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车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,25,7,59,28,27,61,62,63,64,89,90,91,34,67,92,36,93,94,31,95,96,71,97,35,74,98],"船","马","牛","店铺","城墙","车","码头","货船","商贩","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[42,103],"水墨画精选",8462,106,{"id":107,"slug":108,"title":109,"dynasty":54,"author":110,"museum":111,"description":112,"tags":113,"thumbUrl":121,"material":122,"size":123,"collection":124,"collections":125,"showCount":126,"zanCount":127,"manualWeight":48,"mainColor":128},214638,"wu-zhong-shan-shui-juan-shen-zhou-214638","吴中山水卷","沈周","上海博物馆","画家画的是他家乡苏州的山水景象，山水构图平远，波光粼粼，山峦郁郁葱葱，被行人的小船打断了。图像没有任何标记，背面纸上有沈周写的长诗。",[23,24,25,7,114,27,29,63,64,115,116,34,117,35,118,119,120],"水墨","孤舟","亭","山石","皴法","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1fc32edd6049d9d044095077d4fe271.jpg","纸本,设色","31.6x348","山水画精选",[124],7463,45,"BDBDBD",{"id":130,"slug":131,"title":132,"dynasty":133,"author":134,"museum":135,"description":136,"tags":137,"thumbUrl":139,"material":140,"size":141,"collection":124,"collections":142,"showCount":143,"zanCount":144,"manualWeight":48,"mainColor":128},220765,"fu-chun-shan-ju-tu-sheng-shan-tu-huang-gong-wang-220765","富春山居图-剩山图","元","黄公望","浙江省博物馆","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,24,25,7,114,118,29,34,30,31,138],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a787b3411565c7d5dc5dd29005c0c6.jpg","绢本","横51.4公分，高31.8公分",[124,45],6110,22,{"id":146,"slug":147,"title":148,"dynasty":149,"author":150,"museum":151,"description":152,"tags":153,"thumbUrl":159,"material":78,"size":160,"collection":44,"collections":161,"showCount":162,"zanCount":163,"manualWeight":48,"mainColor":128},216930,"han-xi-zai-ye-yan-tu-gu-hong-zhong-216930","韩熙载夜宴图","五代十国","顾闳中","台北故宫博物院","他出生于江南，在南唐时担任元宗父子的御史，与周文儒同时。据传说，韩熙载是一个很好的声乐表演者，他是夜里喝酒的特殊客人。后者想看看台阶灯、台阶蜡烛和摇曳的筹码，所以他命令马德在晚上监视他，上面画的就是这幅画。这是人物画的最后一部分，只有八个人物，没有任何痕迹，这幅画非常古老，虽然不是顾雏军的原作，但可能是很早的一个大师的摹本。",[23,24,154,7,28,27,61,155,156,157,158],"名画","美人","衣帽","乐器","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c3e16a6989ea7dc1166ef8b9300366.jpg","27.9x69",[44],6027,25,{"id":165,"slug":166,"title":167,"dynasty":168,"author":169,"museum":170,"description":171,"tags":172,"thumbUrl":179,"material":180,"size":181,"collection":44,"collections":182,"showCount":183,"zanCount":184,"manualWeight":48,"mainColor":185},223367,"ba-shi-qi-shen-xian-juan-wu-dao-zi-223367","八十七神仙卷","唐","吴道子","徐悲鸿纪念馆","古时以农业为主，稻生双穗，或稻产丰收，是一种祥瑞，也称之为嘉禾。 画中这一丛稻长得比一般的稻子高大，茎叶茂盛，稻穗饱满沉重，显现出丰收的预兆。在用笔上，除稻穗外，都用花青和赭石以没骨法染画而成。嘉禾顶立在画幅中央，构图非常单纯，主题强烈，有著简朴而新顷之感。 《八十七神仙卷》是我国美术史上极其罕见的经典传世之作，代表了中国古代白描绘画的最高水平，其艺术魅力堪与宋代张择端的《清明上河图》比肩，我国著名画家徐悲鸿认为此卷 “足可颉颃欧洲最高贵名作” 。它栉千年之风，沐五朝之雨，送给今人一份厚重的文化遗产，实在是艺术史上的一个伟大奇迹!\n该卷属于绢本白描人物画卷，长292厘米，画面主体有87位道教人物白描画像，其中有3位带有头光的主神、10名武将、7位男仙、67名金童玉女由画面右端向左端行进。画面没有任何文字。卷尾附有1948年重新装裱时的七段题跋，由前至后为：徐悲鸿跋之一、徐悲鸿跋之二、张大千跋、徐悲鸿跋之三、谢稚柳跋、朱光潜跋、艾克跋及冯至译义、徐悲鸿跋之四，加上题跋装裱全画总长超过10米。年湮世远的绢画，其绢丝已朽败至毫无韧性和筋骨了，往往一个轻巧的动作，甚至是众人的呼吸都有可能对它造成无法挽回的伤害。\n《八十七神仙卷》为一代画圣吴道子的冠世巨作，也是吴道子现世仅存的一部白描绢本。是至今存世屈指可数的中国古代重要艺术瑰宝，代表了中国唐代白描绘画的最高水平。\n因场面之宏大，人物比例结构之精确，神情之华妙，构图之宏伟壮丽，线条之圆润劲健，而被历代画家艺术家奉为圭臬。现保存在徐悲鸿纪念馆，并为镇馆之宝。",[23,24,25,7,173,174,61,62,175,176,177,178],"宗教","白描","祥云","飘带","仪仗","队列","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de302348f3ee25a5f65f77fe3cfccd0.jpg","绢本白描","30x290cm",[44],5500,51,"F48FB1",{"id":187,"slug":188,"title":189,"dynasty":54,"author":55,"museum":190,"description":191,"tags":192,"thumbUrl":197,"material":198,"size":199,"collection":124,"collections":200,"showCount":201,"zanCount":202,"manualWeight":48,"mainColor":49},222209,"tao-hua-yuan-tu-quan-juan-chou-ying-222209","桃花源图全卷","美国波士顿博物馆","此大青绿山水《桃花源图》卷是明代画家仇英的作品。画作题材取自东晋诗人陶渊明所作《桃花源记》，描绘了文人理想中的隐居之乐，画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。此卷现藏于美国波士顿美术馆。\n桃源文化悠久绵长，不仅唐宋元时期都有相关诗文创作，而且李昭道、荆浩、关仝、郭熙、李唐、马和之、赵伯驹、伯骕、刘松年、赵孟頫、钱选、王蒙等人也都有桃源图流传，内容形式不尽相同，而且大部分已经遗失。至明代，桃源图再次流行兴盛，究其原因除了政治动荡引起的避世心理，主要是源于明人对自我觉醒和精神超越的思考与追问。\n存世的约三十六幅桃源图中有十余幅出自仇英之手，文征明之子文嘉的《钤山堂书画记》也证实了明代桃源题材绘画风潮确实肇始于仇英。这幅画卷以武陵渔夫的行踪为主线，贯穿全篇，画中绘有四十多个人物，他们形态各异、表情丰富，惟妙惟肖。其中有划船的渔夫、打柴的樵夫、扛锄的农夫、聊天的村民，每个人都快乐地做着自己的事情，怡然自得，展现出田园生活的无限乐趣。画中山水和人物完美结合，浑然一体，营造出景致优美、悠闲自得的人间仙境。\n第一段：由卷首至山洞口。起首处双松乔立，河流两岸，桃花落英缤纷，崇山连绵起伏，白云冉冉升起，河流尽头处，为岸边的一处洞穴，洞前停一舟，洞中见一人，即为武陵渔夫。\n第二段：山洞口之后到山顶凉亭。过此洞仍见一水流，水上有一艘捕鱼的小舟，画面到这里突然变得开阔敞亮了，这里土地平坦开阔，河岸上，稻田、人物往来其间，远山白云横锁缭绕。\n第三段：山顶凉亭之后到双层大宅院之前。在山林密荫处，可以看到这位外来的武陵渔夫与村中人会面、村人闻讯前来的情景。\n第四段：一双层大宅院到宴客所。其间可见乡人愉悦地往来于路途，男女的穿戴完全像桃花源以外的世人。老人和小孩都悠闲愉快，自得其乐的样子。\n第五段：宴客所之后到卷尾。画山石密林，崇山溪涧，武陵渔夫独自眺望。\n己未岁题赵伯驹桃源图，有云山春霭钞锣溪之句。越四十年，己亥题仇英桃源图，复用钞锣溪字，因失记数典以询内廷翰臣，自于敏中以下竟无知此事者。检之十余年，迄莫能得。每往来胸次，顷几暇偶阅旧刻元人所编陶靖节集《桃花源记》汤汉注中，始知本于桃源经，恍如重入仙源，顿逢旧迹，亦一快事。且知学问之道无穷尽也。仇英此卷即蓝本伯驹，笔意超秀，颇能神似，洵为合作，即书卷短，以识赏遇。（戊申小春御笔）\n锣溪接武陵源，峡口通人宛见村。望去陌阡鸡犬富，迎来老幼笑言温，传神别致超凡品。避世高情足静论，粉本问从谁所得，伯驹真迹石渠存。（已亥暮春御題）",[23,154,24,25,7,26,27,28,118,193,29,194,61,62,63,64,115,116,34,195,196],"印章","桃花","田园","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1313fc94acb487839607902fcd9974.jpg","纸本重彩","33.0cm 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绘了宴会上弹丝吹竹、清歌艳舞、主客揉杂、调笑欢乐的热闹场面，又深入地刻划了主人公超脱不羁、沉郁寡欢的复杂性格。全图共分为五个段落，首段“听乐”，韩熙载与状元郎粲坐床榻上，正倾听教坊副使李家明之妹弹琵琶，旁坐其兄，在场听乐宾客还有紫微朱铣、太常博士陈致雍、门生舒雅、家伎王屋山诸人；二段“观舞”，众人正在观看王屋山跳“六幺舞”，韩熙载亲擂“羯鼓”助兴，好友德明和尚不期而遇此景，尴尬地拱手背立；三段“暂歇”，韩熙载与家伎们坐床上休息，韩正在净手；四段“清吹”，韩熙载解衣盘坐椅上，欣赏着五个歌女合奏；五段“散宴”，韩氏手持鼓槌送别，尚有客人在与女伎调笑。全卷以连环画的形式表现各个情节，每段以屏风隔扇加以分隔，又巧妙地相互联结，场景显得统一完整。布局有起有伏，情节有张有弛，尤其人物神态刻画栩栩如生，如“听乐”段状元郎粲的倾身细听动姿、李家明关注其妹的亲切目光、他人不由自主的合手和拍；“观舞”段王屋山娇小玲珑的身姿、德明和尚背身合掌低首而立的尴尬状等等，传尽心曲，入木三分。最出色的还是主人公韩熙载的刻画，长髯、高帽的外形与文献记载均相吻合，举止、表情更显露出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[154,24,25,7,60,28,27,61,155,157,158,156,193,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f01749acfaf6449c0e92a8477239224.jpg","纵28.7厘米，横335.5厘米。",[],2675,16,{"id":318,"slug":319,"title":320,"dynasty":168,"author":321,"museum":322,"description":323,"tags":324,"thumbUrl":325,"material":78,"size":326,"collection":44,"collections":327,"showCount":328,"zanCount":264,"manualWeight":48,"mainColor":128},214574,"li-dai-di-wang-tu-yan-li-ben-214574","历代帝王图","阎立本","波士顿美术馆","本卷绘十三位帝王：前汉昭帝、汉光武帝、魏文帝曹丕、吴主孙权、蜀主刘备、晋武帝司马炎、陈宣帝陈顼、陈文帝陈蒨、陈废帝陈伯宗、陈后主陈叔宝、北周武帝宇文邕、隋文帝杨坚、隋炀帝杨广。