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、“人屋”，多绘蔬果、花卉、松梅一类题材，以卷册为多。画面比较精细工致，劲挺有力。50岁至65岁为中期，画风逐渐变化，喜绘鱼、鸟、草虫、动物，形象有所夸张，用笔挺劲刻削，动物和鸟的嘴、眼多呈方形，面作卵形，上大下小，岌岌可危，禽鸟多栖一足，悬一足。65岁以后为晚期、艺术日趋成熟。笔势变为朴茂雄伟，造型极为夸张，鱼、鸟之眼一圈一点，眼珠顶着眼圈，一幅“白眼向天”的神情。他画的鸟有些显得很倔强，即使落墨不多，却表现出鸟儿振羽，使人有不可一触，触之即飞的感觉。有些禽鸟拳足缩颈，一副既受欺又不屈的情态，在构图、笔墨上也更加简略。这些形象塑造，无疑是画家自的写照，即“愤慨悲歌，忧愤于世，一一寄情于笔墨”。他在题黄公望山水诗中写道：“郭家皴法云头小，董老麻皮树上多。想见时人解图画，一峰还与宋山河。表现出他的民族意识。此画作足以代表朱耷的艺术风格。笔墨简括凝练，形象夸张，意境清冷。画中山水树木，形象寂寥无不带有画家的个人烙印和情感。",[25,28,35,175,129,176,143,58,177,178,179,180,181,182,7,183,184,185],"册","草虫","写意花鸟","水墨花鸟","草虫题材","花卉题材","水墨技法","写意技法","花鸟虫鱼","水墨花卉","水墨草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1832d1cbad4704515cafe4aadf8818b.jpg","纸本","纵26厘米，横41厘米",[],125,{"id":192,"slug":193,"title":194,"dynasty":139,"author":195,"museum":20,"description":196,"tags":197,"thumbUrl":202,"material":203,"size":204,"collection":39,"collections":205,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":44},220969,"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","恽寿平","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 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cm",[39,41],105,{"id":208,"slug":209,"title":210,"dynasty":18,"author":81,"museum":172,"description":211,"tags":212,"thumbUrl":223,"material":224,"size":225,"collection":98,"collections":226,"showCount":227,"zanCount":11,"manualWeight":11,"mainColor":76},222195,"ren-wu-gu-shi-tu-gao-shan-liu-shui-chou-ying-222195","人物故事图-高山流水","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,25,7,213,85,214,215,216,217,218,90,219,220,221,222],"工笔重彩","高山","飞瀑","松林","流水","亭","文人","知音","高山流水","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67ca6c35996e488c7d2585cfe17e4a3.jpg","绢本，设色","每开纵41.4厘米，横33.8厘米",[],101,{"id":229,"slug":230,"title":231,"dynasty":49,"author":232,"museum":126,"description":233,"tags":234,"thumbUrl":237,"material":98,"size":98,"collection":98,"collections":238,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":76},230970,"song-hui-zong-dao-jun-li-ying-tu-ye-zhao-ji-230970","宋徽宗(道君)立鹰图页","赵佶","画面中苍鹰独立危巅，铁爪紧扣寒石，侧目回望之际目光如炬，翎毛以浓淡墨色晕染，层次绵密，将猛禽的刚猛悍勇刻画入微。青蓝山石以淡彩点染，冷峭孤高，背景翻涌的海浪线条虬曲激荡，以动衬静，愈发凸显出雄鹰沉稳孤傲的气度。整作设色古雅沉静，工笔勾勒间不失写意风神，既见精妙的写实功底，亦将猛禽睥睨寰宇的雄逸气魄与浩渺天地相融，将悍猛英姿与幽远意境合为一体，尽显别致的笔墨意趣与精神内核。",[23,24,25,26,7,85,54,129,235,114,236,58],"鹰","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6fcd749830e028272fda4a6618ab8ef.jpg",[],98,{"id":241,"slug":242,"title":243,"dynasty":49,"author":244,"museum":126,"description":245,"tags":246,"thumbUrl":249,"material":98,"size":98,"collection":98,"collections":250,"showCount":251,"zanCount":252,"manualWeight":11,"mainColor":44},227753,"ju-cong-fei-die-tu-ye-zhu-shao-zong-227753","菊丛飞蝶图页","朱绍宗","《菊丛飞蝶图》页，宋，朱绍宗绘，纨扇页，绢本，设色，纵23.7厘米，横24.4厘米。\n本幅款识：“朱”。钤鉴藏印2方，印文模糊，唯可辨一“璘”字。裱边题签：“朱绍宗菊丛飞蝶”。\n图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。\n对幅有清乾隆御题诗：“趋炎殊众卉，放英独于秋。舞去风全香，承来露半流。绘者具神解，渊明晤庄周。”钤“八征耄念之宝”朱文印、“自强不息”白文印。\n存《四朝选藻》册中。《石渠宝笈续编》著录。",[23,25,26,7,54,85,129,247,158,143,57,58,248,24],"菊花","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee499b5bb1bb99a6d174c1ae3c18abf.jpg",[],94,1,{"id":254,"slug":255,"title":256,"dynasty":18,"author":81,"museum":172,"description":211,"tags":257,"thumbUrl":263,"material":224,"size":225,"collection":98,"collections":264,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":44},222192,"ren-wu-gu-shi-tu-xun-yang-pi-pa-chou-ying-222192","人物故事图-浔阳琵琶",[23,25,213,85,7,61,258,30,90,259,260,261,262],"舟船","骆驼","音乐","历史故事","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35abb769ff5e9054e9cf450da226925.jpg",[],88,{"id":267,"slug":268,"title":269,"dynasty":139,"author":270,"museum":172,"description":271,"tags":272,"thumbUrl":279,"material":280,"size":281,"collection":164,"collections":282,"showCount":283,"zanCount":11,"manualWeight":11,"mainColor":44},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","石涛","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[24,25,26,7,273,28,85,30,198,57,29,31,274,34,275,276,61,32,277,278],"清代","茅屋","平原","烟树","房屋","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纸本，设色","纵27厘米，横21.3厘米",[164,39,41],87,{"id":285,"slug":286,"title":287,"dynasty":139,"author":288,"museum":126,"description":289,"tags":290,"thumbUrl":302,"material":98,"size":98,"collection":98,"collections":303,"showCount":304,"zanCount":252,"manualWeight":11,"mainColor":44},237592,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237592","王翚仿古山水册","王翚","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[25,28,291,29,30,32,90,292,217,293,277,7,294,295,296,297,298,299,300,301],"仿古","亭台","瀑布","传统山水","水墨画","点染","山石皴擦","树木勾勒","山水意境","古典山水","水墨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f3e122c7aae29ed9eacddd5644f01b.jpg",[],82,{"id":306,"slug":307,"title":308,"dynasty":49,"author":309,"museum":106,"description":310,"tags":311,"thumbUrl":314,"material":96,"size":315,"collection":164,"collections":316,"showCount":317,"zanCount":134,"manualWeight":11,"mainColor":76},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”。",[23,25,26,24,7,54,85,129,312,313,58],"鹌鹑","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d691dcbeca802bd7e1c7806aa13adcd.jpg","纵23.5厘米，横23.1厘米",[164],78,{"id":319,"slug":320,"title":321,"dynasty":49,"author":125,"museum":51,"description":322,"tags":323,"thumbUrl":329,"material":96,"size":330,"collection":72,"collections":331,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":76},219200,"lu-ting-bai-lu-tu-yi-ming-219200","芦汀白鹭图","图绘白鹭两对栖于芦苇丛生的洲渚岸边，一饮啄、一飞降、一静息，一仰首迎接。全画用墨层次丰富，掌握住秋天的景致气氛。在题材、构图、设色上保留南宋汀渚水鸟小景画的意趣，但通幅笔力较为薄弱。",[23,25,85,54,7,129,324,325,326,327,328,28],"芦苇","白鹭","汀渚","飞鸟","水泽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77827917d9c35594679d81fabbd6da53.jpg","25x25.5cm",[72,164],77,{"id":334,"slug":335,"title":336,"dynasty":139,"author":125,"museum":126,"description":337,"tags":338,"thumbUrl":341,"material":342,"size":343,"collection":98,"collections":344,"showCount":345,"zanCount":11,"manualWeight":11,"mainColor":44},263656,"ke-si-yu-zhi-shi-hua-hui-tu-ce-shi-liu-hua-yi-ming-263656","缂丝御制诗花卉图册-石榴花","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[25,26,7,85,54,129,339,143,198,58,340],"石榴花","缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1df1585458c1487b63fa145618dd8c.jpg","未知","Xcm*Xcm",[],71,{"id":347,"slug":348,"title":349,"dynasty":350,"author":351,"museum":126,"description":352,"tags":353,"thumbUrl":358,"material":342,"size":343,"collection":98,"collections":359,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":76},287395,"ye-yan-tu-ye-zhou-wen-ju-287395","夜宴图页","五代十国","周文矩","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,25,24,7,54,85,61,87,354,355,356,198,57,357],"宴饮","饮酒器","桃花","夜宴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55dccd52718d026c6ccf8e9eb9557d7d.jpg",[],70,{"id":362,"slug":363,"title":364,"dynasty":49,"author":365,"museum":126,"description":366,"tags":367,"thumbUrl":370,"material":98,"size":98,"collection":98,"collections":371,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":76},227806,"qing-lv-shan-shui-tu-ye-liu-song-nian-227806","青绿山水图页","刘松年","此作以青绿晕染山峦，淡墨勾勒丘壑轮廓，糅合精工雅致与烟火意趣。春柳垂荫如翠色帷幕，将画面切割出疏密层次，树下行人往来如织，或策马徐行，或驻足交谈，石桥下溪水流淌，三两村人浣洗休憩，鲜活的市井日常跃然纸面。\n\n远景峰峦逶迤，以石青石绿轻敷，敷色秀润沉稳，不见浓艳浮薄，将春日山野的明媚柔丽晕染开来。笔致细巧灵动，把山水之幽与俗世之暖相融，于尺幅之间铺展了一卷生机盎然的春日山居行乐图，尽显春日江南山野的悠然意韵。",[23,24,25,26,7,368,85,30,61,369,217,112,90,34],"青绿","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F485a6a80668b2daa57a22eff4e87382a.jpg",[],{"id":373,"slug":374,"title":375,"dynasty":139,"author":376,"museum":126,"description":377,"tags":378,"thumbUrl":384,"material":98,"size":98,"collection":98,"collections":385,"showCount":386,"zanCount":252,"manualWeight":11,"mainColor":76},230112,"hua-niao-tu-ce-wu-zhang-230112","花鸟图册","吴璋","此作为绢本工笔小景，设色温婉雅致。石榴枝桠斜斜舒展，丹红榴花灼灼盛放，饱满的石榴绽裂果皮，紫实累累，尽显秋日生机。\n\n两只麻雀栖于细枝，一只侧目远眺，一只垂首理羽，羽色晕染细腻，绒毛细毫毕现，将禽鸟娇憨灵动之态尽数描摹。叶片的阴阳向背晕染得体，线条秀逸柔和，写实之中暗含清逸雅致的意趣，将果熟禽闲的静谧小景刻画鲜活，于方寸间尽显工笔花鸟的精巧匠心，带着悠然恬淡的闲趣韵味。",[24,25,26,54,85,7,129,379,380,381,382,383,273],"石榴","鸟","红花","绿叶","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9458be09e16cb478d2d52da2905a209b.jpg",[],66,{"id":388,"slug":389,"title":390,"dynasty":139,"author":391,"museum":126,"description":392,"tags":393,"thumbUrl":407,"material":98,"size":98,"collection":98,"collections":408,"showCount":409,"zanCount":11,"manualWeight":11,"mainColor":44},229005,"shi-er-yue-ling-shan-shui-ce-ye-gong-xian-229005","十二月令山水册页","龚贤","以淡墨晕染出郊野冬韵，枯木疏朗错落，枝桠褪尽繁叶，萧索间藏着山野幽居的静穆意趣。坡地以短笔皴擦，层层铺陈出浑厚质感，留白化作寒溪浅流，晕开冬日清寂。茅舍掩映在坡坳间，篱墙蜿蜒环绕，高悬的酒旗孤静无扰，不见行人踪迹，愈衬出林居的幽谧冷寂。笔墨简淡却意韵悠长，将冬日荒寒与山居恬然融作一处，淡墨轻皴间，把山野闲居的安然意绪缓缓铺展，尽显静穆淡远的林下风致。",[25,28,7,394,395,396,397,398,399,400,401,402,29,403,404,405,406],"山水画","冬日","枯木","茅舍","篱墙","酒旗","寒溪","坡地","山居","幽谧","静穆","恬然","荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1e413a3bcf06fadb00a852fcadfc1f.jpg",[],62,{"id":411,"slug":412,"title":413,"dynasty":139,"author":414,"museum":126,"description":415,"tags":416,"thumbUrl":419,"material":342,"size":343,"collection":39,"collections":420,"showCount":421,"zanCount":252,"manualWeight":11,"mainColor":44},235611,"hong-ren-shan-shui-ce-hong-ren-235611","弘仁山水册","弘仁","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[25,26,28,30,89,31,417,32,418,7,29,57,58],"悬崖","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9adc4adea84818538ce7cff5131eed.jpg",[39],59,{"id":423,"slug":424,"title":425,"dynasty":49,"author":50,"museum":126,"description":426,"tags":427,"thumbUrl":429,"material":342,"size":343,"collection":98,"collections":430,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":44},288325,"yi-yun-xian-xing-tu-ye-ma-yuan-288325","倚云仙杏图页","此图只画出从画幅左下角伸出的花枝的一部分，这种局部描写的构图手法，与他的山水画中的“一角”、“半边”处理有相通相似之处。