意画的逸趣风骨。尺幅之间藏尽水泽汀洲的幽谧之境，笔简意足，澹泊清远，将小景的清寂雅致娓娓铺陈，尽显写意花鸟的隽永意韵。",[23,24,77,53,170,26,27,28,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546eabdf8a2b6ca70df7cdf7a5d87193.jpg",[],{"id":2711,"slug":2712,"title":2713,"dynasty":48,"author":2714,"museum":113,"description":2715,"tags":2716,"thumbUrl":2718,"material":405,"size":38,"collection":38,"collections":2719,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":287},217144,"shui-hu-quan-tu-50-du-jin-217144","水浒全图-50","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。",[76,24,77,53,873,172,1815,802,7,2717],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19120b21070cf37e44d623a7ff44d592.jpg",[],{"id":2721,"slug":2722,"title":2723,"dynasty":48,"author":2714,"museum":113,"description":2715,"tags":2724,"thumbUrl":2725,"material":405,"size":38,"collection":38,"collections":2726,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":287},217142,"shui-hu-quan-tu-52-du-jin-217142","水浒全图-52",[24,77,53,873,172,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4741556fdf456d8aef66747efbd20.jpg",[],{"id":2728,"slug":2729,"title":2730,"dynasty":2731,"author":2732,"museum":20,"description":2733,"tags":2734,"thumbUrl":2736,"material":38,"size":38,"collection":103,"collections":2737,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":2738},203075,"han-lin-si-ma-tu-zhou-wang-zhen-203075","寒林嘶马图轴","近代","王震","一匹骏马昂首嘶鸣，立于寒林荒草间。鬃毛以浓墨挥洒，飞扬动感；躯干淡墨晕染，肌理自然。寒林枝干虬曲，枯笔皴擦显萧瑟；草叶泼墨点染，野趣横生。马的昂扬姿态与周遭荒寒之境相映，既见不羁风骨，亦含孤寂之韵。笔墨简练豪放，写意传神，于方寸间尽显生命张力与画家胸中意气。",[24,393,170,26,664,2735,116,7,23],"寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74465b64c275b35cf8c4234e898d9e9b.jpg",[103],"bab2a4",{"id":2740,"slug":2741,"title":2742,"dynasty":92,"author":881,"museum":20,"description":2743,"tags":2744,"thumbUrl":2746,"material":38,"size":38,"collection":38,"collections":2747,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":2748},201389,"hua-hui-niao-shou-tu-juan-chen-jia-yan-201389","花卉鸟兽图卷","这幅长卷以灵动笔墨铺陈自然意趣，花鸟虫兽与草木山石错落有致。松鼠攀附松枝显活泼，灵兔隐于竹丛露憨态，蜻蜓点水、禽鸟栖枝各得其所；牡丹雍容、荷莲清雅、秋菊傲立、芙蓉娇艳，四季花卉次第绽放。设色淡雅却见鲜活，线条细腻又含逸气，工笔勾勒物象之形，写意晕染生机之韵，笔墨间藏着对自然生灵的细腻观照与脉脉温情。",[24,78,27,152,25,26,769,98,60,62,59,427,153,2745,394,204,139,7],"松鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4387ef268508fbde19aafd7ea255c8eb.jpg",[],"d9d0c9",{"id":2750,"slug":2751,"title":2752,"dynasty":92,"author":189,"museum":113,"description":2753,"tags":2754,"thumbUrl":2757,"material":121,"size":122,"collection":38,"collections":2758,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":68},257922,"kang-xi-kuan-qing-hua-shi-er-yue-hua-hui-wen-bei-feng-yi-ming-257922","康熙款青花十二月花卉纹杯-风","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[2755,2756,192,81,780,7,27],"陶瓷","青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c0089f85a4d56322e8905aaa0266cf.jpg",[],{"id":2760,"slug":2761,"title":2762,"dynasty":48,"author":189,"museum":113,"description":2753,"tags":2763,"thumbUrl":2766,"material":121,"size":122,"collection":38,"collections":2767,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":287},256203,"qing-hua-hua-hui-wen-pan-yi-ming-256203","青花花卉纹盘",[48,2756,2764,2755,803,81,58,7,2765],"釉下彩","植物纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F466c52f4866ceb2b6fc7d4571d2df194.jpg",[],{"id":2769,"slug":2770,"title":2102,"dynasty":48,"author":2592,"museum":113,"description":2771,"tags":2772,"thumbUrl":2773,"material":121,"size":122,"collection":38,"collections":2774,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":68},237630,"shan-shui-ce-shen-hao-237630","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,170,171,768,1815,54,7,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fca833f23a8848e04225d83bdec00c.jpg",[],{"id":2776,"slug":2777,"title":2778,"dynasty":92,"author":2779,"museum":113,"description":2780,"tags":2781,"thumbUrl":2782,"material":38,"size":38,"collection":38,"collections":2783,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":68},235363,"shan-shui-ren-wu-tu-ce-huang-shen-235363","山水人物图册","黄慎","此作用淡墨晕染出水汀空寂之境，枯笔劲写汀渚兰草，叶态舒展恣肆，野趣盎然。水鸭浮波仅以数笔点就，憨然悠然，灵动传神。右上角狂草题识，笔势与画中野逸之气相融，书画相映，更添文韵。