整个卷轴共有四十六个人物。\n线条强而有力，色彩厚重，具有很高的艺术水准。通过细节，画家表达了皇帝们的内心世界和经历，用画笔表达了有爱有恨的故事。这幅画在色彩的使用和人物服装的处理上受到了佛教艺术的影响。",[23,24,25,7,27,61,28,193,119,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb3ca2dbf330c36c9516b2bb0dec8242.jpg","51.3 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张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[23,154,24,25,7,114,119,193,272,510,511,37,483],"渲染","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米",[42,261,103],1532,20,{"id":518,"slug":519,"title":520,"dynasty":149,"author":521,"museum":227,"description":522,"tags":523,"thumbUrl":525,"material":526,"size":527,"collection":42,"collections":528,"showCount":515,"zanCount":529,"manualWeight":48,"mainColor":49},221429,"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","徐熙","圖繪梅花翠鳥，滿樹梅花開放，粉色的茶花間插其中，鳥兒立於枝頭嬉戲，原來冬天可以這麼美！徐熙，五代南唐畫家，金陵（今南京）人，一說鍾陵（今江西進賢）人。出身於「江南名族」。生於唐僖宗光啓年間，後在開寶末年（公元975）隨李後主歸宋，不久病故。一生未官，郭若虛稱他爲「江南處士」。沈括說他是「江南布衣」。其性情豪爽曠達，志節高邁，善畫花竹林木，蟬蝶草蟲，其妙與自然無異。後人將其與後蜀黃筌並稱爲「黃徐」，有「黃家富貴，徐熙野逸」之評，爲五代、宋初花鳥畫的兩大流派之代表。」\n宋代沈括形容徐熙畫「以墨筆爲之，殊草草，略施丹粉而已，神氣迥出，別有生動之意」(《夢溪筆談》)。宋代《德隅齋畫品》中著錄徐熙《鶴竹圖》，謂其畫竹「根幹節葉皆用濃墨粗筆，其間櫛比，略以青綠點拂，而其梢蕭然有拂雲之氣」。米芾又謂他畫花果有時用澄心堂紙，用絹則「其紋稍粗如布」。這種題材和畫法都表現他作爲江南處士的情懷和審美趣味，與妙在賦彩、細筆輕色的「黃家富貴」不同，﹝指黃筌與黃居寀父子﹞而形成另一種獨特風格，被宋人稱爲「徐熙野逸」。然而《圖畫見聞志》中記徐熙爲南唐宮廷所繪的「鋪殿花」、「裝堂花」，於「雙縑幅素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙」，「意在位置端莊，駢羅整肅，多不存生意自然之態」。這種富有裝飾性的繪畫，也構成了徐熙繪畫的另一風貌。",[23,154,24,25,7,28,27,209,274,196,524,454],"鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm",[42,261,45],29,{"id":531,"slug":532,"title":533,"dynasty":133,"author":534,"museum":20,"description":535,"tags":536,"thumbUrl":541,"material":285,"size":542,"collection":543,"collections":544,"showCount":545,"zanCount":245,"manualWeight":48,"mainColor":128},214286,"xiao-kai-dao-de-jing-juan-zhao-meng-fu-214286","小楷道德经卷","赵孟頫","《小楷道德经卷》以小楷书法体风为主，结合了行书、草书的特点，在保留传统书法美感的同时又有别于传统。赵孟頫在书写《道德经》时，注重书体的整体性和结构的美感，使之成为一部精美的书法作品。\n\n《小楷道德经卷》被认为是赵孟頫书法创作的巅峰之作，其书法造型优美、结构严谨，在当时也受到了广泛的好评。如今，《小楷道德经卷》也是收藏家们喜闻乐见的书法珍品。",[119,537,538,7,539,540,193],"楷书","小楷","墨迹","写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7b66d6690e15f9b43c843b20904fb3.jpg","24.5x618.6","书法精选",[543],1521,{"id":547,"slug":548,"title":549,"dynasty":250,"author":550,"museum":56,"description":551,"tags":552,"thumbUrl":558,"material":559,"size":560,"collection":261,"collections":561,"showCount":562,"zanCount":304,"manualWeight":48,"mainColor":185},220992,"bai-hua-tu-juan-yun-shou-ping-220992","百花图卷","恽寿平","恽寿平的山水画造诣之高，受到历代画家的赞誉。然而，他到中年后却放弃了在山水画领域的成就，转向以画花卉为主。究其原因，历史上说法很多。",[23,24,25,7,27,553,28,209,281,278,554,283,555,194,279,434,280,436,556,433,337,557],"没骨","百合","荷花","芍药","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[261,45],1418,{"id":564,"slug":565,"title":566,"dynasty":54,"author":567,"museum":568,"description":569,"tags":570,"thumbUrl":572,"material":78,"size":573,"collection":44,"collections":574,"showCount":575,"zanCount":316,"manualWeight":48,"mainColor":185},214294,"xiang-shan-jiu-lao-tu-xie-huan-214294","香山九老图","谢环","美国克利夫兰艺术博物馆","谢环（1830-1888）是清代著名的画家，他的《山九老图》是其代表作之一。\n\n《山九老图》描绘了九位老僧依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出九位老僧与山林的和谐关系。谢环在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《山九老图》被认为是谢环画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《山九老图》也是收藏家们青睐的经典之作。",[23,24,25,7,28,27,61,29,116,254,117,571],"仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e446d85f920ac135920733919a6fd0a.jpg","29.4x148.2",[44],1379,{"id":577,"slug":578,"title":579,"dynasty":18,"author":294,"museum":380,"description":580,"tags":581,"thumbUrl":582,"material":384,"size":583,"collection":42,"collections":584,"showCount":585,"zanCount":304,"manualWeight":48,"mainColor":49},221339,"rui-he-tu-zhao-ji-221339","瑞鹤图","《瑞鹤图》描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。\n《瑞鹤图》，其不仅具神性的光辉与君主的华贵，也有仙音袅袅、高雅灵动之感。一方面，皇宫殿宇端端正正置于画面下方，均衡对称，留出三分之二湛蓝天空，正大光远，大气天成，颇具皇家风范。围绕殿宇的祥云打破屋宇水平线，稳重端庄的画面于是气韵流转，一派天趣。另一方面，仙鹤有表明志向高洁、品德高尚之意。停留在屋顶上的两只仙鹤，袅袅婷婷，以静寓动，与空中缭绕的鹤群相呼应，款款生姿。整个画面又多了一分高洁隽雅、飘逸灵秀之气。",[23,24,25,7,27,59,28,537,196,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef20e4191bb4faf39fae804720c95f29.jpg","纵51厘米，横138.2厘米",[42,261],1376,{"id":587,"slug":588,"title":589,"dynasty":54,"author":55,"museum":151,"description":590,"tags":591,"thumbUrl":593,"material":78,"size":594,"collection":124,"collections":595,"showCount":596,"zanCount":410,"manualWeight":48,"mainColor":49},216757,"shang-lin-tu-juan-chou-ying-216757","上林图卷","这卷书也在台北故宫，有一个类似的形象。它似乎比第一幅好，只是皴笔更简略一些",[23,24,25,7,26,27,28,59,29,61,62,34,31,592,117,38],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166b13b5b6a049210ce9da368f29e43b.jpg","44.8x1208",[124],1347,{"id":598,"slug":599,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":600,"thumbUrl":39,"material":40,"size":41,"collection":217,"collections":615,"showCount":616,"zanCount":617,"manualWeight":48,"mainColor":49},232934,"qian-li-jiang-shan-tu-juan-wang-xi-meng-232934",[23,154,24,7,601,27,28,405,602,603,604,605,606,607,608,609,61,610,611,612,613,614],"青绿山水","江河","飞瀑","房舍","林木","渔村","水榭","长桥","渔舟","亭台","烟波","曲径","茅屋","游船",[],1322,12,{"id":619,"slug":620,"title":621,"dynasty":18,"author":309,"museum":227,"description":310,"tags":622,"thumbUrl":628,"material":217,"size":217,"collection":217,"collections":629,"showCount":630,"zanCount":425,"manualWeight":48,"mainColor":49},226698,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-226698","韩熙载夜宴图(宋摹本)",[23,60,28,27,7,119,193,61,155,623,157,158,624,212,625,156,626,627],"文人","床榻","桌案","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2423c850e2ffa06c685670994844.jpg",[],1302,{"id":632,"slug":633,"title":634,"dynasty":250,"author":635,"museum":151,"description":636,"tags":637,"thumbUrl":642,"material":384,"size":643,"collection":261,"collections":644,"showCount":645,"zanCount":11,"manualWeight":48,"mainColor":49},222779,"bai-jun-tu-lang-shi-ning-222779","百骏图","郎世宁","《百骏图》是意大利籍清代宫廷画家郎世宁创作的绘画作品，是中国十大传世名画之一。