花枝曲折横斜，然后一分枝指向左上，一分枝指向右下。枝条以细笔浓墨钩勒，再施以水墨渲染；枝上层层叠叠盛开的花朵、含苞欲放的花蕾则施以厚重的白粉加淡红，萼片施以紫色。整个花枝既有曲折多变而挺秀的姿态之美，又透露出几分华贵之气。",[25,26,7,129,54,85,428,58,198],"杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32788a69655290214fe87653a0b2a620.jpg",[],58,{"id":433,"slug":434,"title":435,"dynasty":139,"author":436,"museum":126,"description":437,"tags":438,"thumbUrl":444,"material":98,"size":98,"collection":98,"collections":445,"showCount":446,"zanCount":252,"manualWeight":11,"mainColor":44},230145,"yang-zheng-tu-ce-quan-shi-ye-leng-mei-230145","养正图册全十页","冷枚","《冷枚养正图册》是清代画家冷枚创作的一幅绢本设色画。\n《冷枚养正图册又称《圣功图》，是带有启蒙教育性质的作品，明清两代均有绘制。\n此套册页共1开，画面内容皆为历代贤明君主的故事。\n每开对题均有张若蔼书写对应故事情节的文字。\n两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。\n署款：“臣冷枚敬画。\n”钤“臣冷枚”印。\n此册虽为人物画，但作为背景的楼阁宫阙占有相当的比重，不难看出西方技法对画家的影响。\n建筑物的画法适当借用了 ，并力图在设色上用晕染的深浅表现构件的明暗关系，突出建筑的立体感。\n从作品整体看，构图、线条、色彩并没有摆脱明代画家仇英的设色界画系统，画面带有较多的装饰色彩和平面感觉，在表现建筑的体积感和建筑材料的质感上尚显不足。\n冷枚，生卒年不洋，约生活十公元17世纪后期至18世纪前期，字吉臣，号令门画史，胶州（今属山东）人。\n曾经跟随康熙时宫廷画家焦秉贞学俩，约丁康熙中期进入宫廷供职，直至乾隆七年尚在。\n擅长画人物、什女及山水，面风工整、细致，色彩较浓丽，具有装饰性。\n画法得力曲面写生，上中带写，白康熙到乾隆末，糅合中两技法之画风在画院内颇为盛行，而且影响到民间艺术，冷枚为此技弦之积极推行者。\n传世作品有《避馨山庄图》等。",[7,25,70,439,86,54,440,441,442,274,90,198,443],"人物画","晕染","历史故事画","贤君故事","启蒙教育","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99c5bbc18613ed7885de8cc288a9d11.jpg",[],56,{"id":448,"slug":449,"title":450,"dynasty":49,"author":125,"museum":126,"description":451,"tags":452,"thumbUrl":454,"material":98,"size":98,"collection":98,"collections":455,"showCount":456,"zanCount":252,"manualWeight":11,"mainColor":44},227381,"qiu-hua-tu-ye-yi-ming-227381","秋花图页","艺术史学家高居翰(James Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。",[23,24,25,26,7,54,85,129,143,453,201],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F566273ba43fdaceaabf6298b88025aa3.jpg",[],51,{"id":458,"slug":459,"title":460,"dynasty":49,"author":461,"museum":51,"description":462,"tags":463,"thumbUrl":466,"material":467,"size":468,"collection":98,"collections":469,"showCount":470,"zanCount":11,"manualWeight":11,"mainColor":44},221260,"mo-ji-wang-chuan-tu-ba-qin-guan-221260","摩诘辋川图跋","秦观","余曩卧病汝南。友人高符仲携摩诘辋川图。过直中相示。言能愈疾。遂命童持于枕旁阅之。恍入华子冈。泊文杏竹里馆。与斐（应作裴）迪诸人相酬唱。忘此身之匏系也。因念摩诘画。意在尘外。景在笔端。足以娱性情而悦耳目。前身画师之语非谬已。今何幸复睹是图。仿佛西域雪山。移置眼界。当此盛夏。对之凛凛如立风雪中。觉惠连所赋。犹未尽山林景耳。吁。一笔墨间。向得之而愈病。今得之而清暑。善观者宜以神遇而不徒目视也。五月二十日。高邮秦观记。",[248,57,187,464,465,26,7],"墨书","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e830ec8acd1dae73308208a6a36dc33.jpg","白纸本","纵25.2、横39.4cm",[],49,{"id":472,"slug":473,"title":474,"dynasty":139,"author":475,"museum":126,"description":476,"tags":477,"thumbUrl":480,"material":342,"size":343,"collection":98,"collections":481,"showCount":482,"zanCount":11,"manualWeight":11,"mainColor":44},238955,"yu-ce-ye-ma-yuan-yu-238955","鱼册页","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。\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。",[24,25,26,7,28,85,478,479,129,35],"鱼","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3792bb542308bd6469d94eda6dc0aa5b.jpg",[],42,{"id":484,"slug":485,"title":486,"dynasty":49,"author":125,"museum":487,"description":488,"tags":489,"thumbUrl":492,"material":96,"size":493,"collection":494,"collections":495,"showCount":496,"zanCount":252,"manualWeight":11,"mainColor":76},218461,"gao-shi-guan-shui-tu-yi-ming-218461","高士观水图","圣路易斯艺术博物馆","凭栏者凝眸向水，衣袂轻垂似与波痕共息。亭榭半掩于疏枝间，木构纹理隐现岁月静穆。秃枝如笔，蘸着空濛天色，在绢上勾勒清寂骨线；水面无波，却载千般思绪，与观者目光遥遥相契。通篇不着艳色，墨线浓淡交错，留白虚实相生，铺展文人心中丘壑——非喧嚣山水，是心与自然对语的片刻安宁。笔意简淡却藏深致，枯枝的疏朗、亭台的稳静、高士的凝思，织就一幅含蓄的精神图景，让千载后的目光，仍能触到那份清寂中的悠远。",[23,25,28,490,86,7,61,89,217,491,218],"白描","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea1f9bda4c7207655fc3e8783405b61.jpg","21.6x24.6cm","人物画精选",[494],41,{"id":498,"slug":499,"title":500,"dynasty":49,"author":125,"museum":126,"description":501,"tags":502,"thumbUrl":506,"material":98,"size":98,"collection":98,"collections":507,"showCount":508,"zanCount":252,"manualWeight":11,"mainColor":44},223619,"hong-liao-shui-qin-tu-ye-yi-ming-223619","红蓼水禽图页","取景以简驭繁，水禽伫立于红蓼柔梢，翎毛晕染入微，丝缕毕现，禽鸟垂喙凝神，灵动宛若将欲振翅。淡墨轻勾浅淡水纹，留白衬出汀洲空寂，将秋日水滨的清寒野趣凝于尺幅纨扇。工笔摹形，写意传情，把小景生机与幽澹诗意相融，尽显雅致空疏的审美意趣，不负“传写物态，蔚有生意”之誉，是小品画中以形传神的绝佳之作。",[23,24,25,26,7,54,85,129,503,504,505,58],"水禽","红蓼","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa3aae2e3e700ea4306d26b41921ec2.jpg",[],40,{"id":510,"slug":511,"title":512,"dynasty":139,"author":195,"museum":126,"description":513,"tags":514,"thumbUrl":516,"material":98,"size":98,"collection":98,"collections":517,"showCount":518,"zanCount":11,"manualWeight":11,"mainColor":44},235913,"xiao-shan-zhu-shu-ye-yun-shou-ping-235913","小山竹树页","此作以修竹为画面核心，几竿新篁挺拔清劲，竹叶以浓淡墨色点染，攒聚错落间尽显阴阳开合，笔力爽利，将竹的清健风骨跃然纸上。\n远景山峦以淡墨晕染勾勒，留白为水，不着一笔却见湖光悠悠，湖畔茅亭极简勾勒，野逸闲淡之趣自生。\n全作用笔简净空灵，以少胜多，舍弃繁复皴擦，借浅淡水墨写尽丘林幽致。右上角题识与朱印呼应，书画相融，为画面添了雅致文气，将江南小景的清寂空阔藏在尺幅之中，尽显萧散淡远的文人意韵，借花木山水寄寓了幽远襟怀。",[25,28,30,515,200,218,114,29,7],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4220102cf9fcc83ce62cc8c4a1a42f1e.jpg",[],39,{"id":520,"slug":521,"title":522,"dynasty":139,"author":523,"museum":126,"description":524,"tags":525,"thumbUrl":526,"material":187,"size":527,"collection":528,"collections":529,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":44},223125,"shu-hua-ce-ye-ji-gui-zhuang-223125","《书画册页》-寄","归庄","归庄（1613年8月29日——1673年10月1日） ，明末清初书画家、文学家。一名祚明，字尔礼，又字玄恭，号恒轩，又自号归藏、归来乎、悬弓、园公、鏖鏊钜山人、逸群公子等，昆山（今属江苏）人。明代散文家归有光曾孙，书画篆刻家归昌世季子，明末诸生，与顾炎武相友善，有“归奇顾怪”之称，顺治二年在昆山起兵抗清，事败亡命，善草书、画竹，文章胎息深厚，诗多奇气。有《玄弓》《恒轩》、传世者名《归玄恭文钞》《归玄恭遗著》。",[23,273,26,7,57,28,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0175a63c532bdaa1c34eaf797535b8ec.jpg","纵24.5厘米，横35.5厘米","书法精选",[528],38,{"id":532,"slug":533,"title":534,"dynasty":139,"author":288,"museum":126,"description":289,"tags":535,"thumbUrl":536,"material":98,"size":98,"collection":164,"collections":537,"showCount":538,"zanCount":11,"manualWeight":11,"mainColor":44},237888,"wang-hui-ya-zhen-tu-heng-fang-ye-wang-hui-237888","王翚鸦阵图横方页",[25,295,7,29,28,327,491,32,217,90,114,58,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f77cb5f5efef0d0dd541b2a6f81ea3a.jpg",[164,74],37,{"id":540,"slug":541,"title":542,"dynasty":350,"author":543,"museum":126,"description":544,"tags":545,"thumbUrl":549,"material":98,"size":98,"collection":98,"collections":550,"showCount":538,"zanCount":551,"manualWeight":11,"mainColor":44},226713,"huo-lang-tu-ye-li-sheng-226713","货郎图页","李昇","这是一幅人物风俗画卷，画面上货郎的货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹场景。画家借助货郎这一题材表现了当时市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了那个时代百姓的生活方式，是民俗学家不可多得的珍贵史料。",[23,24,25,26,7,54,85,61,546,547,90,548,32],"货担","器物","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b73176be8077b5a0404118925f2e78.jpg",[],2,{"id":553,"slug":554,"title":555,"dynasty":18,"author":556,"museum":557,"description":558,"tags":559,"thumbUrl":565,"material":566,"size":567,"collection":98,"collections":568,"showCount":569,"zanCount":11,"manualWeight":11,"mainColor":44},222558,"hua-hui-tu-10-chen-chun-222558","花卉图10","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。",[23,25,560,7,85,561,562,563,564],"花鸟画","文人写意","写生","草本花卉","萱草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eaa39a1ce4b3d43b4c0fcf6632bf627.jpg","纸本设色","32.5×57.3厘米",[],36,{"id":571,"slug":572,"title":573,"dynasty":139,"author":414,"museum":126,"description":574,"tags":575,"thumbUrl":576,"material":98,"size":577,"collection":98,"collections":578,"showCount":579,"zanCount":11,"manualWeight":11,"mainColor":44},238032,"hong-ren-shan-shui-tu-ce-hong-ren-238032","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[25,28,29,7,30,31,32,418,60,217,114,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ebf488d534c551f08afd778cd7b6d19.jpg","50×36",[],35,{"id":581,"slug":582,"title":287,"dynasty":139,"author":288,"museum":126,"description":289,"tags":583,"thumbUrl":587,"material":98,"size":98,"collection":98,"collections":588,"showCount":589,"zanCount":11,"manualWeight":11,"mainColor":44},237583,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237583",[25,28,26,7,291,199,29,58,116,584,200,585,586,115,292],"石","松","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d20d5d72ffbd6c3dd89af475576be0.jpg",[],34,{"id":591,"slug":592,"title":593,"dynasty":49,"author":594,"museum":126,"description":595,"tags":596,"thumbUrl":600,"material":98,"size":98,"collection":98,"collections":601,"showCount":602,"zanCount":11,"manualWeight":11,"mainColor":76},227766,"ting-pu-tu-ye-li-tang-227766","听瀑图页","李唐","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,25,28,85,29,7,30,293,32,90,218,597,64,598,599],"河流","近岸","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300f3d307bc7e7517c87dc0b837e932e.jpg",[],33,{"id":604,"slug":605,"title":606,"dynasty":49,"author":607,"museum":172,"description":608,"tags":609,"thumbUrl":613,"material":614,"size":615,"collection":98,"collections":616,"showCount":602,"zanCount":11,"manualWeight":11,"mainColor":76},221571,"wu-zhu-xi-tang-tu-ye-xia-gui-221571","梧竹溪堂图页","夏圭","《梧竹溪堂图》为一山水小品。此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。\n此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[23,24,25,26,7,248,28,29,30,94,610,60,274,32,217,611,90,612,161],"梧树","回廊","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","绢本墨笔","纵23厘米，横26厘米",[],{"id":618,"slug":619,"title":620,"dynasty":49,"author":232,"museum":126,"description":621,"tags":622,"thumbUrl":624,"material":342,"size":343,"collection":98,"collections":625,"showCount":626,"zanCount":11,"manualWeight":11,"mainColor":76},288534,"mei-hua-xiu-yan-tu-ye-zhao-ji-288534","梅花绣眼图页","图中梅枝瘦劲，枝上疏花秀蕊，一只绣眼俏立枝头，鸣叫顾盼，与清丽的梅花相映成趣。