\n全幅删繁就简，以极简写意手法勾勒乡野闲景，萧疏淡远，尽得文人逸笔之趣，将幽澹林下之思藏于水墨间，观之令人心神松弛，如临其境得享乡野闲静。",[24,77,53,170,873,171,172,7,31,1430,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60720fc54410d8b98cc92a29ba63eb4c.jpg",[],{"id":2785,"slug":2786,"title":2102,"dynasty":92,"author":2787,"museum":113,"description":2788,"tags":2789,"thumbUrl":2790,"material":121,"size":122,"collection":38,"collections":2791,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":68},235303,"shan-shui-ce-zhang-feng-235303","张风","张风，一作鹳，字大风，号升州道士，又号上元老人，或署“真香佛空”、“真香佛空四海”，明代画家、诗人。江苏南京人。思宗崇祯时生员，明亡后不为官，家里贫穷。他擅画山水、人物、花卉，也精于画肖像。早年风格较为恬静闲适，神韵悠然。晚年他曾佩剑北游，所以笔墨风格瘦挺豪纵。他还精通画理。",[24,77,53,26,171,627,172,31,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b8c24615ddb853889919d6c3b82bc2.jpg",[],{"id":2793,"slug":2794,"title":2652,"dynasty":48,"author":2653,"museum":113,"description":2654,"tags":2795,"thumbUrl":2796,"material":38,"size":38,"collection":38,"collections":2797,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":68},233350,"shi-zhu-zhai-pu-ce-hu-ri-cong-233350",[24,77,53,25,170,26,31,7,54,860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17864883c7033a4ff0cb6157831b3d5b.jpg",[],{"id":2799,"slug":2800,"title":2652,"dynasty":48,"author":2653,"museum":113,"description":2654,"tags":2801,"thumbUrl":2802,"material":38,"size":38,"collection":38,"collections":2803,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":68},233345,"shi-zhu-zhai-pu-ce-hu-ri-cong-233345",[24,77,53,170,26,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0abdbde8ec0cd642b95ebc302eb91.jpg",[],{"id":2805,"slug":2806,"title":2652,"dynasty":48,"author":2653,"museum":113,"description":2654,"tags":2807,"thumbUrl":2808,"material":38,"size":38,"collection":38,"collections":2809,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":68},233335,"shi-zhu-zhai-pu-ce-hu-ri-cong-233335",[24,53,26,170,229,54,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65fe756169e0a263cea5cc56dba50ade.jpg",[],{"id":2811,"slug":2812,"title":2813,"dynasty":1031,"author":2814,"museum":113,"description":2815,"tags":2816,"thumbUrl":2819,"material":121,"size":122,"collection":38,"collections":2820,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":68},232563,"mi-lai-si-107-yue-han-ai-fu-li-te-mi-lai-si-232563","米莱斯107","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[2817,2818,2755,803,1035,615,7,26,2517],"水彩","静物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff45d86557a589b2c0e37015586c9a3e0.jpg",[],{"id":2822,"slug":2823,"title":2824,"dynasty":92,"author":2693,"museum":113,"description":2825,"tags":2826,"thumbUrl":2830,"material":38,"size":38,"collection":38,"collections":2831,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":419},224414,"shu-hua-shi-liu-kai-15-wang-shi-min-224414","书画十六开-15","此作行书笔致圆浑朴拙，点画温润遒劲，牵丝映带间尽显从容古雅的意趣。笔底无张扬锋芒，却自带静穆醇厚的文人风骨，暗合晋唐行书的潇洒意态，又藏着晚明文人特有的沉静内敛。\n诗中旧年访友的缱绻幽思，伴着春草春雨、梅村茶山的江南烟景落于笔端，书与文相得益彰。笔墨随着诗意起伏，将观景怀人的怅惘安然铺展，整体气息安和澹远，尽显文人书文合一的雅致情致，把怀旧的温柔心绪尽数凝在纸间笔墨中。",[23,77,53,56,55,1362,829,7,2827,2828,2829,780],"路","铜井","苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b54bd93047b8fa4901b35be6438f6b.jpg",[],{"id":2833,"slug":2834,"title":2835,"dynasty":48,"author":2714,"museum":113,"description":2715,"tags":2836,"thumbUrl":2837,"material":405,"size":38,"collection":38,"collections":2838,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":287},217124,"shui-hu-quan-tu-69-du-jin-217124","水浒全图-69",[24,77,53,873,172,327,473,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96016d8f22a7d5b8cc6f30fbc236232d.jpg",[],{"id":2840,"slug":2841,"title":2842,"dynasty":92,"author":189,"museum":113,"description":2843,"tags":2844,"thumbUrl":2845,"material":121,"size":122,"collection":38,"collections":2846,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},238589,"qing-ren-lie-quan-tu-ce-yi-ming-238589","清人猎犬图册","此作设色雅致细腻，右幅绘郊荒野地，草叶萧疏远山浅淡，猛虎垂尾瑟缩，二犬气势凛然。黑犬腾身而上，张口作啮咬之势，白犬伏地蓄力，目光紧盯猛虎，将猎犬的机敏悍勇与山君的惊惶绘得淋漓尽致，动静之间尽显狩猎的紧张氛围。\n\n左侧行楷笔意潇洒流畅，题文呼应画意，诗画相映，尽显雅致意趣，工笔绘形、写意铺境，将畜兽画的精工与文人雅趣融为一体。",[24,77,53,26,25,193,354,152,7,780,829],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d252bffff349a9cca75be21b3c0d019.jpg",[],{"id":2848,"slug":2849,"title":2850,"dynasty":48,"author":2653,"museum":113,"description":2654,"tags":2851,"thumbUrl":2852,"material":38,"size":38,"collection":38,"collections":2853,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},233573,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233573","十竹斋五色笺谱册",[24,77,53,26,170,2240,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486a3f5073392c8a8f8a6eda7e0ed1a6.jpg",[],1777535700356]