此图稿本为纸质，原作分别收藏于美国纽约大都会博物馆（纸质稿本）和中国台北故宫博物院（绢本）\n此图共绘有100匹骏马，姿势各异，或立、或奔、或跪、或卧，可谓曲尽骏马之态。画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n此图为一长卷，从右至左，画面开始是两棵参天的老松树，透过松枝的空隙，露出了牧马人搭建的简易白色帐篷，有三个身穿满族服装的牧人在帐篷前，二人倦怠地或坐或卧，还有一人双手拄着套马杆立在那里，看着不远处的马匹，一只牧犬从帐篷内伸出了半个身子。\n近处是一匹浑身滚圆的白马悠然而立，旁边的两匹花马在低头啃草，由此引出了后面千姿百态的群马。在草地上，一群肥瘦不一的马匹各自在觅食、躺卧、翻滚嬉闹。\n远处群山连绵，草木丛生，一个牧马人正用套杆套一匹跑远的马，另一牧人则在赶拢跑散的八九匹小马驹，此处近景也是几棵盘根虬枝的古松，一大群不同花色的骏马或立或卧或昂首或低头，还有几匹在追逐打闹。\n画面中段，在一片树木坡石间又有一群马在休息，其中有一对母子，母马正看着在吃奶的小马驹，旁边一匹马正在古松上蹭痒，惹得一牧人扭头观看。\n画卷再向左侧展开是一片湖水，湖岸边芦苇郁郁葱葱，马匹则在水边嬉闹。湖中有一人正在为一花马擦洗，湖中倒影清晰可见。\n过了水面窄处而后湖水又逐渐开阔，湖滩的沙地上长满了芦苇和杂草，另有一小群马在一个骑马的牧人带领下，泅过不宽的水面到对面去。\n画面的结尾是一个手持套马杆的牧人。在画幅的左下角，署有画家名款：“雍正六年，岁次戊申仲春，臣郎世宁恭画。”画幅上钤乾隆印多方。\n此图描绘了姿态各异的骏马百匹放牧游息的场面，画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n《百骏图》长卷洋洋洒洒，塑造了一大群或站或卧、或翻滚嬉戏、或打斗觅食的骏马，它们聚散不一，自由、舒闲。画作中除了上百匹骏马之外，还有人物、山水、草木，无不精致写实，形象逼真，给予人们足够的空间，令人产生无边的遐想。同时花卉的形态和神态作者也通过西画的透视和光感等技巧表现出来，画得相当精细，立体感强。\n此画上，作者运用中国的毛笔、纸绢和色彩，却以欧洲的绘画方法注重于表现马匹的解剖结构、体积感和皮毛的质感，使得笔下的马匹形象造型准确、比例恰当、凹凸立体，而不像中国古代画\n家采用延绵遒劲的线条来勾勒物象轮廓的方法。他是以细密的短线，按照素描的画法，来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅，来表现马匹的凹凸肌肉，与传统中国绘画中的马匹形象迥然有别。以中国传统绘画技法加入西洋光影透视法及西画颜料，以显示中西趣味兼容并蓄的画面。如画中马匹、人物、树木、土坡皆应用了光的原理，使物象极富立体感；而如松针、树皮、草叶等的墨线勾勒，石块土坡的皴擦等仍含有中国传统手法，即使是马匹及树干上的阴影表现，亦是以中国传统的渲染方法来完成的。\n此画构图复杂，风格独特，极具意趣，别具一格。尽管全图包含了马匹、牧者、帐篷、树木等众多景物，但作者充分显示了其“虚实相间”的构图功力，画面由牧者引出，又以牧者结束，而作为主角的百匹骏马均在牧马人的引导控制之下活动。整幅画面聚散、稀疏的设置充满了节奏感。\n中国画是散点透视，西画是焦点透视。这种透视效果在这幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。注重形象的解剖结构、光影效果及立体感。并且，在此画上，作者将中国画法巧妙地与西法相融合，突破了明清时期大部分山水、花鸟画作品以水墨为主流的表现方法，另辟蹊径，创造了一种“中西合璧”的绘画新风格，具有开拓性的意义，对于中国传统绘画的发展产生了巨大的推动和冲击。",[23,28,27,7,638,90,34,31,639,61,640,29,641,420],"中西合璧","草地","帐篷","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b30b71123be3a26bafdc83b49d1c5e.jpg","纵102厘米，横813厘米",[261,45],1291,{"id":647,"slug":648,"title":649,"dynasty":18,"author":650,"museum":651,"description":652,"tags":653,"thumbUrl":655,"material":78,"size":217,"collection":124,"collections":656,"showCount":657,"zanCount":11,"manualWeight":48,"mainColor":49},218625,"xi-shan-xing-lv-tu-guo-xi-218625","溪山行旅图","郭熙","私人收藏","画面层峦叠嶂，主峰巍峨耸立，次峰拱卫环绕，尽显山川雄浑气势。山石以卷云皴法勾勒，纹理如波似浪，赋予山体灵动质感，仿佛云气在岩间流转。山间路径蜿蜒，行旅队伍缓缓前行，或挑担或驱马，于溪畔林间留下鲜活身影。溪流潺潺，树木葱茏，屋舍点缀其间，既有自然野趣，又含人文暖意。笔墨刚劲中见细腻，墨色层次丰富，高远、深远、平远三远之法交织，使画面空间错落有致。观者仿佛可登山远眺层林尽染，可沿溪漫步听水声潺潺，于山水间体悟静谧与生机的交融，感受那份穿越时光的艺术魅力。",[154,24,25,7,27,118,114,29,117,34,64,115,61,654,62],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9968fd31d72f248e2d7e1d780f9d2aa4.jpg",[124],1280,{"id":659,"slug":660,"title":661,"dynasty":18,"author":430,"museum":20,"description":662,"tags":663,"thumbUrl":665,"material":78,"size":666,"collection":42,"collections":667,"showCount":668,"zanCount":669,"manualWeight":48,"mainColor":128},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,24,25,7,60,174,27,28,119,120,664,193,61,155,29,115,62,64,34],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[42],1270,10,{"id":671,"slug":672,"title":673,"dynasty":168,"author":674,"museum":20,"description":675,"tags":676,"thumbUrl":678,"material":679,"size":680,"collection":217,"collections":681,"showCount":682,"zanCount":410,"manualWeight":48,"mainColor":49},227085,"hui-shan-shi-nv-tu-juan-zhou-fang-227085","挥扇仕女图卷","周昉","《挥扇仕女图》卷，传为唐周昉绘，绢本，设色，纵33.7厘米，横204.8厘米。\n无作者款印。引首清高宗弘历题“猗兰清画”四字。钤明韩世能 “韩世能印”、“韩仲子氏”、“世能”，清梁清标“蕉林书屋”、“蕉林居士”、“蕉林考藏”，清高宗弘历“古希天子”、“乾隆御览之宝”、“石渠宝笈”、“乾隆鉴赏”等鉴藏印，共31方。\n此图描绘了13位头挽高髻、细目圆面、长裙曳地的妃嫔和宫女形象。全幅以横向排列的形式展示了人物的各种活动：执扇慵坐、解囊抽琴、对镜理妆、绣案做工、挥扇闲憩等。作者注意画面横向疏密、松紧的韵律变化，纵向高低错落的层次变化，从而使得画面结构井然有序，并避免了构图上的单调呆板。图中色彩丰富，以红色为主，兼有青、灰、紫、绿等各色。冷暖色调相互映衬，显现出人物肌肤的细嫩和衣料的华贵。衣纹线条近铁线描，圆润秀劲，富有力度和柔韧性，较准确地勾画出了人物的种种体态。\n画家周昉出身于豪门显宦，因此，他对于贵族阶层绮靡奢华的生活非常熟悉。其仕女画不以烈女、贤妇、仙女等为表现对象，而是取材于现实生活中贵族妇女的行乐活动，具有强烈的时代感，从而迎合了中晚唐时期大官僚贵族们的审美意趣。其作品在张扬唐王朝繁华兴盛的物质生活的同时，亦揭示了贵妇们极度贫乏的精神世界。此图中嫔妃们体貌丰腴，衣饰华丽，但她们面含幽怨，举止慵倦，毫无生气。\n明张丑《清河书画舫》，清内府《石渠宝笈续编》，清阮元《石渠随笔》著录。",[23,24,25,7,28,27,61,677,155,193,156,298],"仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d64d42508b0dd39153cc6c8554c273c.jpg","纸本 ，设色","纵33.7cm，横204.8cm",[],1203,{"id":684,"slug":685,"title":686,"dynasty":250,"author":687,"museum":20,"description":688,"tags":689,"thumbUrl":695,"material":696,"size":217,"collection":217,"collections":697,"showCount":698,"zanCount":699,"manualWeight":48,"mainColor":128},234149,"lin-shen-zhou-shan-shui-juan-cheng-zheng-kui-234149","临沈周山水卷","程正揆","此幅画秋景山水，是程正揆的精谨之作，图中层峦叠谳，怪石嶙岣，山路崎岖，烟水微茫，层舍俨然，再缀以溪水树木，其境地则很深邃幽奥。此图笔墨枯劲，画风静秀。",[23,24,25,7,60,114,27,29,118,119,120,117,34,64,63,116,35,690,61,420,691,613,692,693,694],"远山","峭壁","小径","秋树","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb462b100c634b5e8b6cacc9798383.jpg","纸本，水墨",[],1141,6,{"id":701,"slug":702,"title":703,"dynasty":250,"author":704,"museum":705,"description":706,"tags":707,"thumbUrl":708,"material":78,"size":709,"collection":124,"collections":710,"showCount":711,"zanCount":699,"manualWeight":48,"mainColor":49},214434,"xiu-yuan-tu-wang-yun-214434","休园图","王云","旅顺博物馆","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,24,25,7,27,28,59,29,61,62,63,34,117,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c816996f71e8cca2630cc96ce0c65.jpg","纵54厘米，横129.5厘米",[124],1111,{"id":713,"slug":714,"title":715,"dynasty":18,"author":716,"museum":568,"description":717,"tags":718,"thumbUrl":719,"material":720,"size":721,"collection":44,"collections":722,"showCount":723,"zanCount":724,"manualWeight":48,"mainColor":49},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,154,24,25,7,114,27,118,29,61,62,63,64,34,116,195,35,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","绢本,水墨","34.6x566.4",[44],1013,9,{"id":726,"slug":727,"title":728,"dynasty":54,"author":55,"museum":151,"description":729,"tags":730,"thumbUrl":732,"material":78,"size":216,"collection":44,"collections":733,"showCount":734,"zanCount":502,"manualWeight":48,"mainColor":128},219968,"han-gong-chun-xiao-tu-chou-ying-219968","汉宫春晓图","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。