此图虽然景物不多，却颇为优美动人。所绘梅花为宫梅，经过不断剪枝，人工修饰痕迹较重。此种梅的画法精细纤巧，敷色厚重，自有一种富贵气息，这样的风格趣味为宫廷所好尚，显然代表了皇家的审美意味。",[23,25,26,7,54,85,129,623,327,58],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc0daf94958e7050e93d286406ea889.jpg",[],32,{"id":628,"slug":629,"title":630,"dynasty":350,"author":351,"museum":172,"description":631,"tags":632,"thumbUrl":635,"material":70,"size":636,"collection":494,"collections":637,"showCount":626,"zanCount":11,"manualWeight":11,"mainColor":76},238953,"xi-zi-huan-sha-tu-ye-zhou-wen-ju-238953","西子浣纱图页","中国五代南唐画家。建康句容（今江苏省句容市）人。工画佛道、人物、车马、屋木、山水，尤精于仕女，也是出色的肖像画家。作品多为摹本《宫中图》《苏武李陵逢聚图》《重屏会棋图》《琉璃堂人物图》《太真上马图》。",[24,25,26,7,54,85,61,87,114,633,634],"布料","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381a9f19e2e6a925298dc86e6198ace1.jpg","64×64cm",[494],{"id":639,"slug":640,"title":641,"dynasty":49,"author":607,"museum":172,"description":642,"tags":643,"thumbUrl":645,"material":70,"size":646,"collection":98,"collections":647,"showCount":626,"zanCount":11,"manualWeight":11,"mainColor":76},234070,"song-xi-fan-yue-tu-ye-xia-gui-234070","松溪泛月图页","夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。\n简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。\n边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。作者以极为简括的构图和痩劲的线条反映了文人士大夫在当时的时代背景下追求心灵自由、亲近自然山水的诉求，艺术风格朴素清逸，可称是夏圭山水画的代表作品。\n夏圭（生卒年不详），一作夏珪，字禹玉，钱塘（今浙江杭州）人。南宋画家，与李唐、刘松年、马远并称“南宋四大家”。宁宗时任画院待诏，赐金带。善画山水，属水墨苍劲一派，喜用秃笔，下笔凝重，继承发展了李唐的大斧劈皴。取景简练，常以半边景物表现空间，与马远有异曲同工之妙，有“马一角，夏半边”之称。",[25,24,26,7,28,85,29,30,31,217,644,59,58],"孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1dcf60be19a97c3123327632de9860.jpg","24.7×25.2cm",[],{"id":649,"slug":650,"title":651,"dynasty":139,"author":652,"museum":653,"description":654,"tags":655,"thumbUrl":659,"material":660,"size":661,"collection":98,"collections":662,"showCount":626,"zanCount":252,"manualWeight":11,"mainColor":76},223028,"hong-lou-meng-153-sun-wen-223028","红楼梦153","孙温","旅顺博物馆","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",[23,24,25,26,54,85,7,656,657,90,547,94,658],"人物群像","楼阁建筑","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25966c49a4e897334b25fed51cc76239.jpg","绢本","纵43.3厘米、横76.5厘米",[],{"id":664,"slug":665,"title":287,"dynasty":139,"author":288,"museum":126,"description":289,"tags":666,"thumbUrl":671,"material":98,"size":98,"collection":98,"collections":672,"showCount":673,"zanCount":11,"manualWeight":11,"mainColor":44},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585",[26,25,28,29,7,291,30,116,667,200,491,369,277,668,669,278,670],"水","石头","云雾","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],31,{"id":675,"slug":676,"title":677,"dynasty":139,"author":288,"museum":51,"description":678,"tags":679,"thumbUrl":681,"material":187,"size":98,"collection":39,"collections":682,"showCount":673,"zanCount":11,"manualWeight":11,"mainColor":44},237384,"shan-shui-ce-shen-cang-xiao-shan-tu-ye-wang-hui-237384","山水册-沈苍晓山图页","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。",[25,26,24,7,28,29,30,61,680,32,292,278],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd532bf4da8d2cb00da43608a79fe3d0.jpg",[39],{"id":684,"slug":685,"title":686,"dynasty":139,"author":270,"museum":126,"description":687,"tags":688,"thumbUrl":690,"material":342,"size":343,"collection":98,"collections":691,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":44},289909,"ye-se-ce-ye-shi-tao-289909","野色册页","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[25,28,7,58,198,30,327,491,369,61,114,689],"孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406cac18541976b3f7edf604d75728e4.jpg",[],29,{"id":694,"slug":695,"title":696,"dynasty":18,"author":697,"museum":126,"description":698,"tags":699,"thumbUrl":701,"material":342,"size":343,"collection":39,"collections":702,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":44},287451,"mo-gu-ce-ye-chen-hong-shou-287451","摹古册页","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[25,7,28,30,31,700,396,58,198,199,29,689],"孤山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64eebb7edbcb8537c7f5ef1326afd6bb.jpg",[39],{"id":704,"slug":705,"title":706,"dynasty":49,"author":594,"museum":126,"description":595,"tags":707,"thumbUrl":712,"material":98,"size":98,"collection":98,"collections":713,"showCount":692,"zanCount":252,"manualWeight":11,"mainColor":76},227768,"shan-shui-ye-li-tang-227768","山水页",[23,25,26,24,28,29,7,30,89,644,90,32,708,709,612,64,710,711,491,418],"水域","船只","近景","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],{"id":715,"slug":716,"title":717,"dynasty":49,"author":718,"museum":126,"description":719,"tags":720,"thumbUrl":723,"material":98,"size":98,"collection":98,"collections":724,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":76},227751,"yu-tu-tu-ye-gong-ji-227751","玉兔图页","龚吉","兔子在民间象征着吉祥、智慧和谨慎，“玉兔呈祥”之说一直深入人心。“ 玉兔呈祥”起源于“遇兔呈祥”。\n\n《淮南子》中有这样的记载，月中有桂树，果实每年四五月后飘落人间。因玉兔是月中仙童，所以人们常将兔子隐于桂树丛中，先找到的，会有“蟾宫折桂”的祥兆。",[23,24,25,26,7,54,85,721,722,109,58],"兔","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1c09a8d4be96ac742975ab827a34a8.jpg",[],{"id":726,"slug":727,"title":728,"dynasty":49,"author":729,"museum":172,"description":730,"tags":731,"thumbUrl":738,"material":224,"size":739,"collection":98,"collections":740,"showCount":741,"zanCount":11,"manualWeight":11,"mainColor":44},234030,"jiao-yin-ji-qiu-tu-ye-su-han-chen-234030","蕉阴击球图页","苏汉臣","《蕉阴击球图》绘南宋贵族庭院里的婴戏小景。庭院内奇巧的湖石突兀而立，其后隐现茂盛的芭蕉数丛。石前的少妇正与身旁的女子专注地观看二童子玩槌球游戏。一童手持木拍正欲坐地击球，另一童子则向他急急地喊话。图中四人的目光同时落于童子所欲击打的小小球体上。构思巧妙，情节生动，显示出作者善于观察人物并且捕捉生活细节的能力。此幅在构图上巧妙地将玲珑剔透的湖石正立于画心中部，以其自身的完整性起到了镇住画面的作用，聚拢了交叠张扬的芭蕉叶及分散的人物，避免了画面因景物繁杂而出现轻浮感。此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。在笔法上，作者注重物象间的对比互衬关系。人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。",[24,25,26,7,248,54,85,732,61,733,734,668,63,735,736,737],"精细","儿童","芭蕉","地面","击球","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5800a0bb27581102b47456c505bec926.jpg","纵25厘米，横24.5厘米",[],28,{"id":743,"slug":744,"title":745,"dynasty":49,"author":746,"museum":172,"description":747,"tags":748,"thumbUrl":750,"material":751,"size":752,"collection":98,"collections":753,"showCount":741,"zanCount":252,"manualWeight":11,"mainColor":44},222141,"mu-dan-chun-man-tu-ye-li-cong-xun-222141","牡丹春满图页","李从训","[宋]杭州人。宣和（一一一九―一一二五）待诏，绍兴（一一三一―一一六二）间复宫补承直郎，赐金带。工画道释、人物、花鸟，位置不凡，传彩精妙，高出流辈。",[23,24,25,26,7,157,54,85,560,749],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06010232ff025bf2c27d45e222f744ca.jpg","绢本，册页，设色","纵26.9厘米、横46",[],{"id":755,"slug":756,"title":757,"dynasty":49,"author":758,"museum":172,"description":759,"tags":760,"thumbUrl":766,"material":767,"size":768,"collection":98,"collections":769,"showCount":770,"zanCount":11,"manualWeight":11,"mainColor":76},234068,"liu-xi-wo-di-tu-ye-liang-kai-234068","柳溪卧笛图页","梁楷","图片放至最大时，可见一人卧岸吹笛，所绘人物微小，但几笔勾勒出一个人物形状和行为；而作背景的树木、岛屿以水墨状散开，如雾气般升腾。画面极简，但达到了无形即有形的精髓。\n梁楷（活动于十三世纪初期），南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[761,25,28,762,7,763,764,61,217,765],"宋画","简笔","柳","溪","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067b2dd93936c97f26067414b882c22.jpg","绢本水墨","26.1×26.1cm",[],27,{"id":772,"slug":773,"title":774,"dynasty":139,"author":436,"museum":126,"description":775,"tags":776,"thumbUrl":778,"material":98,"size":98,"collection":494,"collections":779,"showCount":780,"zanCount":11,"manualWeight":11,"mainColor":44},236084,"hua-luo-han-ce-leng-mei-236084","画罗汉册","画面右首，罗汉安坐蒲团，神情恬然松弛，四位侍者或展长衲、或持具侍立，将佛门补衲日常刻画得鲜活生动。衣纹勾勒秀劲流畅，设色清雅柔和，人物情态各有不同，写实细腻间尽显灵动意趣。\n\n左侧题诗呼应画中主题，诗画合璧暗合禅意，把修行之人朴素自在的日常铺陈开来。笔墨兼具工致细腻与空灵韵味，将清寂平和的禅门氛围晕染开来，雅致静穆的意境扑面而来，是融写实意趣与禅宗意境为一体的精妙之作。",[24,25,26,7,777,54,85,61,58,198],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb75896d04e3b54e8ea11ec868c668f.jpg",[494,41],26,{"id":782,"slug":783,"title":784,"dynasty":139,"author":785,"museum":126,"description":786,"tags":787,"thumbUrl":789,"material":98,"size":98,"collection":98,"collections":790,"showCount":780,"zanCount":252,"manualWeight":11,"mainColor":44},230123,"hua-hui-ce-ye-01-ren-yi-230123","花卉册页01","任颐","此作用笔写意松弛，以湖石为景之骨，淡赭水墨晕染出嶙峋体态，略去繁复皴擦，虚实间尽显清隽雅逸。石畔丹红果簇饱满鲜活，浓墨枝叶枯润相宜，艳色与冷调湖石形成鲜明对照，艳而不俗，顽石愈发清灵，花果愈见生动。\n\n右上角题字笔力开张，与花木湖石相得益彰，融书画为一体，将花木蓬勃生机与文人闲淡意趣揉合于纸面，简淡之中自有鲜活情致。",[25,26,7,35,28,85,129,114,788,505,57],"红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71348d468b7d7e6ca8621b0226ef65d9.jpg",[],{"id":792,"slug":793,"title":794,"dynasty":49,"author":594,"museum":126,"description":595,"tags":795,"thumbUrl":796,"material":98,"size":98,"collection":98,"collections":797,"showCount":780,"zanCount":11,"manualWeight":11,"mainColor":76},227769,"shan-jian-ting-yin-tu-ye-li-tang-227769","山涧亭荫图页",[23,24,25,26,7,85,29,30,218,89,90,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62d8b679d7f4f502dfbd58fec656d8e.jpg",[],{"id":799,"slug":800,"title":801,"dynasty":49,"author":50,"museum":126,"description":802,"tags":803,"thumbUrl":805,"material":342,"size":343,"collection":98,"collections":806,"showCount":807,"zanCount":252,"manualWeight":11,"mainColor":76},289370,"bai-qiang-wei-tu-ye-ma-yuan-289370","白蔷薇图页","画中的白蔷薇花朵硕大，枝叶繁茂，光彩夺目。画家以细笔勾出花形，用白粉晕染花瓣，以深浅汁绿涂染枝叶，笔法严谨，一丝不苟，画风清丽活泼，颇具生气，代表了南宋画院花鸟画的典型风貌。\n宋代画院花鸟画继承了五代的传统，并在此基础上有所创新，黄荃“勾勒填彩、旨趣浓艳”的富贵风格统治着画坛近百年。其画法先以极工细的线条勾出轮廓，然后敷以重彩，层层晕染，往往掩盖住黑线，展现出一种极为工稳细腻和华贵富丽的风韵。",[23,24,25,26,7,54,85,129,804,58],"白蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7abef9e7816e004a5181f64f029a648d.jpg",[],24,{"id":809,"slug":810,"title":811,"dynasty":18,"author":125,"museum":126,"description":812,"tags":813,"t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快，显示出画者的心态安定而悠闲忘机，既不媚世求欢，也不率意而狂狷，彬彬然，霭霭然，内敛而外平，越品味越觉意味深远，不免有“珠玉在侧，觉我形秽”的感慨。\n陈振濂：《烟岫林居图》为小团扇——这是宫廷内多见的特殊形式。