\n《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,24,25,7,28,27,59,61,155,62,404,196,34,281,211,731,212],"台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ef02bc84e372303950e1dc284071d3.jpg",[44],977,{"id":736,"slug":737,"title":738,"dynasty":250,"author":739,"museum":651,"description":740,"tags":741,"thumbUrl":742,"material":285,"size":217,"collection":103,"collections":743,"showCount":744,"zanCount":669,"manualWeight":48,"mainColor":128},216223,"han-mei-yi-zhi-hua-jin-nong-216223","寒梅一枝画","金农","金农（1862年－1930年）是清朝时期的画家，他以绘画寒梅花闻名。寒梅是一种以果实为名的花卉，它在冬季开花，而且十分耐寒，因此被称为寒梅。金农的画作中，寒梅通常是独自绽放的一朵花，或者是和其他花卉搭配使用。他的画风细腻，笔触细腻，很擅长描绘花卉的细微差别，并能真实地再现花朵的美丽和优雅。",[23,24,25,7,114,274,209,193,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11daab6d07b3e27d2714aa4ecfc5eece.jpg",[103],963,{"id":746,"slug":747,"title":748,"dynasty":225,"author":226,"museum":20,"description":749,"tags":750,"thumbUrl":751,"material":752,"size":753,"collection":44,"collections":754,"showCount":755,"zanCount":460,"manualWeight":48,"mainColor":49},221042,"nv-shi-zhen-tu-quan-juan-gu-kai-zhi-221042","女史箴图全卷","《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。",[23,24,7,174,27,28,61,155,156,119,193,275,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e16c9ec9cf1b988dbcda811f3ae11a.jpg","纸本，墨笔","横601厘米，纵27.9厘米",[44,45],944,{"id":757,"slug":758,"title":759,"dynasty":133,"author":760,"museum":111,"description":761,"tags":762,"thumbUrl":766,"material":285,"size":767,"collection":124,"collections":768,"showCount":769,"zanCount":699,"manualWeight":48,"mainColor":128},214390,"yu-fu-tu-juan-wu-zhen-214390","渔父图卷","吴镇","这卷描绘了江南水乡的景象，地势辽阔，云山不分，水天一色。在苍茫的景象中，散落着十四个渔民快乐地来回操纵着他们的船，他们的动作各不相同，有的醉卧在夕阳下，有的独自在烟波中捕鱼，有的在网中捕鱼，有的在帐篷的窗户上听雨，丰富而生动。吴镇的技法成熟，墨色浓淡相宜，将精细的轮廓线与厚重的表现力结合起来，用阴沉的墨色和强烈的笔触，仅用有限的笔墨就描绘出长江以南广阔而混杂的风景。",[23,154,24,25,7,114,763,118,115,764,765,34,405,31,33,120,193],"山水画","蓑笠","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd51c8d826dddc7c4be19c56c6b51be.jpg","33x651.6",[124],887,{"id":771,"slug":772,"title":773,"dynasty":54,"author":110,"museum":20,"description":774,"tags":775,"thumbUrl":776,"material":78,"size":777,"collection":44,"collections":778,"showCount":779,"zanCount":11,"manualWeight":48,"mainColor":128},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,24,25,7,114,118,29,404,63,64,115,230,116,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","纵30.1厘米，横400.2厘米",[44,124,45],877,{"id":781,"slug":782,"title":783,"dynasty":54,"author":110,"museum":380,"description":784,"tags":785,"thumbUrl":787,"material":696,"size":788,"collection":124,"collections":789,"showCount":790,"zanCount":791,"manualWeight":48,"mainColor":128},222423,"su-shi-yan-jiang-die-zhang-tu-shen-zhou-222423","苏轼烟江叠嶂图","此幅图是根据赵孟頫的行书《苏轼题王诜烟江叠嶂诗》的诗意而作。图上山峦起伏，水天相连，云雾迷漫；近处山石屹立，树木成林，墨色浓重；人物三位，江中小舟一翁坐于舟尾垂钓，怡然自得。整幅图画笔老劲，构图简约，描绘了从远处观看山水美景的宏伟景象！",[23,24,114,7,118,29,115,34,37,117,419,690,786,61],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51c2b1ac770a01bb35e9d219451d74e.jpg","50*1165cm",[124,103],871,3,{"id":793,"slug":794,"title":795,"dynasty":18,"author":796,"museum":227,"description":797,"tags":798,"thumbUrl":801,"material":114,"size":802,"collection":124,"collections":803,"showCount":804,"zanCount":805,"manualWeight":48,"mainColor":49},218544,"yu-qi-nong-yan-tu-mi-fei-218544","雨气浓烟图","米芾","烟雨濛濛，墨色轻染山峦，云雾似纱般缠绕峰峦，远近层次在虚实间晕开。近处林木苍劲，几椽茅舍隐于树影，水面上一叶扁舟悠然，似载着湿意的风。米氏笔法写意传神，将雨气的氤氲、烟岚的缥缈凝于尺幅，于淡墨间见悠远之境，仿佛能嗅到湿润的草木气息，听山间细雨沙沙，心境也随之沉静旷达。",[24,7,114,118,29,690,799,37,31,800,610,138,405,34,63,119,193],"近树","小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ca15d5c9196dbbf7ceb73083e5d937.jpg","40x438",[124,42],865,8,{"id":807,"slug":808,"title":53,"dynasty":18,"author":86,"museum":20,"description":87,"tags":809,"thumbUrl":811,"material":384,"size":812,"collection":42,"collections":813,"showCount":814,"zanCount":699,"manualWeight":48,"mainColor":49},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,24,7,59,27,810,28,61,62,63,64,66,67,65,34,68,91,90,69,75,74,70,97,71],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","宽24.8厘米、长528.7厘米",[42,44,45],858,{"id":816,"slug":817,"title":818,"dynasty":250,"author":819,"museum":227,"description":820,"tags":821,"thumbUrl":823,"material":824,"size":825,"collection":103,"collections":826,"showCount":827,"zanCount":791,"manualWeight":48,"mainColor":128},224526,"ku-mu-zhu-shi-tu-juan-shi-tao-224526","枯木竹石图卷","石涛","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，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《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[23,24,25,7,114,118,822,275,255,29,276,119,120,193],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e40f18081971367110555976691d9e.jpg","纸本墨笔","纵23.5厘米，横213.5厘米",[103],845,{"id":829,"slug":830,"title":831,"dynasty":18,"author":832,"museum":20,"description":833,"tags":834,"thumbUrl":835,"material":384,"size":836,"collection":42,"collections":837,"showCount":838,"zanCount":617,"manualWeight":48,"mainColor":49},221557,"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 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在技法上刘松年变李唐的“斧劈皴”为小笔触的“刮铁皴”，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,7,26,27,28,118,29,63,64,116,34,405,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cd819a0038f8aa8374cedcb53dd386.jpg","24cmx254cm",[42,124,45],840,{"id":840,"slug":841,"title":842,"dynasty":250,"author":843,"museum":651,"description":844,"tags":845,"thumbUrl":846,"material":285,"size":217,"collection":261,"collections":847,"showCount":848,"zanCount":11,"manualWeight":48,"mainColor":128},216366,"jing-ji-cong-lan-tu-zheng-ban-qiao-216366","荆棘从兰图","郑板桥","郑板桥是一位著名的清朝画家，他创作的《荆棘丛兰图》是一幅工笔画作品，以荆棘丛生的兰花为主题。这幅画用精细的笔法勾勒出了兰花的各个细节，如花瓣、花茎、花药和荆棘。整幅画给人以自然美的感受，同时也体现出了郑板桥在工笔画技法上的精湛技艺。",[23,24,25,7,114,272,119,120,193,282,275,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd1b681b72b4ba6f2e49e8cac42d39fb.jpg",[261],816,{"id":850,"slug":851,"title":852,"dynasty":18,"author":19,"museum":20,"description":21,"tags":853,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":855,"showCount":856,"zanCount":669,"manualWeight":48,"mainColor":49},221382,"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图",[23,24,154,25,7,26,27,28,118,29,405,31,63,34,610,854,37,38],"舟船",[42,44,45],809,{"id":858,"slug":859,"title":860,"dynasty":18,"author":861,"museum":151,"description":862,"tags":863,"thumbUrl":864,"material":285,"size":865,"collection":543,"collections":866,"showCount":867,"zanCount":669,"manualWeight":48,"mainColor":128},214696,"huang-zhou-han-shi-tie-su-shi-214696","黄州寒食帖","苏轼","关于黄州寒食的诗写于1082年，这本书肯定是在这个日期之后写的。在这首诗中，东坡自己的悲伤和感慨之情溢于言表，行与行之间的节奏变化也随着文本的各种情绪波动而变化。在这卷书法中，字的大小是结合在一起的，如 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纸本","全长1225厘米，宽35.8厘米",[44,45],696,{"id":956,"slug":957,"title":958,"dynasty":133,"author":959,"museum":651,"description":960,"tags":961,"thumbUrl":963,"material":78,"size":964,"collection":261,"collections":965,"showCount":966,"zanCount":425,"manualWeight":48,"mainColor":49},218979,"xi-yuan-chun-se-tu-liu-guan-dao-218979","西园春色图","刘贯道","蛱蝶蹁跹于花草丛中，翅羽斑斓如霞，或振翅欲飞，或停驻吮香，姿态灵动鲜活。草叶舒展，花蕊微绽，淡彩晕染出春日的柔媚生机。旁侧书法笔墨流转，行草相间，墨色浓淡相宜，与工致的花鸟相映成趣。书画交织处，既有自然野趣的鲜活，又有文人笔墨的雅致，仿佛能闻春风里的花香，听纸间墨韵的轻响。整体气息清逸，将西园春日的盎然生机与文人雅兴融于一卷，尽显古典艺术的和谐之美。",[154,24,25,7,28,27,209,337,555,962,281,440,120,119,193],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec39f61ffab9b2bf23461034a8902f3b.jpg","23x137cm",[261],694,{"id":968,"slug":969,"title":970,"dynasty":133,"author":134,"museum":20,"description":971,"tags":972,"thumbUrl":974,"material":122,"size":975,"collection":124,"collections":976,"showCount":977,"zanCount":978,"manualWeight":48,"mainColor":49},218531,"kuai-xue-shi-qing-tu-huang-gong-wang-218531","快雪时晴图","《快雪时晴图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。 画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。山中的楼房里，有座香炉供奉着佛像。",[23,24,25,7,114,118,29,117,34,973,120,193],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb267ee7419e8115bf1c5d1d95984d.jpg","纵29.7厘米，横104.6厘米",[124,45],675,4,{"id":980,"slug":981,"title":982,"dynasty":133,"author":534,"museum":227,"description":983,"tags":984,"thumbUrl":987,"material":217,"size":217,"collection":217,"collections":988,"showCount":989,"zanCount":617,"manualWeight":48,"mainColor":128},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[24,25,7,27,114,118,193,120,119,29,482,254,35,31,33,985,138,986],"芦苇","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg",[],666,{"id":991,"slug":992,"title":993,"dynasty":250,"author":994,"museum":20,"description":995,"tags":996,"thumbUrl":998,"material":696,"size":999,"collection":217,"collections":1000,"showCount":1001,"zanCount":48,"manualWeight":48,"mainColor":128},233459,"mao-shi-tu-juan-zhu-da-233459","猫石图卷","朱耷","此图为朱耷71岁所作。全幅景致简洁，绘一只白猫蹲于石巅上拱背缩身，与山石浑然合成一体。它闭目养神，全然无心观赏四周荷花、兰花等俏丽的景致。作者显然运用了象征隐喻的手法，将客观的意象与主观的意识作了巧妙而含蓄的结合。他以心静如水的猫暗喻自己在清王朝统治下不闻不问，远离世俗的隐遁行为。图中荷叶及无名花草以墨气淋漓的泼墨法绘成，与白描勾勒，寥寥数笔的猫、石形成视觉上的黑白对比，不同色调的深浅变化，丰富了画面的空间层次，从而使全卷既充实又空灵。",[24,25,7,114,997,404,193,272],"猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ca2edd6ab75301d011c83693dfa665.jpg","纵34厘米，横218厘米",[],656,{"id":1003,"slug":1004,"title":1005,"dynasty":168,"author":1006,"museum":20,"description":1007,"tags":1008,"thumbUrl":1010,"material":140,"size":1011,"collection":543,"collections":1012,"showCount":1014,"zanCount":978,"manualWeight":48,"mainColor":128},221052,"wu-niu-tu-quan-juan-han-huang-221052","五牛图全卷","韩滉","《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[23,24,7,27,28,193,119,120,91,1009],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102bd0cd5d4cb918fdece3f7352d6ced.jpg","525.92X21.6cm",[543,1013],"碑帖精选",654,{"id":1016,"slug":1017,"title":1018,"dynasty":250,"author":1019,"museum":190,"description":1020,"tags":1021,"thumbUrl":1022,"material":27,"size":1023,"collection":261,"collections":1024,"showCount":1025,"zanCount":881,"manualWeight":48,"mainColor":128},222691,"wan-you-tong-chun-tu-juan-qian-wei-cheng-222691","万有同春图卷","钱维城","画卷以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以没骨法绘写花叶、花瓣，形态逼真。钱氏画风以干笔勾勒，重视烘染，笔墨浑然，用笔缜密，以青绿、赭石相间设色，极富宫廷富贵气息。\n一如其画卷的题目“万有”，他以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以恽寿平的没骨法绘写花叶、花瓣，形态逼真。我们可以轻松地根据花来辨别物种。",[23,24,7,27,28,209,278,434,280,194,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28df3bc101f8e21a132c570146c27eaa.jpg","36.3X787.3厘米",[261,45],647,{"id":1027,"slug":1028,"title":1029,"dynasty":54,"author":1030,"museum":151,"description":1031,"tags":1032,"thumbUrl":1033,"material":215,"size":1034,"collection":44,"collections":1035,"showCount":1036,"zanCount":1037,"manualWeight":48,"mainColor":49},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","唐寅","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[23,24,25,7,27,29,765,64,115,116,34,117,613,61,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","纵29.4cm，横351cm",[44,45],633,5,{"id":1039,"slug":1040,"title":1041,"dynasty":168,"author":169,"museum":227,"description":1042,"tags":1043,"thumbUrl":1049,"material":1050,"size":1051,"collection":217,"collections":1052,"showCount":1053,"zanCount":805,"manualWeight":48,"mainColor":128},289941,"song-zi-tian-wang-tu-wu-dao-zi-289941","送子天王图","《送子天王图》（又名《天王送子图》、《释迦降生图》）是唐代吴道子根据佛典《瑞应本起经》创作纸本墨笔画，一说宋人摹本。该作现藏于日本大阪市立美术馆。\n全图分为三个部分：第一段描绘一位王者气度的天神端坐中间，两旁是手执笏板的文臣、捧着砚台的仙女，以及仗剑围蛇的武将力士面对一条由二神降伏的巨龙。第二段画的是一个踞坐在石头之上的四臂披发尊神，身后烈焰腾腾。神像形貌诡异，颇具气势，左右两边是手捧瓶炉法器的天女神人。第三段即《释迦牟尼降生图》，内容是印度净饭王的儿子出生的故事。从画面上，可以看到释迦牟尼降生时，他的父亲抱着他到寺庙朝谒见自在天神的情景。\n此图写异域故事，而画中的人、鬼神、兽等却完全加以中国化，当是佛教与中国本土变化至唐日趋融合之势所致。此图意象繁富，以释迦降生为中心，天地诸界情状历历在目，技艺高超，想象奇特，令人神驰目眩。