笔墨皆一遍施足，不重复皴染——这是步骤的简；树木繁纷，但却以粗笔为之，形成几个团块组合，外形并不过于曲折回环——这是造型的简。远山一二而已，空白处尽量加多，以见旷达之趣、约略之景——这是构图的简。最后，并无峰回路转、溪桥重叠、丘壑幽深的气韵：一切都是平淡的、直率的、简约的。这三种简复合起来，即构成一个简洁的减笔夏挂。",[25,24,26,30,28,29,7,116,200,876,877,878,32],"林","居处","烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73197fa365d71fb00c132cb41deb0b52.jpg","绢本 ，墨笔","纵25cm，横26.1cm",[],20,{"id":885,"slug":886,"title":887,"dynasty":139,"author":888,"museum":106,"description":889,"tags":890,"thumbUrl":894,"material":187,"size":98,"collection":98,"collections":895,"showCount":883,"zanCount":11,"manualWeight":11,"mainColor":44},233188,"hua-hui-ce-he-hua-ye-zhao-zhi-qian-233188","花卉册-荷花页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[25,85,129,7,91,891,892,893],"荷叶","紫藤","玉簪花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26b5eb62df5eecaa15fd2db8f768689.jpg",[],{"id":897,"slug":898,"title":899,"dynasty":139,"author":900,"museum":126,"description":901,"tags":902,"thumbUrl":905,"material":342,"size":343,"collection":98,"collections":906,"showCount":907,"zanCount":11,"manualWeight":11,"mainColor":44},287748,"an-chun-ye-ren-xun-287748","鹌鹑页","任薰","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[25,26,129,7,312,54,85,58,903,904],"草本","平安","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7253f7388174437d591cfe4456113f7a.jpg",[],19,{"id":909,"slug":910,"title":542,"dynasty":911,"author":125,"museum":126,"description":912,"tags":913,"thumbUrl":916,"material":98,"size":98,"collection":98,"collections":917,"showCount":907,"zanCount":252,"manualWeight":11,"mainColor":76},228231,"huo-lang-tu-ye-yi-ming-228231","元","垂柳拂岸，水石叠映，郊野间四人围坐雅聚。三两货郎架上，瓷瓶茶器、文玩雅陈罗列琳琅。\n\n画中雅士姿态松弛自在，或俯身辨赏器物，或围坐笑谈，货郎静立一旁，氛围悠然闲逸。笔触工细秀润，设色清雅柔和，将文人耽于雅玩、寄情林泉的日常情态细细铺展。市井雅货与郊野清景相融，尽显古淡天真的隐逸意趣，将元代文人的赏玩雅好，定格成一方悠然古雅的片刻景致。",[23,25,85,54,7,61,634,914,114,548,915],"柳树","河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3654df41463c4282c2769d25d0ba8ecb.jpg",[],{"id":919,"slug":920,"title":921,"dynasty":139,"author":125,"museum":126,"description":922,"tags":923,"thumbUrl":926,"material":98,"size":98,"collection":98,"collections":927,"showCount":907,"zanCount":11,"manualWeight":11,"mainColor":44},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,25,26,28,85,30,29,7,32,90,597,599,277,34,669,924,115,670,925,215],"植被","峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":929,"slug":930,"title":931,"dynasty":139,"author":888,"museum":172,"description":932,"tags":933,"thumbUrl":941,"material":187,"size":942,"collection":98,"collections":943,"showCount":944,"zanCount":11,"manualWeight":11,"mainColor":44},232785,"zhuan-shu-xu-shi-shuo-wen-zhao-zhi-qian-232785","篆书许氏说文","赵之谦篆书许氏说文叙册。纸本，纵32.4cm，横57.5cm。每页10行，行4字。此册篆书节录汉许慎《说文解字叙》一段，末开识云：“方壶属书此册，故露笔痕以见起讫转折之用。”\n从赵之谦识语推测，此册当是为弟子习字用所书范本，上款方壶应为其弟子或爱其书者。此册书法结构谨严，篆法精丽，起讫之处未用藏锋，其意为使弟子易见笔法之踪痕，却获得了一种意外的效果，使之不同于一般篆书之圆润流美，自具特色。同时，此册笔力健劲，使转自如，将北碑书法融于篆书之中，也为赵氏书法之一大特色。本册具体书写时间不详，但从书法风格及为弟子书写范本的情况看，当为赵氏中年以后作品，是赵之谦具有代表性的篆书作品之一。\n释文:黄帝之史仓颉，见鸟兽蹄迒之迹，知分理之可相别异也。初造书契，百官以乂，万民以察，盖取诸夬夬扬于王庭。言文者，宣教明化于王者，朝廷君子所以施禄及下，居德则忌也。仓颉之初作书，盖依类象形，故谓之文。其后形声相益，即谓之字。字者，言孳乳而浸多也。著於竹帛谓之书。书者，如也。以讫五帝三王之世，改易殊体，封于秦山者七十有二代，靡有同焉。周礼八岁（入）小学，保氏教国子先以六书。一曰指事。指事者，视而可识，察而可见，上下是也。二曰象形。象形者，画成其物，随体诘诎，日月是也。三曰形声。形声者，以事为名，取辟相成，江河是也。四曰会意。会意者，比类合谊，以见指撝，武信是也。五曰转注。转注者，建类一首，同意相受，考老是也。六曰假借。假借者，本无其字，依声托事，令长是也。及宣王太史籀著大篆十五篇，与古文或异，至孔子书六经，左邱明述春秋传，皆以古文厥意可得而说。许氏说文叙。",[198,934,935,187,7,936,937,938,939,940],"篆书","墨笔","金石气","中锋用笔","隶书笔意","古朴","浑厚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c5625c27b1bbdd537e79f97528a97f7.jpg","纵32.4cm，横57.5cm",[],18,{"id":946,"slug":947,"title":948,"dynasty":911,"author":949,"museum":126,"description":950,"tags":951,"thumbUrl":953,"material":98,"size":98,"collection":98,"collections":954,"showCount":944,"zanCount":11,"manualWeight":11,"mainColor":44},231481,"qie-zi-tu-ye-qian-xuan-231481","茄子图页","钱选","宋元间湖州吴兴人，字舜举，号玉潭，又号巽峰、霅川翁、清臞老人。幼有文名。宋景定间乡贡进士。入元不仕。工书，善画人物花木。尤善作折枝，其得意者，自赋诗题之。",[24,25,26,7,85,54,952,57,58],"茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9d9d4102a916a0108a8d95ed82deeb.jpg",[],{"id":956,"slug":957,"title":958,"dynasty":911,"author":959,"museum":126,"description":960,"tags":961,"thumbUrl":962,"material":98,"size":98,"collection":98,"collections":963,"showCount":944,"zanCount":11,"manualWeight":11,"mainColor":76},228253,"ku-shu-tu-ye-cao-zhi-bai-228253","枯树图页","曹知白","画面以古木为核心，老干虬曲扭结，皴擦简劲尽显树皮斑驳嶙峋，枯瘦枝桠如铁铸般舒展，倒挂的垂丝晕开幽寂清冷的氛围。侧旁杂木参差，枯荣相衬，更衬出主树孤高之姿。\n\n下方坡石以淡墨勾勒晕染，棱角浑朴古拙，托举着古木更见苍劲。构图疏朗空灵，以极简笔墨铺展出荒寒淡远的意境，尽显元代文人尚简重意的风骨。笔意苍劲松秀，枯中藏腴，淡而弥厚，将冬景萧瑟化作沉静的精神图景，淡墨轻岚间，寄寓着幽淡清寂的隐逸心绪，尽显疏旷出尘的文人意趣。",[23,25,26,7,28,30,491,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa7ec689131e19f51954940a33d2460.jpg",[],{"id":965,"slug":966,"title":967,"dynasty":49,"author":758,"museum":172,"description":968,"tags":969,"thumbUrl":975,"material":976,"size":977,"collection":98,"collections":978,"showCount":944,"zanCount":252,"manualWeight":11,"mainColor":44},221611,"qiu-liu-shuang-ya-tu-ye-liang-kai-221611","秋柳双鸦图页","纨扇页，行书署款“梁楷”二字。\n此图前人定名《秋柳双鸦》，实则写唐代诗人王维五言绝句《鸟鸣涧》诗意。王维的诗“人闲桂花落，夜静春山空。月出惊山鸟，时鸣春涧中。”描绘鸟鸣涧春山月出的夜景，既幽静，又有生气。梁楷的画，以渴笔焦墨绘一节断裂的枯柳，三两根枝条昂扬向上又飘拂而下，突兀地将整幅扇页中分为二，构图大胆，以奇致胜。大片空白处淡墨晕染出的薄云满月，给空谷春山平添了几分神秘。初升的月亮惊起的两只山鸟奋飞呼鸣，打破了夜空的静寂，老柳虽然细弱，枝条却仍坚韧，使观者感受到自然生命的搏动。\n梁楷作画，以“减笔”闻名，此幅亦不例外，寥寥几笔就生动地勾画出所表现物象的主要特征，描绘出花鸟的内在神韵。大片的空白使画面显得空濛含蓄，给人以笔墨有尽而意无穷的想象空间，达到了“于无画处皆成妙境”的艺术效果。",[23,25,295,970,762,7,26,971,972,914,973,974],"写意画","秋柳","双鸦","乌鸦","暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda57ad02295ec97fd893b3cb36990a90.jpg","绢本，墨笔","纵24.7厘米，横25.7厘米",[],{"id":980,"slug":981,"title":982,"dynasty":139,"author":125,"museum":126,"description":983,"tags":984,"thumbUrl":986,"material":96,"size":98,"collection":494,"collections":987,"showCount":944,"zanCount":11,"manualWeight":11,"mainColor":44},216077,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-yi-ming-216077","职贡图巨幅彩绘册页第3册","画面分绘两人，左者为女子，彩条纹长裙摇曳生姿，青蓝披肩轻覆肩头，步履间尽显温婉神态；右者乃男子，蓝布长褂配浅色内裳，腰间束带勾勒质朴身形，神情从容自然。画作以工笔彩绘而成，线条细腻流畅，色彩搭配和谐雅致，人物神情生动传神，精准呈现出不同族群的服饰风貌与生活气息。作为职贡图的一部分，它不仅是技法精湛的艺术佳作，更承载着记录清代边疆族群文化、反映民族交流融合的历史价值，为后人窥探当时的社会风貌提供了珍贵的视觉窗口。",[23,24,25,7,54,85,61,87,985],"少数民族服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca5d1171391264734f402225c7c7f29.jpg",[494],{"id":989,"slug":990,"title":991,"dynasty":139,"author":992,"museum":126,"description":993,"tags":994,"thumbUrl":1002,"material":342,"size":343,"collection":98,"collections":1003,"showCount":1004,"zanCount":11,"manualWeight":11,"mainColor":76},239758,"shu-hong-li-song-xia-jing-shan-shui-shi-er-yong-shi-ce-he-shen-239758","书弘历颂夏景山水十二咏诗册","和珅","和珅（1750年7月1日—1799年2月22日），钮祜禄氏，本名善保，字致斋，自号嘉乐堂、十笏园、绿野亭主人，奉天府开原县（今辽宁省清原县）人，满洲正红旗。清朝中期权臣、商人。\n和珅门荫入仕，精明强干。通过李侍尧案，巩固身份地位，深得乾隆帝宠信，并将十公主嫁给和珅长子丰绅殷德，促使和珅大权在握，成为皇亲国戚。先后担任和兼任众多关键职务，主要包括内阁首席大学士、领班军机大臣、吏部尚书、户部尚书、刑部尚书、理藩院尚书，兼任内务府总管、翰林院掌院学士、《四库全书》正总裁官、领侍卫内大臣、步军统领等数十个重要职务，拜文华殿大学士，封一等忠襄公。随着权力地位的成长，私欲日益膨胀。利用职务之便，结党营私，聚敛钱财，打击政敌。亲自经营工商业，开设当铺七十五间，设大小银号三百多间，建立同英国东印度公司、广东十三行的商业往来。\n嘉庆四年（1799年），清仁宗下旨将和珅革职下狱。乾隆帝死后十五天，清仁宗赐和珅自尽，时年四十九岁。",[833,198,26,7,30,200,995,996,997,764,876,998,763,999,1000,1001],"涧","水田","村","野塘","鹭","波","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c706ca362dd92ad9aff46683c23a07.jpg",[],17,{"id":1006,"slug":10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Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,25,26,7,54,85,1018,1019,129,200,1020,381,1021,382,383,198,57,58],"中西合璧","写实","花枝","白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],{"id":1025,"slug":1026,"title":1027,"dynasty":49,"author":125,"museum":126,"description":1028,"tags":1029,"thumbUrl":1032,"material":98,"size":98,"collection":98,"collections":1033,"showCount":1004,"zanCount":11,"manualWeight":11,"mainColor":44},227925,"jiao-yin-ji-qiu-tu-ye-yi-ming-227925","蕉荫击球图页","《蕉阴击球图》是宋代佚名画家创作的一幅绢本设色画，现藏于 。\n无作者款印。\n对幅清高宗弘历御题诗一首。\n本幅、对幅及裱边钤高宗弘历“古稀天子”、“八徵耄念之宝”、“ ”等鉴藏印，共6方。\n此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。\n在笔法上，作者注重物象间的对比互衬关系。\n人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。\n湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。\n湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。\n以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。\n当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。\n此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。\n此图原载《宋人名流集藻册》。\n图绘一仕女童于桌旁观看一老一小两人作击球行了游戏。\n庭院中绿草如茵，湖石矗立，芭蕉成荫。\n仕女认真观球的神态和儿童击球的细小动作刻画得自然生动。\n全图用工笔重彩法，衣纹勾线简练细劲，设色艳而不火，工而不板，为南宋小幅人物画精作。\n此图蕉题签为苏汉臣作，但究其画风，与苏汉臣有别。\n在古代，见婴戏必题 作，见牛必题戴嵩，见马即题韩干之类，实属偏见，故今改为无名氏作。\n画中钤有「东莱」印一方，经《 》著录。",[23,25,26,7,54,85,61,1030,1031,57,58,736],"孩童","蕉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea29c347ebabee65faf94a2305bd7ce.jpg",[],{"id":1035,"slug":1036,"title":1037,"dynasty":139,"author":1015,"museum":172,"description":1038,"tags":1039,"thumbUrl":1045,"material":224,"size":1046,"collection":98,"collections":1047,"showCount":1004,"zanCount":11,"manualWeight":11,"mainColor":44},222790,"hua-niao-ce-ye-10-lang-shi-ning-222790","花鸟册页10","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。",[23,24,25,26,7,54,85,1018,1019,129,1040,1041,201,668,161,1042,1043,1044],"鸢尾花","花朵","光影","透视","重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cf8023c1a700d7d63d7c95b0ee1172.jpg","纵32.6厘米，横28.6厘米",[],{"id":1049,"slug":1050,"title":1051,"dynasty":49,"author":1052,"museum":126,"description":1053,"tags":1054,"thumbUrl":1056,"material":98,"size":98,"collection":528,"collections":1057,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":76},239644,"jun-yi-tie-ye-huang-ting-jian-239644","君宜帖页","黄庭坚","黄庭坚（1045年6月12日—1105年9月30日），字鲁直，乳名绳权，号清风阁、山谷道人、山谷老人、涪翁、涪皤、摩围老人、黔安居士、八桂老人，世称黄山谷、黄太史、黄文节、豫章先生。宋江南西路洪州府分宁人（今江西省九江市修水县）人。祖籍浙江省金华市。北宋诗人黄庶之子，南宋中奉大夫黄相之父。