该图着色较淡，近乎白描。",[23,154,24,7,174,1044,1045,173,1046,1047,511,1048],"人物画","神话","天王","鬼怪","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbca5673da27ce7e942f4cd3b8991436.jpg","未知","Xcm*Xcm",[],629,{"id":1055,"slug":1056,"title":1057,"dynasty":18,"author":430,"museum":151,"description":1058,"tags":1059,"thumbUrl":1061,"material":78,"size":217,"collection":44,"collections":1062,"showCount":1063,"zanCount":791,"manualWeight":48,"mainColor":49},215043,"mo-gu-kai-zhi-luo-shen-fu-yi-ming-215043","摹顾恺之洛神赋","《洛神赋图》，相传是东晋名画家顾恺之根据曹植文学作品《洛神赋》的故事情节所创作的故事画。曹植原文借对梦幻之镜中人神恋爱的追求，抒发了爱情失意的自我感伤。",[23,24,25,7,28,27,60,61,155,511,1009,193,1060],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c126a717e9affa0b4017e209a0f9a9.jpg",[44],628,{"id":1065,"slug":1066,"title":1067,"dynasty":225,"author":226,"museum":380,"description":1068,"tags":1069,"thumbUrl":1072,"material":140,"size":1073,"collection":124,"collections":1074,"showCount":1075,"zanCount":724,"manualWeight":48,"mainColor":49},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,24,25,7,28,27,61,155,1070,29,34,1071,196,116,193,119,120,664,154],"舟","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[124,45],613,{"id":1077,"slug":1078,"title":1079,"dynasty":18,"author":415,"museum":151,"description":1080,"tags":1081,"thumbUrl":1082,"material":285,"size":1083,"collection":44,"collections":1084,"showCount":1085,"zanCount":791,"manualWeight":48,"mainColor":128},214644,"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[23,24,25,7,174,29,62,63,64,116,34,61,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","28.9x364.6",[44],600,{"id":1087,"slug":1088,"title":1089,"dynasty":133,"author":534,"museum":20,"description":1090,"tags":1091,"thumbUrl":1092,"material":285,"size":1093,"collection":261,"collections":1094,"showCount":1095,"zanCount":791,"manualWeight":48,"mainColor":128},219899,"zhao-shi-yi-men-san-zhu-tu-zhao-meng-fu-219899","赵氏一门三竹图","此图卷可分三段，分别为赵孟頫之妻管道昇、赵孟頫、次子赵雍所画竹三支。第三段赵孟頫所画之竹，自画卷后方斜出，并一直向前伸展，竹梢低头向下，整体成一弓形，其上细枝左右仲出，竹叶茂密。此竹主要以淡墨画出，浓墨加点，笔法温雅厚重，墨色变化细腻丰富。",[23,24,25,7,114,120,193,275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b327490001f9742b145ab2ea2c238a.jpg","纵34厘米 横108厘米",[261],566,{"id":1097,"slug":1098,"title":1099,"dynasty":18,"author":415,"museum":1100,"description":1101,"tags":1102,"thumbUrl":1103,"material":285,"size":1104,"collection":42,"collections":1105,"showCount":1095,"zanCount":1106,"manualWeight":48,"mainColor":128},214884,"lian-she-tu-li-gong-lin-214884","莲社图","美国弗利尔美术馆","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[23,154,24,25,7,174,27,173,61,29,34,116,404,119,664,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[42],1,{"id":1108,"slug":1109,"title":1110,"dynasty":168,"author":321,"museum":20,"description":1111,"tags":1112,"thumbUrl":1113,"material":140,"size":1114,"collection":543,"collections":1115,"showCount":1116,"zanCount":724,"manualWeight":48,"mainColor":128},221064,"bu-nian-tu-quan-juan-yan-li-ben-221064","步辇图全卷","此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。\n字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。\n全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。\n此卷则为千年传世之本，首尾俱全。\n卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。\n研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。\n它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。\n卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,24,25,7,28,27,61,156,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795330e305e920af26685bf0960da803.jpg","纵38.5厘米，横129厘米。",[543,1013],564,{"id":1118,"slug":1119,"title":1120,"dynasty":18,"author":650,"museum":20,"description":1121,"tags":1122,"thumbUrl":1124,"material":1125,"size":1126,"collection":42,"collections":1127,"showCount":1128,"zanCount":1037,"manualWeight":48,"mainColor":49},221294,"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[23,24,154,25,7,114,118,29,404,1123,117],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[42,124,103],555,{"id":1130,"slug":1131,"title":1132,"dynasty":18,"author":1133,"museum":20,"description":1134,"tags":1135,"thumbUrl":1136,"material":384,"size":1137,"collection":42,"collections":1138,"showCount":1139,"zanCount":724,"manualWeight":48,"mainColor":49},221671,"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[23,24,25,7,26,27,29,117,34,31,62,610,28,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[42,261,45],551,{"id":1141,"slug":1142,"title":1143,"dynasty":250,"author":1144,"museum":227,"description":1145,"tags":1146,"thumbUrl":1147,"material":217,"size":217,"collection":261,"collections":1148,"showCount":1149,"zanCount":410,"manualWeight":48,"mainColor":128},228928,"hua-hui-hu-die-tu-juan-ma-quan-228928","花卉蝴蝶图卷","马荃","此作工写相融，以没骨法绘就群蝶，翅翼薄如蝉翼，晕染出绒毛的柔润质感，墨色浓淡相宜，黑蝶沉雅莹润，白蝶清透灵动。群蝶翩跹往复，似循着花香振翅而来，各有姿态，灵动生趣。\n\n间缀芍药、佛手数处，设色柔婉秀雅，花叶舒展自然，与蝶影相映成趣，将花底群蝶相逐的春日清景缓缓铺展。引首题字娟秀端丽，书画合璧，将闺中细腻意趣融于笔底，晕开一卷悠然雅致的花间清梦。",[23,24,25,7,27,28,120,193,209,281,337,278,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f6d45e4448610bc0d9227c8c99010.jpg",[261],537,{"id":1151,"slug":1152,"title":1153,"dynasty":133,"author":534,"museum":151,"description":1154,"tags":1155,"thumbUrl":1156,"material":78,"size":1157,"collection":44,"collections":1158,"showCount":1159,"zanCount":1037,"manualWeight":48,"mainColor":49},214839,"yuan-ming-gui-qu-lai-ci-tu-zhao-meng-fu-214839","渊明归去来辞图","现在的画没有标记，据说是赵孟𫖯的作品，不过画风不一样。这幅画表现的是陶渊明在两个仆人的陪同下，带着他的法杖回来，一个人拿着琴和卷轴，另一个人拿着酒坛。门前的五棵柳树清楚地表明，画中的人是五柳先生。人物的衣着是快速、流畅和有力的笔触。柳树的树干被仔细地描绘出来，线条清晰可见。这幅画还用淡墨给水和天空轻轻上色，但很明显，暮色已经退去，秋天的空气铺天盖地。",[23,24,25,7,174,27,61,230,29,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d284481c01c8ff3b02e261ebb31a78f.jpg","27x72.5",[44],533,{"id":1161,"slug":1162,"title":1163,"dynasty":18,"author":861,"museum":20,"description":1164,"tags":1165,"thumbUrl":1166,"material":470,"size":217,"collection":543,"collections":1167,"showCount":1168,"zanCount":791,"manualWeight":48,"mainColor":128},221304,"mo-ji-xuan-he-ji-su-shi-221304","墨迹选合集","苏轼（1037年1月8日-1101年8月24日），字子瞻、和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙，北宋著名文学家、书法家、画家，历史治水名人。