北宋大孝子，《二十四孝》中“涤亲溺器”故事的主角。北宋著名文学家、书法家、江西诗派开山之祖。\n黄庭坚在诗、词、散文、书、画等方面取得很高成就。黄庭坚与张耒、晁补之、秦观都游学于苏轼门下，合称为“苏门四学士”。黄庭坚的诗，被苏轼称为“山谷体”。黄庭坚的书法独树一格，自成一家，他和北宋书法家苏轼、米芾和蔡襄齐名，世称为“宋四家”。在文学界，黄庭坚生前与苏轼齐名，时称“苏黄”。作品有《山谷词》《豫章黄先生文集》等。\n治平四年（1067年），黄庭坚进士及第，历任叶县县尉、北京国子监教授、泰和县知县、德平镇监、秘书省校书郎、《神宗实录》编修官、集贤校理、国史局编修官、起居舍人、宣州知州、鄂州知州、涪州别驾、宣议郎监鄂州、奉议郎兼宁国军判官、朝奉郎兼舒州知州、吏部员外郎、太平州知州等职。1105年，黄庭坚病逝于宜州南楼，享年61岁。而后，宋高宗追赠黄庭坚为“龙图阁大学士”。1265年，宋度宗追赠黄庭坚谥号：文节。黄庭坚一生为官清正，治学严谨，以文坛宗师、孝廉楷模垂范千古。",[248,198,57,58,26,1055,187,7],"墨迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8ed1965e5015ecc210f24a653c622f.jpg",[528],16,{"id":1060,"slug":1061,"title":1062,"dynasty":139,"author":171,"museum":126,"description":1063,"tags":1064,"thumbUrl":1066,"material":98,"size":98,"collection":98,"collections":1067,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":44},235166,"shan-shui-ce-zhu-da-235166","山水册","此作以极简笔墨营构幽寂天地，左侧危崖突兀，枯松虬曲苍劲，崖石以淡墨勾勒皴擦，笔意老辣疏简。山坳间几椽茅舍错落隐现，淡写山乡野逸之态。\n画面大半留白，以虚代实，将江天寥廓空茫尽数铺展，留白处的题款与朱红印章冷暖相映，让素净画面多了一丝沉凝意蕴。\n笔底无多，却以疏淡荒寒之境藏尽孤高萧索的心境，把文人沉郁风骨融于山川丘壑，淡远空灵间，尽显水墨造境的悠长余韵。",[25,26,24,28,762,29,7,30,90,277,1065,64,58],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a3803585d8cad8fc59bea54486cdb2.jpg",[],{"id":1069,"slug":1070,"title":1071,"dynasty":1072,"author":125,"museum":172,"description":1073,"tags":1074,"thumbUrl":1077,"material":224,"size":1078,"collection":98,"collections":1079,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":44},234062,"tang-ren-fu-xi-nv-wa-xiang-dan-ye-yi-ming-234062","唐人伏羲女娲像单页","唐","此图上彩画人首蛇身男女二人，均着窄衫小袖绛红色胡装，二人腰相连，共着一条白裙。男居左，无须，头戴笼冠，张左手执矩，矩上有墨斗（已被腐蚀）。女居在右，束高髻，张右手执规。男女上身相拥，中间两臂相连，下尾盘曲相交四节成螺旋状。两人头上有圆轮，周画圆圈以象征日；尾下有下弯月牙一，周画圆圈以象征月。画面四周面遍布大小相等的圆圈，部分以线相连象征星辰。\n吐鲁番高昌国至唐西州国时期的墓葬出土了许多伏羲、女娲绢画,画面形式大致相似：人首蛇身，交尾相拥，伏羲持矩，女娲持规。绢画上方有日，下方有月，周围布满丝缕相连的星辰。整幅绢画上宽下窄，与棺形相似，常覆盖于棺上，也有盖于尸上或置于尸旁者，还有张挂或用木钉固定于墓顶的情况。\n故宫博物院所藏的伏羲女娲绢画系1963年4月出土于新疆吐鲁番阿斯塔那古墓，1963年12月由新疆博物馆拨交故宫博物院。据阿斯塔那古墓考古报告中所示，同期出土的此类绢画共有数十件。在墓室中一般都是画面朝下，用木钉钉在墓顶上。一般认为伏羲所执矩象征地，女娲所执规象征天，用以配合画面上的日月星辰，为墓室营造一个小宇宙。",[25,26,7,85,490,61,1075,59,1076],"蛇","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926562084f175f7bc144648f04df841e.jpg","纵左222.5cm，右231cm，横上115cm，下94cm",[],{"id":1081,"slug":1082,"title":1083,"dynasty":49,"author":125,"museum":172,"description":1084,"tags":1085,"thumbUrl":1088,"material":1089,"size":1090,"collection":98,"collections":1091,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":76},233207,"liu-xi-chun-se-tu-ye-yi-ming-233207","柳溪春色图页","此画又名《柳溪春色图》，无名款，从其风格判断应属南宋时期作品。图绘一处屋宇依山傍水，四周柳树环绕，此时正值春天，微风吹拂柳叶飞动，整幅画面洋溢着春日气息。庭院中一群仕女似乎在排演着歌舞，屋前有一大片空地可能类似如今的广场。此画构图十分特别，不似传统「三远法」中任何一种，画面的组织皆围绕着建筑展开平铺直叙。其画法属工细一路，用笔精致，设色淡雅。画中前景用斧劈皴画一巨石，茂林密柳以「胡椒点」为之，有别于常见的人、个、介字的排列画法；屋宇平直处用界画成，曲折处稍用笔有放逸；远山勾画简略，几乎是平涂而成，意在衬托出前面繁密的景物。作者在马夏风格一统画坛的南宋时期，仍可另辟蹊径创出一种新面貌，故此画当属难得的宋人佳作。",[25,157,7,54,85,28,29,30,763,764,1086,200,217,1087],"云","春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa316a638cfd655a3d2997055ce7f48.jpg","绢本淡设色","纵23.4厘米，横24厘米",[],{"id":1093,"slug":1094,"title":1095,"dynasty":49,"author":125,"museum":172,"description":1096,"tags":1097,"thumbUrl":1099,"material":660,"size":1100,"collection":98,"collections":1101,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":44},233012,"qing-feng-ju-die-tu-ye-yi-ming-233012","青枫巨蝶图页","描绘了伸出嫩绿色枫树一株，枝叶婆娑。一只赭黄色巨蝶从右上侧凌空飞临，与枫叶构成平衡的对角关系。\n图左下方更有鲜红色瓢虫伏于枫叶之上，十分俏皮。\n画风高度写实，细致入微。\n画法的特点一是细线勾勒，笔若游丝，使蝶与枝、叶的形态皆极为轻倩灵秀；二是设色淡雅明快，红、绿、黄对比鲜明，给人以清新出尘之感，不落浓艳俗套。",[24,25,85,54,129,1098,158,58,7,660],"枫叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4422c7a10a05c4dac53bafdc3ea79086.jpg","23cm ，横：24.2cm",[],{"id":1103,"slug":1104,"title":1105,"dynasty":49,"author":125,"museum":126,"description":1106,"tags":1107,"thumbUrl":1109,"material":98,"size":98,"collection":98,"collections":1110,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":44},227926,"xi-hu-chun-xiao-tu-ye-yi-ming-227926","西湖春晓图页","这幅小品以淡墨晕染出江南春晓的空濛诗意。柳丝垂岸，水乡村居错落掩映在烟树之间，黛瓦茅舍伴着新绿，尽是闲雅野逸的栖居意趣。湖面波色澹澹，渔翁摇橹泛于水上，寥寥数笔便将春日清晨的慵懒闲淡勾勒尽致。远景山峦隐在薄雾轻岚之中，佛塔尖顶刺破烟霭，晕染出悠远空寂的氛围感。整幅画作以简淡笔墨铺陈开西湖春晓的湿润清宁，不见繁复着色，全凭水墨层次晕开江南烟雨的朦胧诗意，将春日湖山的幽微之美藏于尺幅之间，尽显雅致禅意。",[23,25,26,7,28,85,30,644,90,612,217,64,1108,218],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efff2dd90e43563a3a2ba33dc58941d.jpg",[],{"id":1112,"slug":1113,"title":1114,"dynasty":49,"author":125,"museum":126,"description":1115,"tags":1116,"thumbUrl":1119,"material":98,"size":98,"collection":98,"collections":1120,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":44},227865,"chun-jiang-fan-bao-tu-ye-yi-ming-227865","春江帆饱图页","近岸怪石崚嶒，古松盘虬错节，笔墨苍劲朴拙，尽显山野清旷之气。江面波平水远，风帆饱胀满张，逐浪悠游，远山晕染在烟霭之中，虚实相生铺展出平远无尽的江天胜景。\n\n诗画合璧，将春水放舟的闲逸融入尺幅之间，以小景承载阔远意境，简淡空灵里暗合寄情林泉的幽远意趣，尽显含蓄隽永的古典山水审美意韵。",[23,25,26,7,28,85,29,30,1117,258,90,32,64,1118,57,58],"江水","帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f17c75276403ef9deb01b11f04db765.jpg",[],{"id":1122,"slug":1123,"title":1124,"dynasty":49,"author":125,"museum":126,"description":1125,"tags":1126,"thumbUrl":1127,"material":98,"size":98,"collection":98,"collections":1128,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":76},227388,"guan-pu-tu-ye-yi-ming-227388","观瀑图页","史载王羲之曾在团扇上画小人物；其子王献之的《为桓温书并画乌牸驳牛扇》。《历代名画记》中载：梁·肖贲“曾于扇上画山水，咫尺内万里可知”。到了宋代，随着绘画艺术的蓬勃发展，特别是山水画、花鸟画在唐末、五代基础上得到空前的提高。文人与绘画的关系越来越密切，形成了文人画创作高潮。加上皇帝对扇面艺术的重视，书画扇面相应得到飞速发展，臻于顶峰。《书继》中载：“政和间，徽宗每有画扇，则六宫诸邸竞皆临仿一样，或至数百本。”两宋盛极一时的画扇，创作了大批不朽之作，流传至今为人们饱览了两宋绘画的高尚艺术。小至花鸟画中的野草闲花，昆虫禽鱼，都运以精心，出以妙笔。",[23,24,25,26,7,85,30,29,61,293,90,1065,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b16031931e91f7aed2413780f1bd06.jpg",[],{"id":1130,"slug":1131,"title":1132,"dynasty":49,"author":125,"museum":172,"description":1133,"tags":1134,"thumbUrl":1136,"material":224,"size":1137,"collection":98,"collections":1138,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":44},223522,"wu-tong-ting-yuan-tu-ye-yi-ming-223522","梧桐庭院图页","图中绘有歇山式、四角攒尖式顶的建筑，描写具体而精致。画家以直线、横线、斜线、弧线等多种线条准确地勾勒，并将它们有机地组合在一起，通过轮廓的轻重、线条的疏密，清楚地交代出殿阁远近纵深的层次和“向背分明”的体积感，比例准确合度。虽然从构图和技法上分析，此幅应出自南宋画家之手，而不是李佐贤所定的“恕老”作，但仍可谓是传郭忠恕之衣钵。",[23,24,25,26,7,54,28,85,86,1135,94,612,90,32,277],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F235ac18ea34cfa2c76f12f7aedadc6e1.jpg","纵24cm，横19.3cm",[],{"id":1140,"slug":1141,"title":1142,"dynasty":49,"author":758,"museum":172,"description":1143,"tags":1144,"thumbUrl":1146,"material":224,"size":1147,"collection":98,"collections":1148,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":44},221600,"san-gao-you-shang-tu-ye-liang-kai-221600","三高游赏图页","此图原载《宋人名流集藻册》。画上题云：御前图画梁楷笔。这幅画可以代表他的人物画的风格。人物面部表情很细致，而衣履则以寥寥数笔成之，更显得迅捷有力。后来的许多画家都从他这里得到了启发。",[23,248,25,26,27,295,490,1145,7,61,30,90,1065,198,58],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bc58b4c1c2fc63890cffa78db35ae7.jpg","纵25.3厘米，横26厘米",[],{"id":1150,"slug":1151,"title":1152,"dynasty":1153,"author":1154,"museum":126,"description":1155,"tags":1156,"thumbUrl":1157,"material":1158,"size":98,"collection":98,"collections":1159,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":44},218171,"da-qian-kuang-tu-ce-7-zhang-da-qian-218171","大千狂涂册-7","民国","张大千","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[25,26,28,29,30,89,644,369,90,32,669,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c38b0ac6496c4186a00a1231e8058da.jpg","纸本,水墨",[],{"id":1161,"slug":1162,"title":1163,"dynasty":18,"author":1164,"museum":1165,"description":1166,"tags":1167,"thumbUrl":1170,"material":1171,"size":98,"collection":98,"collections":1172,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":44},216267,"han-xi-meng-xiu-song-yuan-ming-ji-ce-chun-niao-tu-han-xi-meng-216267","韩希孟绣宋元名迹册·鹑鸟图","韩希孟","私人收藏","韩希孟（1740年 - 1813年）是一位中国画家，他的艺术风格主要受汉画的影响，他的作品风格独特，充满了生活气息。他的作品《韩希孟绣宋元名迹册·鹑鸟图》是他的经典作品之一，这幅画描绘了一只鹑鸟在花丛中的样子。在这幅画中，鹑鸟的羽毛明亮而有光泽，给人一种活力和自然的感觉。同时，这幅画还很注重细节，每个花朵和草叶都很精确地画出来，使得整幅画看起来更加生动。",[1168,85,199,7,129,1169,198,788],"刺绣","鹑鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07034368db54b811db721de4064c826.jpg","纸本,设色",[],{"id":1174,"slug":1175,"title":1176,"dynasty":139,"author":1177,"museum":126,"description":1178,"tags":1179,"thumbUrl":1181,"material":342,"size":343,"collection":98,"collections":1182,"showCount":1183,"zanCount":11,"manualWeight":11,"mainColor":44},290468,"ju-pu-tu-ce-ye-wang-yan-ge-290468","菊谱图册页","王延格","王延格，清画家。字青霞。多巧思，善山水、花卉，尤长摹古，与李徵君眉山交好，曾为盘山图，分之则24幅各自成章，合之则一大轴，天衣无缝。",[25,24,7,129,54,85,1180],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc39854d1a4479786c139bc6441703f61.jpg",[],15,{"id":1185,"slug":1186,"title":1187,"dynasty":49,"author":125,"museum":126,"description":1188,"tags":1189,"thumbUrl":1190,"material":342,"size":343,"collection":98,"collections":1191,"showCount":1183,"zanCount":11,"manualWeight":11,"mainColor":44},289116,"tao-zhi-qi-que-tu-ye-yi-ming-289116","桃枝栖雀图页","此作为宋画小品中的清丽佳构，以疏简折枝托举幽淡春景。蜿蜒桃枝错落舒展，留白铺就空灵韵致，尽显宋人的雅致意趣。桃花以淡墨勾边，轻敷白粉晕染，瓣尖微透莹润质感，如凝着晨露的初绽花苞，柔婉素雅。枝上栖雀造型写实入微，羽色晕染层次分明，暖棕腹羽与苍灰背羽相映，侧目凝神间姿态悠然，似静聆春风拂花轻响，于静谧中暗蕴鲜活生机。整体笔致秀润精细，设色温婉柔和，将格物观照的审美追求藏于尺幅，定格下春日枝间闲逸恬然的诗意瞬间。",[25,26,129,54,85,356,327,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0865527a000659e4a83fb3a70a7fc7b5.jpg",[],{"id":1193,"slug":1194,"title":1195,"dynasty":49,"author":1196,"museum":126,"description":1197,"tags":1198,"thumbUrl":1200,"material":98,"size":98,"collection":98,"collections":1201,"showCount":1183,"zanCount":11,"manualWeight":11,"mainColor":76},238957,"guan-shan-ji-xue-tu-ye-yan-su-238957","关山积雪图页","燕肃","层峦素雪覆裹，棱脉以淡墨皴擦晕染，将隆冬山巅的萧寒厚重尽显。枯木虬枝错落山间，褪去芳华尽显遒劲风骨，山坳茅舍隐现板桥通途，车马徐行于雪径，为冷寂天地晕开些许烟火暖意。\n\n右上林峦间佛塔藏幽，左上危崖栈道飞桥凌虚，为山水添出世清寂。整作设色古雅简澹，以赭石托出积雪留白，融全景山势的辽远与边角意趣于一体，在荒寒冬景里暗渡生息，尽显于萧寒中暗藏温柔生机的山水意韵。",[25,85,29,7,30,116,1199,491,369,217,218,58],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f78e16e9053b9cf2cbd0db2de712553.jpg",[],{"id":1203,"slug":1204,"title":1205,"dynasty":139,"author":1206,"museum":172,"description":1207,"tags":1208,"thumbUrl":1210,"material":280,"size":1211,"collection":98,"collections":1212,"showCount":1183,"zanCount":11,"manualWeight":11,"mainColor":44},233445,"ren-wu-shan-shui-ce-luo-pin-233445","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。",[25,7,85,187,61,30,1209,274,94,198,58],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99425d9cb891e7242e250ced234210b2.jpg","纵24.2厘米，横30.7厘米",[],{"id":1214,"slug":1215,"title":1216,"dynasty":139,"author":436,"museum":172,"description":1217,"tags":1218,"thumbUrl":1222,"material":224,"size":1223,"collection":98,"collections":1224,"showCount":1183,"zanCount":11,"manualWeight":11,"mainColor":76},222865,"shi-gong-ci-tu-ce-04-leng-mei-222865","十宫词图册04","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,25,24,26,7,439,86,85,1219,1220,1221,198,57],"海西画法","宫廷建筑","舞蹈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9d448e834bf9f00769c5fbf6f5431d.jpg","纵33.1厘米，横29.3厘米",[],{"id":1226,"slug":1227,"title":1228,"dynasty":139,"author":1229,"museum":106,"description":1230,"tags":1231,"thumbUrl":1234,"material":1158,"size":1235,"collection":98,"collections":1236,"showCount":1183,"zanCount":11,"manualWeight":11,"mainColor":44},216991,"fang-song-yuan-shan-shui-ce-2-wang-jian-216991","仿宋元山水册-2","王鉴","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,25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-1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[25,85,28,29,7,58,30,31,623,32,217,218,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386cfaad20e26fd82e317e8e3a5b140.jpg",[],{"id":1263,"slug":1264,"title":1265,"dynasty":18,"author":81,"museum":172,"description":211,"tags":1266,"thumbUrl":1267,"material":224,"size":1268,"collection":98,"collections":1269,"showCount":1246,"zanCount":11,"manualWeight":11,"mainColor":44},233763,"ren-wu-gu-shi-ce-10-chou-ying-233763","人物故事册10",[24,25,26,7,54,85,30,61,90,32,597,218,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc532d574111f7457513fb93f908a5be.jpg","纵41.4厘米，横33.8厘米",[],{"id":1271,"slug":1272,"title":1273,"dynasty":49,"author":125,"museum":172,"description":1274,"tags":1275,"thumbUrl":1276,"material":660,"size":1277,"collection":98,"collections":1278,"showCount":1246,"zanCount":252,"manualWeight":11,"mainColor":76},233003,"xiu-yu-ming-chun-tu-ye-yi-ming-233003","绣羽鸣春图页","图中画一只美丽的山鸟，单足立于太湖石上，神情凄楚，啼鸣不止，右爪不安地刨动。细观乃知其被一细绳系于石上，失去自由。作者用心至为深婉。宋欧阳修有句云：“始知锁向金笼听，不及林间自在啼”，亦即此意。\n太湖石的皴染较为粗疏，与小鸟翎毛之精细形成对比，主次分明。周围不设衬景，更显鸟之孤独。禽类本无表情，画家借鉴人类眼睛的画法表现其心理，堪称妙笔。",[24,25,26,7,54,28,85,129,327,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d0c9f127df677be284b99a0e58c917.jpg","纵25.7cm，横24.1cm",[],{"id":1280,"slug":1281,"title":1282,"dynasty":139,"author":1283,"museum":126,"description":1284,"tags":1285,"thumbUrl":1287,"material":98,"size":1288,"collection":98,"collections":1289,"showCount":1246,"zanCount":11,"manualWeight":11,"mainColor":44},232692,"shan-shui-shan-xia-ben-quan-tu-ye-fang-cong-232692","山水山峡奔泉图页","方琮","方琮，字黄山，字友璜，号石颠，山水宗黄公望。浙江人。善山水画，从学于张宗苍（1686-1755）深得其传，供奉内廷。\n曾仿画王希孟《江山千里图卷》",[23,24,25,26,7,85,29,30,1286,293,32,90,277,597,669,369],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc835b79f8135b64f62bb539dc0e09c96.jpg","46x32 厘米",[],{"id":1291,"slug":1292,"title":1293,"dynasty":139,"author":1294,"museum":172,"description":1295,"tags":1296,"thumbUrl":1302,"material":98,"size":1303,"collection":98,"collections":1304,"showCount":1246,"zanCount":11,"manualWeight":11,"mainColor":44},223220,"geng-zhi-tu-ce-jiao-bing-zhen-223220","耕织图册","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[25,7,54,85,61,1297,1298,996,1299,198,1300,1301],"农耕","田园","鸡","典籍","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda448499cdfbfb8784c38bdefbcaf9a0.jpg","34.7cm×27.7cm",[],{"id":1306,"slug":1307,"title":1308,"dynasty":139,"author":652,"museum":653,"description":654,"tags":1309,"thumbUrl":1314,"material":660,"size":661,"collection":98,"collections":1315,"showCount":1246,"zanCount":11,"manualWeight":11,"mainColor":1316},222892,"hong-lou-meng-17-sun-wen-222892","红楼梦17",[23,24,25,54,85,439,86,1310,1311,1312,94,1313,7],"红楼故事","仕女","楼台亭阁","古典建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d39cddfe2a6229c2059c13491423cf.jpg",[],"F48FB1",{"id":1318,"slug":1319,"title":1320,"dynasty":139,"author":1321,"museum":126,"description":1322,"tags":1323,"thumbUrl":1324,"material":342,"size":343,"collection":98,"collections":1325,"showCount":1326,"zanCount":11,"manualWeight":11,"mainColor":44},289908,"shan-shui-ce-ye-12-kai-shan-shui-ce-ye-dong-gao-289908","山水册页12开-山水册页","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，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，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[25,7,85,30,585,369,217,402,32,90,198,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ad83cff15c87a280334ef33beaac0f.jpg",[],13,{"id":1328,"slug":1329,"title":1330,"dynasty":18,"author":1331,"museum":126,"description":1332,"tags":1333,"thumbUrl":1336,"material":98,"size":98,"collection":528,"collections":1337,"showCount":1326,"zanCount":551,"manualWeight":11,"mainColor":44},239595,"yun-hai-tie-ce-ye-yao-guang-xiao-239595","云海帖册页","姚广孝","姚广孝（1335年－1418年），幼名天僖，法名道衍，字斯道，又字独闇，号独庵老人、逃虚子。长洲（今江苏苏州）人。明朝政治家、佛学家，文学家，靖难之役的主要策划者，中国历史上最著名的黑衣宰相。\n姚广孝年轻时在苏州妙智庵出家为僧，精通三教， 与明初儒释道各家学术领袖都有不错的关系。 洪武十五年，被明太祖挑选，以“臣奉白帽著王”结识燕王朱棣，主持庆寿寺，成为朱棣的主要谋士。朱棣靖难第三年，姚广孝留守北平，建议朱棣轻骑挺进，径取南京，使得朱棣顺利夺取南京，登基称帝。以区区燕地一方土地敌全国兵马，且最终获胜，历史上绝无仅有。\n成祖继位后，姚广孝担任僧录司左善世，又加太子少师，被称为“黑衣宰相”。负责迁都事宜，一手规划今日北京城布局。而后在解缙编书失败后又担任了《永乐大典》和《明太祖实录》的最高编撰官，尤其是《永乐大典》，这是他在中国文化历史上的最大贡献。少师晚年，在明初期佛教渐成颓势之际，又担起护教（佛教）之责，整理了反排佛的《道余录》，为佛教史上一件大事。\n永乐十六年（1418年），病逝庆寿寺，追赠荣国公，谥号恭靖。皇帝亲自撰写神道碑铭，并以文臣身份入明祖庙，是明代第一人，也是唯一一人。",[856,198,57,7,28,58,26,1334,1335],"名帖","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed2e054e7405a08c614e84465cc31f3.jpg",[528],{"id":1339,"slug":1340,"title":413,"dynasty":139,"author":414,"museum":126,"description":415,"tags":1341,"thumbUrl":1348,"material":342,"size":343,"collection":98,"collections":1349,"showCount":1326,"zanCount":11,"manualWeight":11,"mainColor":44},235615,"hong-ren-shan-shui-ce-hong-ren-235615",[24,25,26,7,1342,1343,29,30,644,914,218,1344,61,1345,64,598,1346,1347],"干笔","淡墨","岸","水波","小舟","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3182d660d161fc9f0b2b958a356bc8.jpg",[],{"id":1351,"slug":1352,"title":1353,"dynasty":49,"author":125,"museum":172,"description":1354,"tags":1355,"thumbUrl":1356,"material":660,"size":1357,"collection":98,"collections":1358,"showCount":1326,"zanCount":11,"manualWeight":11,"mainColor":76},234027,"qiu-ting-xi-ying-tu-ye-yi-ming-234027","秋庭戏婴图页","此轴画风活泼清丽，表现庭院中，两孩在湖石花丛下嬉戏，用笔极为细致，精到而刚劲。设色艳丽，与画面气氛浑然一体，信息传达恰到好处。画的左上方有几行题跋，但非原画所有，旧传此画是汉臣之作，但仅就画面来说，其布局匀称得体，用笔熟练老到，确为功力颇深之人的作品。特别是两孩瞳如点漆，炯炯有神，堪称“点睛”妙笔。\n苏汉臣还擅画货郎担和婴儿嬉戏之景，情态生动，能成功地表现出儿童的形象及其游戏时天真活泼的情趣，且笔法简洁劲利，色彩明丽典雅。宋人画儿童题材，起于宋初。以儿童生活为题材的画家有刘宗道、杜孩儿等，但他们都极少有流传下来的作品。这幅苏汉臣的《秋庭戏婴图》就是此类作品的代表。\n赏析：《秋庭戏婴图》无款印，描绘的是两个儿童在花下嬉戏的情景。左上方有清高宗手书的七言绝句一首：“庭院秋声落枣红，拾来旋转戏儿童；丹青讵止传神诩，寓意原存相让风。”在庭院静谧、幽美的一角，满脸稚气的姐弟二人正围着小圆凳，聚精会神地玩推枣磨的游戏。头顶一绺黑发的男童全神贯注，沉浸其中，动作笨拙却逗人喜爱。旁边头梳发卷的姐姐，正用手指轻轻指点，张口露齿，仿佛欲叮嘱些什么。不远处的圆凳上、草地上，还散置着转盘、小佛塔、铙钹等精致的玩具。与姐弟玩兴正浓的推枣游戏对比，更能突显出孩童们喜新厌旧的天性，揭示出孩子们稚气未脱、天真烂漫的童心世界。\n背景部分，笋状的太湖石高高耸立，造型坚实挺拔，周围则簇拥着盛开的芙蓉花与雏菊，这样的布局，不仅冲淡了湖石的阳刚之气，也充分点出秋天的节令。画中姐弟俩所玩的枣子是中国北方的作物，在当时的江南并不生产。加上全画的描写，极端细腻、写实，符合北宋末期的宫廷院画特质。而且，徽宗素来喜欢搜集太湖石，所以即使此图无款印，也能据此推测出此画应该是北宋徽宗宣和画院时期的作品。图中两个儿童只占画面左下角的一小块位置，作为背景点缀的花石却很高大，成为全图最为醒目的标志。\n花石的高大反衬出了儿童的幼小，而四周丢弃的玩具则显示出儿童的天真本性。这种突出的对比在这幅画中到处可见。作者运用线条的功力深厚，使线条富于轻重、长短、转折、顿挫的变化。弟弟的上衣，运用了硬而碎的线条，表现出了布料的质感；姐姐的纱裙，行笔流畅圆润，虽用重色，却给人以薄到透明的感觉，使纱衣有了流动感。画湖石皴染结合，石质显得坚厚湿润而有立体感。花卉皆勾勒精劲，设色艳丽，展示了作者在这方面的高深造诣。仔细观察画中人物的发式、衣着，都是锦装玉琢，一看即知是官宦人家的子弟。\n顾炳在《历代名公画谱》中曾说：“汉臣制作极工，其写婴儿，着色鲜润，体度如生，熟玩之不啻相与言笑者，可谓神矣。”由此可见，苏汉臣的绘画具有造型精准、典雅妍丽的宫廷绘画本质。",[24,25,26,7,157,54,85,61,1030,90,668,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d40fc2e963083256e5593789d80158d.jpg","47x86cm",[],{"id":1360,"slug":1361,"title":1362,"dynasty":911,"author":1363,"museum":126,"description":1364,"tags":1365,"thumbUrl":1366,"material":1089,"size":1367,"collection":98,"collections":1368,"showCount":1326,"zanCount":11,"manualWeight":11,"mainColor":76},233700,"shan-ju-shuo-ting-tu-ye-tang-di-233700","山居说听图页","唐棣","《山居说听图页》绘山水之景，远处山峦起伏，近处山石陡峭，树木苍翠；山脚下凉亭数间，亭内两人对坐饮茶，一童子执长扇一边伺侯；亭前溪水流淌，泛起层层水纹。唐棣（1296-1364年)，字子华，号遁斋,祖籍今浙江杭州，因先世在吴兴做官，迁徙今浙江湖州。唐棣父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年应诏在南京龙翔寺绘制画壁，至顺四年第二次北上大都，奉诏在宫廷作画。在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。",[25,26,7,85,30,200,32,277,217,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967792a94d3373becb0b178e35ab2182.jpg","纵24厘米，横24.8厘米",[],{"id":1370,"slug":1371,"title":1372,"dynasty":911,"author":1373,"museum":172,"description":1374,"tags":1375,"thumbUrl":1376,"material":660,"size":1377,"collection":98,"collections":1378,"showCount":1326,"zanCount":11,"manualWeight":11,"mainColor":76},233201,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-233201","秋林远岫图页","赵雍","赵武灵王（约公元前340年—前295年），中国战国中后期赵国君主，嬴姓，赵氏，名雍。（先秦时期男子称氏不称姓，故当称为赵雍，不叫嬴雍。）赵武灵王在位时，推行的“胡服骑射”政策，赵国因而得以强盛，灭中山国，败林胡、楼烦二族，辟云中、雁门、代三郡，并修筑了“赵长城”。武灵王本人在前296年的沙丘之乱中被幽禁饿死，谥号为武灵王（“灵”为贬义谥号，表示“乱而不损”，赵国君主称王，自武灵王谥号始）。",[25,26,24,7,157,28,85,29,30,109,110,64,114,327,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7e5b742b617c523f43b90f6a163971.jpg","68X77cm",[],{"id":1380,"slug":1381,"title":1382,"dynasty":139,"author":125,"museum":126,"description":1383,"tags":1384,"thumbUrl":1388,"material":1171,"size":98,"collection":98,"collections":1389,"showCount":1326,"zanCount":252,"manualWeight":11,"mainColor":44},215871,"qing-dai-gong-ting-ren-wu-hua-ce-2-yi-ming-215871","清代宫廷人物画册-2","画面中人物端坐于椅，衣袍纹饰繁复而精巧，蓝绿叠映间缀以朱红，祥云与禽鸟纹样似欲流转，一针一线皆显宫廷工艺之精湛。