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛” ；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。\n苏轼擅长写行书、楷书。他曾经遍学晋、唐、五代的各位名家之长，再将王僧虔、徐浩、李邕、颜真卿、杨凝式等名家的创作风格融会贯通后自成一家。他曾自称：“我书造意本无法”、“自出新意，不践古人”。\n黄庭坚称他：“早年用笔精到，不及老大渐近自然。”这说明苏轼一生屡经坎坷，致使他的书法风格跌宕。存世作品有《赤壁赋》、《黄州寒食诗》和《祭黄几道文》等帖。",[23,119,120,193,7,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2948e558a0b160e7d1fa1c38962ea6ba.jpg",[543],531,{"id":1170,"slug":1171,"title":1172,"dynasty":18,"author":430,"museum":380,"description":1173,"tags":1174,"thumbUrl":1175,"material":78,"size":217,"collection":44,"collections":1176,"showCount":1177,"zanCount":978,"manualWeight":48,"mainColor":49},214860,"mo-gu-kai-zhi-luo-shen-fu-tu-di-er-juan-yi-ming-214860","摹顾恺之洛神赋图（第二卷）","摹顾恺之洛神赋图（第二卷）是宋朝佚名画家的一幅作品。这幅画描绘了洛神，她是中国神话中的一位美丽的仙女，被认为是花的化身。洛神赋图是一组描绘洛神的图画，可能是以绘画的形式来记录洛神的故事。这幅画的风格典雅，线条流畅，色彩明快，极富表现力。",[23,60,24,7,174,27,61,511,854,29,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e06b4414fc9a2b292ec17325cf42bd.jpg",[44],522,{"id":1179,"slug":1180,"title":1181,"dynasty":168,"author":1182,"museum":227,"description":1183,"tags":1184,"thumbUrl":1187,"material":78,"size":217,"collection":124,"collections":1188,"showCount":1189,"zanCount":805,"manualWeight":48,"mainColor":49},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","王维","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[23,154,24,7,27,29,1185,1123,196,115,117,31,34,973,1186],"雪","小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[124],519,{"id":1191,"slug":1192,"title":1193,"dynasty":149,"author":886,"museum":190,"description":1194,"tags":1195,"thumbUrl":1198,"material":285,"size":1199,"collection":124,"collections":1200,"showCount":1201,"zanCount":1037,"manualWeight":48,"mainColor":49},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[23,154,24,25,7,114,118,29,1196,34,405,37,115,64,1197,116],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[124,103],498,{"id":1203,"slug":1204,"title":1205,"dynasty":133,"author":1206,"museum":1207,"description":1208,"tags":1209,"thumbUrl":1210,"material":122,"size":1211,"collection":261,"collections":1212,"showCount":1213,"zanCount":669,"manualWeight":48,"mainColor":128},216741,"wu-wang-zui-gui-tu-ren-ren-fa-216741","五王醉归图","任仁发","上海龙美术馆","《五王醉归图》出自元代画坛巨匠任仁发之手，描绘唐玄宗登基前，与四位兄弟出游饮宴，醉后策马归途的景象。据《旧唐书》记载，唐玄宗登基前，在兴庆坊西南方置楼，常邀诸王宴饮，赋诗燕嬉，感情深厚。本幅便是描绘其身为临淄王时醉后策马的景象。画中主角包括李隆基长兄宋王李宪、二兄申王李撝、四弟岐王李范，以及五弟薛王李业，另尚有四名侍从，合乘九匹骏马。\n任仁发的画马成就，堪与同时代的赵孟頫媲美。 《五王醉归图》是其笔下罕见的纸本作品，宋笺纸质细密，包浆良好，色彩明亮；用笔轻松自然，整幅线条勾勒凝练潇洒，人马排列为平铺式构图，是唐人造型和元人用笔之结合。",[23,24,25,7,28,27,61,90,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3028cb21d01ead2581ac3d3aa2d0dcc1.jpg","35x368cm",[261],497,{"id":1215,"slug":1216,"title":1217,"dynasty":54,"author":55,"museum":568,"description":1218,"tags":1219,"thumbUrl":1220,"material":78,"size":1221,"collection":44,"collections":1222,"showCount":1213,"zanCount":1106,"manualWeight":48,"mainColor":128},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,24,7,25,28,27,59,29,61,62,116,63,64,275,34,117,70,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[44],{"id":1224,"slug":1225,"title":1226,"dynasty":18,"author":294,"museum":111,"description":1227,"tags":1228,"thumbUrl":1230,"material":1231,"size":1232,"collection":543,"collections":1233,"showCount":1234,"zanCount":724,"manualWeight":48,"mainColor":128},221340,"shou-jin-qian-zi-wen-zhao-ji-221340","瘦金千字文","《千字文》是赵佶以其最具个人风格之“瘦金体”书写，整体匀整峭拔，筋骨挺劲，清爽润朗，飘逸灵动，正所谓“铁画银钩”。此种书体取法唐代薛稷、薛曜，把楷书中瘦劲一路发挥到了极致，带有很强的装饰性，成为具有鲜明个人风格的一种书体。\n本卷为宋徽宗赵估于崇宁三年（1104年）二十三岁时书赐童贯。朱丝界栏， 素笺本，纵三十点九厘米，横三百二十二点一厘米，楷书，字大寸许，每行十字，前后百行。此卷原为清宫旧藏，著录于《石渠宝笈初编》，现藏上海博物馆，",[23,119,7,537,1229,193],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a59fd9a6b1807f5c4769571d5723d63.jpg","素笺","纵30.9、横322.1厘米",[543],473,{"id":1236,"slug":1237,"title":1238,"dynasty":168,"author":430,"museum":1239,"description":1240,"tags":1241,"thumbUrl":1243,"material":1244,"size":217,"collection":44,"collections":1245,"showCount":1234,"zanCount":791,"manualWeight":48,"mainColor":49},217282,"jiang-mo-bian-dun-huang-tu-juan-yi-ming-217282","降魔变·敦煌图卷","法国国家图书馆","纤细灵动的墨线勾勒出神态各异的人物，衣袂飘举间藏着唐代绘画的潇洒韵致。残存的朱红、赭石色调虽经岁月晕染，仍可窥见当初设色的浓淡相宜。画面分段铺陈降魔故事：左侧人物群像或肃穆或专注，似在静待一场斗法开启；中间帐幔低垂，端坐者的静谧与周遭张力暗合；右侧则将神魔相搏的激烈瞬间定格，动态构图尽显情节跌宕。整幅作品以叙事性画面传递佛教义理，线条流转与情节起伏相映成趣，既是唐代佛教艺术的生动遗存，也为后世窥见当时审美与信仰世界的窗口。",[154,24,25,7,27,28,173,61,1242],"敦煌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a40ea02cdf882170b7ef7d5d3e495f.jpg","设色,拓本",[44],{"id":1247,"slug":1248,"title":1249,"dynasty":54,"author":110,"museum":1250,"description":1251,"tags":1252,"thumbUrl":1254,"material":122,"size":1255,"collection":124,"collections":1256,"showCount":1257,"zanCount":1037,"manualWeight":48,"mainColor":128},219871,"zi-sang-zhao-yin-tu-shen-zhou-219871","紫桑招隐图","印第安纳波利斯艺术博物馆","首先这是一幅长卷，长卷的意思就是从右往左，一部分一部分的展开来看，首先我们看到的是山石和树木，一派江南景色扑面而来。\n沈周的画法是吴门画派的重要代表画家，吴门画派的风格传承自元代文人画，也就是元四家、赵孟頫等人，从这幅画里我们可以明显的看到山石、水面和远景的画法有元代文人画的痕迹地面的一些处理方法又让人想到赵孟頫的秋郊饮马图。\n继续往左边展览，有人物、屋舍、舟船，最后视线进入隔岸的平远之中。明代的文人画讲究逸气，就是恬淡自然的审美情趣。整个画面简约而不简单，树木、人物、山石等元素处理妥当，构思完整而成熟，笔墨潇洒，寥寥数笔一切就跃然纸上，富有生气的同时又辽远淡泊。\n这一点和宋代严整的画院风格是不同的，文人画到了沈周这个时期，算是正式成为中国绘画的主流审美。沈周下启文征明、董其昌，董其昌又下启王时敏等明清中国正统文人山水画，无疑对后世整个中国画的面貌和发展有深远的影响。",[23,24,25,7,27,118,29,115,61,613,1253,34,64,117,765],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","17.4x76cm",[124,45],460,{"id":1259,"slug":1260,"title":1261,"dynasty":225,"author":226,"museum":20,"description":749,"tags":1262,"thumbUrl":1263,"material":752,"size":753,"collection":44,"collections":1264,"showCount":1265,"zanCount":699,"manualWeight":48,"mainColor":128},221041,"nv-shi-zhen-tu-juan-quan-juan-gu-kai-zhi-221041","女史箴图卷全卷",[23,24,25,7,174,28,61,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e325b86458ef996bbbc4b4e8cbd033.jpg",[44,103],458,{"id":1267,"slug":1268,"title":1269,"dynasty":18,"author":430,"museum":1270,"description":1271,"tags":1272,"thumbUrl":1273,"material":78,"size":1274,"collection":124,"collections":1275,"showCount":1265,"zanCount":1037,"manualWeight":48,"mainColor":49},218620,"luo-shen-fu-tu-yi-ming-218620","洛神赋图","大英博物馆","这幅卷轴是暗示顾恺之时代的众多卷轴之一，其中两幅在北京紫禁城和辽宁省博物馆。