她神态娴静，眉眼间藏着温婉气度，举手投足间尽是世家贵女的端庄。坐具软垫的粉与椅身的红相映成趣，足底绣鞋亦见精巧心思。整幅画作以细腻工笔勾勒轮廓，色彩浓淡相宜，将清代宫廷女性的雍容仪态与服饰之美凝于纸上。每一处细节都流淌着古典雅致的韵味，仿佛能窥见那个时代深宫内苑的静谧时光，让观者在笔墨间感受岁月沉淀的东方美学。",[273,1385,54,85,61,1386,1387,7],"宫廷人物","衣帽","坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93d59e71695aaa1efff2c9ab1e35ab8b.jpg",[],{"id":1391,"slug":1392,"title":1393,"dynasty":139,"author":1229,"museum":1165,"description":1394,"tags":1395,"thumbUrl":1397,"material":1171,"size":98,"collection":98,"col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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[25,28,7,30,1209,61,278,1643,58,198,29],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43c8d9b4924edeba2e2c0e38e0cdc66.jpg",[],9,{"id":1648,"slug":1649,"title":1650,"dynasty":18,"author":1651,"museum":126,"description":1652,"tags":1653,"thumbUrl":1657,"material":342,"size":343,"collection":98,"collections":1658,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":76},288042,"qun-xian-du-hai-tu-ye-ding-yun-peng-288042","群仙渡海图页","丁云鹏","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[23,25,24,490,28,61,30,1654,1655,1656,327,90,217,1076,58,7],"神仙","渡海","虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa756fff9ee608aeb8f33911396a94482.jpg",[],{"id":1660,"slug":1661,"title":774,"dynasty":139,"author":436,"museum":126,"description":1662,"tags":1663,"thumbUrl":1664,"material":98,"size":98,"collection":98,"collections":1665,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":44},236102,"hua-luo-han-ce-leng-mei-236102","左文右图，书画合璧。右侧工笔人物刻画精微，安坐者神态澄和淡然，须发勾勒丝丝入微，衣纹晕染雅致华贵，尽显静穆端方的气韵。环绕的仕女身姿柔婉恭谨，器物装饰细节精工繁复，衬得场面愈发庄重清远。\n\n左侧小楷秀雅隽美，笔致匀停舒展，墨色清和，与画意禅韵相得益彰。整幅作品工细雅致，将工笔的精妙与禅意的清远融于一处，兼具笔墨文趣与静谧庄严的庙堂之气，意蕴悠长。",[25,26,24,54,85,490,777,61,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe302ba81d92cf1ef2749dffee1845166.jpg",[],{"id":1667,"slug":1668,"title":1669,"dynasty":18,"author":1670,"museum":126,"description":1671,"tags":1672,"thumbUrl":1673,"material":98,"size":98,"collection":98,"collections":1674,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":44},235844,"jin-shan-tu-ye-wang-gu-xiang-235844","金山图页","王谷祥","此作用笔极简，右侧设色清浅柔润，以青绿轻染江心孤丘，苍松错落覆于山巅，寥寥数笔点出江中片帆、汀渚小石，大幅留白铺陈出扬子江的空阔辽远，将金山浮于江心的缥缈灵秀尽数展现。\n\n左侧行书题跋笔意隽秀挺劲，文辞详述金山形胜，书画合璧，以文衬景，把江南名刹的烟水诗意娓娓道来，淡墨轻岚间藏着悠远清宁的山水逸情，尽显淡雅疏朗的文人审美意趣。",[25,26,7,28,85,57,198,30,116,90,218,667,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c3a799516fa8158ff1c5f6ac466aec.jpg",[],{"id":1676,"slug":1677,"title":269,"dynasty":139,"author":270,"museum":172,"description":271,"tags":1678,"thumbUrl":1679,"material":280,"size":281,"collection":98,"collections":1680,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":44},233775,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233775",[25,26,24,7,28,57,35,61,32,90,417,1523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59fcd12bb8e349f58148bff1682a02f.jpg",[],{"id":1682,"slug":1683,"title":1684,"dynasty":18,"author":1685,"museum":126,"description":1686,"tags":1687,"thumbUrl":1689,"material":98,"size":98,"collection":98,"collections":1690,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":44},228737,"jiang-tian-mu-xue-tu-ye-fan-yun-lin-228737","江天暮雪图页","范允临","淡墨晕染层叠远山，雪色晕开清寒暮色，留白与浅灰晕织出山峦的空濛萧寒。近岸村居错落依偎，老树槎桠间点缀残红，破开些许冷意。一叶扁舟独行寒江，将天地岑寂揉入漾漾水波。\n\n左侧书法笔意疏朗俊逸，诗画相映，把冬日江村的幽隐野趣尽数铺展。简淡笔触写尽江天暮雪的冷旷萧散，将文人林下幽居的寄怀藏进每一处留白，尽显山水间的诗意雅致。",[23,25,26,7,85,28,57,58,198,30,116,1438,200,277,1688,29,1232],"扁舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":1692,"slug":1693,"title":1694,"dynasty":911,"author":125,"museum":126,"description":1695,"tags":1696,"thumbUrl":1698,"material":98,"size":98,"collection":98,"collections":1699,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":44},228214,"du-hai-tu-ye-yi-ming-228214","渡海图页","此作以极简构局营造出清寂空灵的禅意。画面左侧，仙人安卧枯槎之上，随波缓行，神情悠然自适，将乘槎渡海的古雅意趣融于尺幅。淡墨轻勾细波，晕染出辽远空茫的海面，大片留白代以海天辽旷，不着一字而尽得风流，暗合元代尚简尚意的文人审美。笔致清简含蓄，枯槎的苍古与仙人的闲逸相映，将寄迹天地、物我两忘的隐逸之思藏于淡远意境中，静穆悠远的出世之趣扑面而来。",[23,25,26,7,28,85,61,1697,236,644],"海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87321fda6d77770c6e633cb609e50cc8.jpg",[],{"id":1701,"slug":1702,"title":1703,"dynasty":18,"author":556,"museum":557,"description":558,"tags":1704,"thumbUrl":1705,"material":566,"size":567,"collection":98,"collections":1706,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":44},222561,"hua-hui-tu-ce-chen-chun-222561","花卉图册",[23,25,26,7,27,35,28,85,129,143,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a412704b978a282ce6585b92561f445.jpg",[],{"id":1708,"slug":1709,"title":1710,"dynasty":18,"author":1711,"museum":106,"description":1712,"tags":1713,"thumbUrl":1715,"material":1158,"size":1716,"collection":98,"collections":1717,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":44},219788,"za-hua-ce-2-guo-xu-219788","杂画册-2","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。",[25,26,7,85,28,35,129,1714,158,161],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a9678b7cd4af80b4e4f68a303b7cde.jpg","纵28.5 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得宜，设色浅淡柔和，以精妙工笔描摹物象形神，将乡野放牧的日常闲景铺陈得鲜活动人，既以细致笔触还原郊野生灵的自然情态，又晕染出田园牧歌式的悠然氛围，把乡野间的闲散温情凝于尺幅间，于平淡日常中尽显雅致隽永的宋画意韵。",[23,24,25,85,54,7,1796,61,200,668],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e3f18c16b1455c2e6e91367d1f9459.jpg",[],{"id":1800,"slug":1801,"title":1802,"dynasty":139,"author":1015,"museum":172,"description":1038,"tags":1803,"thumbUrl":1806,"material":224,"size":1046,"collection":98,"collections":1807,"showCount":1747,"zanCount":252,"manualWeight":11,"mainColor":44},222789,"hua-niao-ce-ye-09-lang-shi-ning-222789","花鸟册页09",[23,24,25,26,7,54,85,1018,1019,1804,129,143,668,505,381,1805],"细腻","鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c3e2ee11b27dd75906effcdda8e37d.jpg",[],{"id":1809,"slug":1810,"title":1811,"dynasty":911,"author":1507,"museum":126,"description":1743,"tags":1812,"thumbUrl":1813,"material":342,"size":343,"collection":98,"collections":1814,"showCount":1815,"zanCount":11,"manualWeight":11,"mainColor":44},290275,"dao-chang-he-shan-shi-tie-ce-ye-zhao-meng-fu-290275","道场何山诗帖册页",[23,24,26,198,57,1406,7,58,30,59,1542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa12d8b44fc4e81b70fd73285cb8353ca.jpg",[],7,{"id":1817,"slug":1818,"title":1819,"dynasty":139,"author":125,"museum":126,"description":1820,"tags":1821,"thumbUrl":1825,"material":342,"size":343,"collection":98,"collections":1826,"showCount":1815,"zanCount":11,"manualWeight":11,"mainColor":76},288638,"ba-ge-deng-zhi-tu-ce-ye-yi-ming-288638","八哥登枝图册页","此作工致写实，墨色八哥羽色乌亮油润，顶羽轻扬如冠，黄喙劲利，侧目远眺，利爪稳踞枝桠，将野禽倨傲灵动的神采尽数拿捏。旁侧秋叶片片晕染，朱赭相间，脉络细劲分明，枯枝干皴苍朴古拙。\n绢本底色沉穆温润，衬得禽鸟花木愈见鲜活，动静相宜，把秋日林间的清寂生机凝于尺幅。笔致精细入微，设色妍雅和谐，尽显精妙绘事法度，将一隅秋意野趣定格成隽永的绢上风景。",[25,7,54,85,129,1822,1823,1824],"八哥","树枝","秋叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9d31cbdbb9a72bf1001a1f3550f102.jpg",[],{"id":1828,"slug":1829,"title":1830,"dynasty":18,"author":125,"museum":126,"description":1831,"tags":1832,"thumbUrl":1833,"material":98,"size":98,"collection":98,"collections":1834,"showCount":1815,"zanCount":11,"manualWeight":11,"mainColor":44},235840,"lu-zhi-tian-chi-shan-tu-ye-yi-ming-235840","陆治天池山图页","此作用笔简淡疏朗，以枯淡墨色勾勒嶙峋崖壁，皴擦间尽显山石苍硬奇崛，虬曲枯木盘绕岩间，疏枝带残叶点缀幽境，留白处恍有空蒙云气流转，将绝岭孤山的清寂萧疏铺陈开来。\n\n搭配左侧清劲秀雅的行书题跋，文辞叙写山之险峻，与画中丘壑相映成趣，把天池山的幽旷高古尽数烘托。整体以意驭笔，摒弃繁复晕染，将山林奇险与文人隐逸的清冷情怀融于尺幅，书与画浑然一体，尽显尚简求雅的文人意趣，意境淡远耐人寻味。",[25,26,7,28,85,29,57,198,58,30,32,90,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7436a180e650f019c1780696f3fdafcc.jpg",[],{"id":1836,"slug":1837,"title":1838,"dynasty":49,"author":125,"museum":172,"description":1839,"tags":1840,"thumbUrl":1843,"material":70,"size":1844,"collection":98,"collections":1845,"showCount":1815,"zanCount":11,"manualWeight":11,"mainColor":44},234017,"liu-xi-diao-ting-tu-ye-yi-ming-234017","柳溪钓艇图页","此图原载《历代名笔集胜册》第一册。图画溪江岸柳，土坡茅舍，溪中一渔翁戴草笠穿蓑衣垂钓。远处山影一抹，景物疏朗，意趣无穷。作者用花青、石绿画丛树和柳页，白粉点柳花，赭脱减笔画茅舍。设色清丽丰富，层次分明。构图采用局部取景法。用笔简练秀逸，几脱画院习气。此图旧题签马远画，但究其画风与马远无相似之处，故改为无名氏作。画中钤有“真赏”、“宜尔子孙”、“信公珍赏”、“会侯珍藏”、“都尉耿信公书画之章”等藏印多方。曾经清人耿昭忠收藏，《虚斋名画录》著录。",[25,26,7,28,85,30,914,115,644,64,1576,1841,54,1437,915,1842,29],"水景","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b0db537c474e6e93fd4294004a01a7.jpg","纵23、横24.5厘米",[],{"id":1847,"slug":1848,"title":1849,"dynasty":18,"author":81,"museum":172,"description":211,"tags":1850,"thumbUrl":1851,"material":224,"size":1268,"collection":98,"collections":1852,"showCount":1815,"zanCount":11,"manualWeight":11,"mainColor":44},233755,"ren-wu-gu-shi-ce-2-chou-ying-233755","人物故事册2",[25,26,54,85,368,30,61,369,217,90,1065,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01dd36c10a57f67835c6283078bfdad.jpg",[],{"id":1854,"slug":1855,"title":1856,"dynasty":139,"author":125,"museum":172,"description":1857,"tags":1858,"thumbUrl":1863,"material":280,"size":1864,"collection":98,"collections":1865,"showCount":1815,"zanCount":11,"manualWeight":11,"mainColor":44},233040,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233040","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[25,7,85,54,835,1859,1860,1861,30,61,198,58,1862],"军事题材","战船","士兵","平定台湾战事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3fc770116fcd292f0e449e1c877c52f.jpg","长55.6厘米，宽91.1厘米",[],{"id":1867,"slug":1868,"title":1869,"dynasty":49,"author":125,"museum":172,"description":1870,"tags":1871,"thumbUrl":1873,"material":1874,"size":1875,"collection":98,"collections":1876,"showCount":1815,"zanCount":11,"manualWeight":11,"mainColor":44},232990,"shan-dian-feng-lian-tu-ye-yi-ming-232990","山店风帘图页","本画无款，旧题郭忠恕所作。郭忠恕，宋初著名画家，长于界画，所绘亭台楼阁、舟船车舆，冠绝一时为世人所推崇。《宣和画谱》评价其为：“三百年之唐历五代以还，仅得卫贤以画宫室得名。本朝郭忠恕既出，视卫贤辈其余不足数，如忠恕之高者，岂复有斯人之徒欤？”足可见其在当时影响之大。然郭忠恕画作传世稀少，仅以《雪霁江行图》可信为真迹。此图画法明显受到李成影响，山石用卷云皴石如云动，树法为蟹爪、鹿角枝。郭忠恕与李成是同一时期各具风格的大家，画史记载其画师法李思训和王维。这明显都与本画的面貌不符，因此可以断定本画并非郭忠恕所作，故作者改为佚名较为恰当。",[25,28,85,29,30,89,90,1065,1872,7],"风帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb80b27f3b5858bf14b3ca2219a3a837.jpg","绢本 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画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,25,24,26,7,85,30,113,61,112,491,32,1892],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b65495671b6e37fe5a1bbe7ea1b7d6.jpg",[],{"id":1896,"slug":1897,"title":1898,"dynasty":49,"author":125,"museum":126,"description":1899,"tags":1900,"thumbUrl":1903,"material":342,"size":343,"collection":98,"collections":1904,"showCount":1905,"zanCount":11,"manualWeight":11,"mainColor":44},290103,"xi-pang-xian-hua-tu-yi-ming-290103","溪旁闲话图","苍古巨木斜伸，浓荫覆着溪岸，树下白衣士人负手而立，舟头渔者斜倚，二人遥遥闲话，打破了山溪的岑寂。\n\n画作以简淡笔墨铺陈幽致，树木皴染兼具，苍朴厚重，人物身形虽小，却神态宛然，将山野相逢的闲散意趣尽数晕开。留白的溪山似藏着无尽丘壑，尽显林下高致，把幽隐之乐凝在这方寸尺幅间，淡而愈远，简而弥深，尽显含蓄清远的宋画意韵。",[25,7,85,30,61,644,110,1901,1902],"溪岸","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d16c880fc5c8a75e15d8adc2550bd82.jpg",[],6,{"id":1907,"slug":1908,"title":1909,"dynasty":139,"author":1910,"museum":126,"description":1911,"tags":1912,"thumbUrl":1913,"material":342,"size":343,"collection":98,"collections":1914,"showCount":1905,"zanCount":11,"manualWeight":11,"mainColor":1316},241498,"shi-xu-ce-zheng-ban-qiao-241498","诗叙册","郑板桥","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[139,57,7,198,58,935,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3195e24019e907a81bb1f8dc2ee84f24.jpg",[],{"id":1916,"slug":1917,"title":1918,"dynasty":18,"author":1919,"museum":126,"description":1920,"tags":1921,"thumbUrl":1922,"material":342,"size":343,"collection":98,"collections":1923,"showCount":1905,"zanCount":11,"manualWeight":11,"mainColor":44},240127,"xing-ti-song-ba-jia-shu-ba-ye-xu-nai-pu-240127","行题宋八家书跋页","许乃普","许乃普（1787—1866）浙江钱塘人。字季鸿，一字经厓，别字滇生。钱塘廪生，嘉庆癸酉科拔贡。朝考一等一名，以七品小京官分刑部奉天司行走。嘉庆丙子科顺天乡试第一百一名举人，考补军机章京。庚辰科会试第十三名进士，殿试一甲第二名，赐进士及第，授翰林院编修，充实录馆纂修提调官。",[26,198,57,28,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feba4f3c35d065ebd5c4bdf8945af96.jpg",[],{"id":1925,"slug":1926,"title":1927,"dynasty":18,"author":125,"museum":126,"description":1928,"tags":1929,"thumbUrl":1930,"material":187,"size":98,"collection":528,"collections":1931,"showCount":1905,"zanCount":11,"manualWeight":11,"mainColor":44},240124,"shi-yuan-zhong-shi-ye-yi-ming-240124","释元中诗页","此件书法分幅呈现，笔墨意趣各有千秋。右侧诗作用笔酣畅恣肆，行书线条苍劲灵动，结体疏密错落、欹侧相生，牵丝映带间尽显随性潇洒，将诗句空寂幽绝的江景意境融于笔端，风神疏朗俊逸。\n左侧尺牍小字朴拙内敛，笔意厚重沉稳，枯润互见，以平实笔墨承载日常心绪，自带手札特有的质朴温情。整作大小相映、动静相宜，笔墨间浸透文人随性自在的风雅襟怀，是兼具笔墨审美与人文意趣的小品佳作。",[856,198,26,57,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d10390a306232dd0f128201886731af.jpg",[528],{"id":1933,"slug":1934,"title":1935,"dynasty":18,"author":1936,"museum":126,"description":1937,"tags":1938,"thumbUrl":1944,"material":98,"size":98,"collection":528,"collections":1945,"showCount":1905,"zanCount":11,"manualWeight":11,"mainColor":44},239801,"wu-yan-shi-ye-wen-zhen-heng-239801","五言诗页","文震亨","文震亨（1585-1645），字启美，作家、画家、园林设计师，出生地为长洲县（今江苏省苏州市），明代书画家文徵明的曾孙，东阁大学士文震孟之弟。\n天启五年（1625年）恩贡，曾参与五人事件，营救被魏忠贤迫害的周顺昌。崇祯初，任中书舍人、武英殿给事。\n明灭亡后，曾任职于南明，遭到阮大铖、马士英等排挤，辞官退隐。\n弘光元年（清顺治二年，1645年），清军攻占苏州后，避居阳澄湖。清军推行剃发令，自投于河，被家人救起，绝食六日而亡。",[198,57,58,7,1438,1939,200,1940,1941,1942,1943],"花","酒","茶","春雪","寒气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d44ec6116dddee70be69cd73adf099.jpg",[528],{"id":1947,"slug":1948,"title":1949,"dynasty":18,"author":1950,"museum":172,"description":1951,"tags":1952,"thumbUrl":1953,"material":187,"size":98,"collection":528,"collections":1954,"showCount":1905,"zanCount":11,"manualWeight":11,"mainColor":44},239589,"qiu-re-tie-ce-ye-hu-han-239589","秋热帖册页","胡翰","胡翰，字仲申（1307年～1381年），一字仲子，浙江金华人。官衢州府教授。洪武乙酉纂修元史书成，赐白金文绮，辞归卜居长山之阳，学者称曰长山先生。工书，王世贞国朝名贤遗墨，有其书迹。享年七十五岁。",[856,26,198,57,7,1055],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76b2cbc2b506be85a0de74d7d21e191b.jpg",[528],{"id":1956,"slug":1957,"title":1958,"dynasty":18,"author":1959,"museum":172,"description":1960,"tags":1961,"thumbUrl":1962,"material":187,"size":98,"collection":528,"collections":1963,"showCount":1905,"zanCount":11,"manualWeight":11,"mainColor":44},239588,"yuan-xi-tie-ce-ye-wang-cheng-239588","元夕帖册页","王偁","王偁(1370～1415年)：字孟扬，又字密斋，明朝永福县(今永泰县)人。曾任翰林院检讨、《永乐大典》副总裁，著有《虚舟集》5卷。",[198,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22156d249f149a3d8ead4dd6a37d459b.jpg",[528],{"id":1965,"slug":1966,"title":706,"dynasty":139,"author":1967,"museum":126,"description":1968,"tags":1969,"thumbUrl":1970,"material":98,"size":98,"collection":39,"collections":1971,"showCount":1905,"zanCount":11,"manualWeight":11,"mainColor":44},238952,"shan-shui-ye-zhang-yan-nian-238952","张延年","张延年，字长龄，江苏常熟人。为建宁太守。善写翎毛、花卉，尤工美人。《虞山画志》",[25,26,7,30,32,90,1345,644,218,85,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b4812961344459836067caf87dec88.jpg",[39],{"id":1973,"slug":1974,"title":1975,"dynasty":139,"author":1976,"museum":126,"description":1977,"tags":1978,"thumbUrl":1979,"material":98,"size":98,"collection"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、驴屋等，汉族，江西南昌人。明宁王朱权后裔。明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永;山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文。存世作品有《水木清华图》、《荷花水鸟图》等。\n八大山人的书法与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n朱耷是清代著名的书画家。他的简笔写意花鸟画，以独特的面貌，开一代新风。他的书法亦与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。\n近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n八大山人在许多绘画作品上的款跋，相当精彩奇巧。如在绘画布局上发现有不足之处，有时用款书云补其意。八大山人也能诗，所以他的画即使画得不多，题上自己随兴发挥的诗，意境就充足了。\n此册集朱耷所书信札十三通装裱成册，故又称《十三札》册。每札均有作者题名“八大山人”，大部分钤有“八大山人”印，其中第四札钤“八还”印，第五札钤“十得”印，第十札钤“遥属”印。此十三札有六通上款“鹿村先生”，六通“西翁”，一通致“僧舍方丈”。实际上都是致好友方士管的，方氏为八大的书画资助人和代理商，故札中所述多为友人间往还之事，其中不乏奉画、饮宴之约，借钱、谢赠等事，从中可以窥见八大山人当时生活的一个侧面，具有重要的文献价值。从书法风格及落款形式分析，此十三札大致为朱耷晚年之作。末开附清李葆恂题识四则。钤“李文石”、“臣葆恂印”、“文石”、“葆恂”、“文石父”等印多方。又册中第四札裱边有游悔庐主人题诗一首。\n是册书法挥洒自如，行草相间，无拘滞之感，盖由于书者致书友人，全无拘束，缘纸走笔，纵横驰骋，了无挂碍，自能得其书法真趣。此册不仅具有一定的史料价值，而且在书法艺术方面也同样具有很高的艺术价值。",[273,57,198,26,25,7,28,58,219,1335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239e52d7c98022240a611f05b935670a.jpg","纵24.6cm，横15.1cm",[],{"id":2131,"slug":2132,"title":774,"dynasty":139,"author":436,"museum":126,"description":2133,"tags":2134,"thumbUrl":2136,"material":98,"size":98,"collection":98,"collections":2137,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},236100,"hua-luo-han-ce-leng-mei-236100","此作工致清雅，右侧绘罗汉乘金毛雄狮缓行，侍者持幡随侍，仆役牵犬相随。线条秀劲细腻，衣袂褶皱流转自然，狮鬃毫发毕现，将雄狮的雄健与罗汉的安然肃穆烘托得淋漓尽致，设色浅淡柔和，尽显空灵禅意。左侧题识笔墨苍劲朴拙，笔势沉凝古雅。书画合璧，禅韵悠长，既承袭院体画的精工写实，又暗合文人画的清幽意趣，细微处尽显匠心，将佛门超然出尘的静穆意境铺陈开来，清隽雅致，余韵悠长。",[273,25,26,24,777,54,85,61,2135,722,58,198,7],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ef532fd42f3ddad9b8c6e4ad95c102.jpg",[],{"id":2139,"slug":2140,"title":774,"dynasty":139,"author":436,"museum":126,"description":2141,"tags":2142,"thumbUrl":2144,"material":98,"size":98,"collection":98,"collections":2145,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},236098,"hua-luo-han-ce-leng-mei-236098","画面右侧，罗汉持锡杖静立，侍者恭谨随侍身侧，斑斓猛虎伏于跟前，幼虎环绕嬉戏，凶兽尽敛凶性，尽显佛法感化的无边威能。设色清润雅致，衣纹勾勒细腻流畅，人物神态写实传神，将出尘淡然的禅意融于笔端。左侧行书题字隽秀飘逸，诗画呼应，悠悠禅意漫溢画面，烘托出空寂出尘的佛门意境。整作兼具笔情墨趣与装饰美感，以精妙的人物走兽刻画，诠释出禅境悠然的静谧氛围，是极具审美意趣的人物佳制。",[25,26,273,777,54,85,61,2135,1656,2065,58,2143,7],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aedf101545a55889516bc3de1ace62c.jpg",[],{"id":2147,"slug":2148,"title":1124,"dynasty":49,"author":125,"museum":126,"description":2149,"tags":2150,"thumbUrl":2151,"material":1089,"size":2152,"collection":98,"collections":2153,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":76},234496,"guan-pu-tu-ye-yi-ming-234496","此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息",[24,25,26,7,85,29,30,293,90,61,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d973bd55fcda79c2ba4551e6439aae.jpg","纵23.5厘米，横25.7厘米",[],{"id":2155,"slug":2156,"title":2157,"dynasty":139,"author":125,"museum":172,"description":2158,"tags":2159,"thumbUrl":2166,"material":187,"size":2167,"collection":98,"collections":2168,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},233090,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233090","平定苗疆战图册","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[25,7,835,2160,29,85,54,30,32,33,2020,1861,2161,2162,2163,2164,2165],"战争题材","将领","骑兵","战旗","硝烟","平定苗疆战役","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b351eee676a3fc28ea7abe7e5fa57e.jpg","纵55.4cm，横90.8cm",[],{"id":2170,"slug":2171,"title":2172,"dynasty":49,"author":125,"museum":172,"description":2173,"tags":2174,"thumbUrl":2176,"material":660,"size":2177,"collection":98,"collections":2178,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":76},233013,"zheng-ren-xiao-fa-tu-ye-yi-ming-233013","征人晓发图页","画的是“征人”就要出发去赶考了，妻子在做早饭，仆人在外等候，等饭熟的片刻“征人”趴在桌上打盹。画面高雅隽秀，意境清趣恬静。",[24,25,26,7,54,85,61,90,2175,32],"茅草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1f7393e083f89eea24f3d2347fb45f.jpg","51x68cm",[],{"id":2180,"slug":2181,"title":2182,"dynasty":49,"author":125,"museum":126,"description":1890,"tags":2183,"thumbUrl":2184,"material":98,"size":98,"collection":98,"collections":2185,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":76},227354,"dai-du-tu-ye-yi-ming-227354","待渡图页",[23,24,25,26,248,7,28,85,30,110,644,32,327,1232,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7395055af78e9b5b1f31d83c41ca5f19.jpg",[],{"id":2187,"slug":2188,"title":2189,"dynasty":18,"author":2190,"mus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