然而，大英博物馆有一幅与北京紫禁城流传下来的南宋亲笔画类似的画卷，这两幅画都是重新创作的版本，人物和风景之间的关系更加协调。故宫博物院研究员于辉认为，这卷书是抄自紫禁城内的南宋卷，可追溯到明朝初期。如果对两卷进行仔细比较，本卷明显优于南宋宫廷卷，应抄袭本卷，本卷应在南宋初年完成。不幸的是，这卷书损坏太严重，很少能买到。这个博物馆恰好有两卷高分辨率的图像，有识之士可以查看其装饰性，或者说剩下的字是不是假的。",[23,7,28,27,61,29,511,1070,1071,34,117,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daa44aeeabdd0261586d0876b40f8f4.jpg","53.7x832.8",[124,42],{"id":1277,"slug":1278,"title":1279,"dynasty":18,"author":861,"museum":151,"description":1280,"tags":1281,"thumbUrl":1287,"material":442,"size":1288,"collection":543,"collections":1289,"showCount":1290,"zanCount":699,"manualWeight":48,"mainColor":128},221307,"han-shi-shi-su-shi-221307","寒食诗","《寒食帖》又名《黄州寒食诗帖》或《黄州寒食帖》。是苏轼撰诗并书，墨迹素笺本，行书十七行，129字，现藏台北故宫博物院，那时苏轼因宋朝最大的文字狱，被贬黄州第三年的寒食节作了二首五言诗：“自我来黄州，已过三寒食。年年欲惜春，春去不容惜。今年又苦雨，两月秋萧瑟。卧闻海棠花，泥污燕支雪。暗中偷负去，夜半真有力，何殊病少年，病起须已白。”；“春江欲入户，雨势来不已。小屋如渔舟，蒙蒙水云里。空庖煮寒菜，破灶烧湿苇。那知是寒食，但见乌衔纸。君门深九重，坟墓在万里。也拟哭途穷，死灰吹不起。”\n此帖是苏轼行书的代表作。这是一首遣兴的诗作，是苏轼被贬黄州第三年的寒食节所发的 人生之叹。诗写得苍凉多情，表达了苏轼此时惆怅孤独的心情。此诗的书法也正是在这种心情和境况下，有感 而出的。通篇书法起伏跌宕，光彩照人，气势奔放，而无荒率之笔。《寒食诗帖》在书法史上影响很大， 被称为“天下第三行书”，也是苏轼书法作品中的上乘。正如黄庭坚在此诗后所跋：“此书兼颜鲁公，杨少师， 李西台笔意，试使东坡复为之，未必及此。",[23,119,120,7,193,114,627,923,1282,1071,1283,1284,1285,1286],"雨","寒","夜","乌","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5142f6a2af64f24798e0cf80caebeccb.jpg","横34.2厘米，纵18.9厘米",[543],452,{"id":1292,"slug":1293,"title":1294,"dynasty":54,"author":1295,"museum":111,"description":1296,"tags":1297,"thumbUrl":1299,"material":78,"size":217,"collection":44,"collections":1300,"showCount":1290,"zanCount":1037,"manualWeight":48,"mainColor":185},219411,"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","文徵明","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[23,24,25,7,27,29,61,34,613,1298,119,120,193,28,118],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg",[44,124],{"id":1302,"slug":1303,"title":1304,"dynasty":168,"author":1305,"museum":151,"description":1306,"tags":1307,"thumbUrl":1308,"material":470,"size":1309,"collection":543,"collections":1310,"showCount":1311,"zanCount":978,"manualWeight":48,"mainColor":128},221059,"ji-zhi-wen-gao-quan-juan-yan-zhen-qing-221059","祭侄文稿全卷","颜真卿","《祭侄文稿》与东晋王羲之的《兰亭序》、北宋苏轼的行书《黄州寒食帖》并称为“天下三大行书”，亦被誉为“天下行书第二”。且此稿是在极度悲愤的情绪下书写，不顾笔墨之工拙，故字随书家情绪起伏，纯是精神和平时工力的自然流露。这在整个书法史上都是不多见的，故《祭侄文稿》是极具史料价值和艺术价值的墨迹原作之一。",[23,119,120,7,193,626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625900b54f9cdc3eb453d3c2fceb3e38.jpg","纵28.3厘米，横75.5厘米",[543,1013],451,{"id":1313,"slug":1314,"title":1315,"dynasty":133,"author":534,"museum":20,"description":1316,"tags":1317,"thumbUrl":1318,"material":1319,"size":1320,"collection":543,"collections":1321,"showCount":1322,"zanCount":410,"manualWeight":48,"mainColor":128},220855,"luo-shen-fu-zhao-meng-fu-220855","洛神赋","赵孟頫是元代著名书画家，不仅绘画创一代新风，书法更是元代第一人，如元代书法名家鲜于枢所评：“子昂篆、隶、真、行、颠草为当今第一。”赵氏所创书风，后人称之为“赵体”。赵孟頫师承也极广泛，初宗宋人，学赵构、黄庭坚，继而由智永上溯锺繇、二王，晚年又取法李邕。他模拟古法力求微肖，书写十分熟练，尤倾心于二王，元虞集在《道园学古录》中指出：“楷法深得《洛神赋》而揽其标；行书诣《圣教序》而入其室；至于草书，饱《十七帖》而变其形。”赵孟頫的书法成就突出表现在楷、行书方面，创遒劲姿媚新风，对元人和后世均产生极大影响。\n此卷《洛神赋》即为赵氏行书代表作。行中兼楷的结体、点画，深得二王遗意，尤其是王献之《洛神赋》的神韵，即妍美洒脱之风致。如端正匀称的结构、优美潇洒的字姿、圆润灵秀的运笔、密中有疏的布局等；同时，又呈现自身的追求，象比较丰腴的点画，轻捷的连笔，飘逸中见内敛的运锋，端美中具俯仰起伏的气势，都显示出他博取众长而自成一体的艺术特色。故后纸诸家题跋如是评述此卷，李倜曰：“大令好写洛神赋，人间合有数本，惜乎未见其全。此松雪书无一笔不合法，盖以兰亭肥本运腕而出之者，可云买王得羊矣。”高启云：“赵魏公行草写洛神赋，其法虽出入王氏父子间，然肆笔自得，则别有天趣，故其体势逸发，真如见矫若游龙之入于烟雾中也。”",[23,154,24,25,7,120,119,1229,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7597768b3ca40f9e0dc49b46194d249f.jpg","纸本，行书","纵29厘米，横220.9厘米。",[543],449,{"id":1324,"slug":1325,"title":1326,"dynasty":54,"author":269,"museum":1327,"description":1328,"tags":1329,"thumbUrl":1336,"material":442,"size":1337,"collection":124,"collections":1338,"showCount":1339,"zanCount":48,"manualWeight":48,"mainColor":49},222233,"za-hua-tu-xu-wei-222233","杂花图","南京博物院","《杂花图》是明代画家徐渭所创作的一幅泼墨画，纸本作品，是南京博物院18件镇馆之宝中唯一一件书画作品。画中分别将牡丹、石榴、荷花，梧桐、菊花、北瓜、扁豆、紫薇、紫藤、芭蕉、梅、兰、竹共计十三种花卉绘于一卷。\n《杂花图卷》是徐渭传世的佳作，在这卷十余米的长卷中，徐渭以酣畅淋漓的“胶墨”分别绘制了牡丹、石榴、梧桐、菊花、南瓜、扁豆、紫薇、紫藤、芭蕉、梅兰竹等13种花卉蔬果。徐渭以其疾飞狂扫的豪放气势，纵横挥洒，信笔涂抹：画中牡丹含羞沾露，占尽风流；硕荷、梅兰、修竹、榴枝，笔触歪斜正侧，跌来倒去，随意点染，自如流畅。作紫藤逸笔草草、洋洋洒洒。忽而，又如狂风乍起，点线飞舞，纵横密集，线条速急癫狂。顷刻，笔住墨涸，嘎然而止，墨彩纷呈，留下满纸斑斓。体现了他用笔峭拔劲挺多变与用墨洒脱自如的艺术风格。画中尽显着交响乐一般波澜起伏的宏大乐章。时隔4个世纪，画中依然显出墨迹淫淫的湿润感。\n《杂花图》卷，全图以牡丹起首，按牡丹象征富贵，这与徐青藤的身世相左，故而他一变旧法而改以泼墨写牡丹“虽有生意，终不是此花真面目”，在这枝墨牡丹上我们确实很难寻找富贵的痕迹了。紧接着石榴一枝，充分体现了他用笔的灵动，而墨荷：则重在展示墨彩的缤纷 。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[23,24,25,7,114,273,119,278,1330,555,1331,435,1332,1333,1334,1335,275],"石榴","梧桐","南瓜","扁豆","紫薇","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","1053.5X30厘米",[124,103],448,{"id":1341,"slug":1342,"title":1343,"dynasty":133,"author":1344,"museum":1100,"description":1345,"tags":1346,"thumbUrl":1347,"material":122,"size":1348,"collection":44,"collections":1349,"showCount":1339,"zanCount":11,"manualWeight":48,"mainColor":128},220289,"yang-gui-fei-shang-ma-tu-qian-xuan-220289","杨贵妃上马图","钱选","《杨贵妃上马图》描绘唐玄宗与贵妃杨玉环准备出游的情景，玄宗骑马在前，回头望着贵妃，贵妃在两侍女协助下正往马鞍上爬，娇态毕现。\n作品构图接近唐代，人物分组而呈错落有致的横向排列，以人物间的顾盼联系各段，将全画串联起来，犹同舞台效果。\n《杨贵妃上马图》收录于《石渠宝笼续编·御书房》，画卷上现在仍可以清楚看到“御书房鉴藏宝”、“乾隆御览之宝”、“嘉庆御览之宝”等印，居中位置可看到“宣统御览之宝”的字样。说明一直为皇室所收藏，但不见《佚目》记载，未便肯定为《佚目》外的“东北货”。清王朝覆灭后，“末代皇帝”溥仪对故官藏画进行整理时，此画还在官中。后来随着太监的盗卖、溥仪对弟弟溥杰的“赏赐”以及其他流失途径，流出宫外，为湖州张珩购得，后经其叔张叔驯携带到美国出售他人，此画便流出国门，后进入美国弗利尔美术馆。",[23,24,25,7,28,27,61,155,90,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff618d905a3604488c129f373b3e069d1.jpg","纵29.5厘米，横117厘米",[44,45],{"id":1351,"slug":1352,"title":1353,"dynasty":54,"author":430,"museum":151,"description":1354,"tags":1355,"thumbUrl":1358,"material":78,"size":1359,"collection":44,"collections":1360,"showCount":1339,"zanCount":724,"manualWeight":48,"mainColor":49},214833,"ru-bi-tu-yi-ming-214833","入跸图","这是一幅皇帝扫墓的画，队伍从左到右，沿着水路往回走，战车和卫兵，以及大部分不能坐船的羽林军，沿着岸边行驶。从这幅画的特点和个别地理位置来看，这幅画中的皇帝不是别人，正是明朝的皇帝朱翊钧。明神宗是一位在历史上有很大争议的皇帝，但这幅画还是清楚地表明了明朝当时处于权力的巅峰。",[23,154,24,7,28,27,61,62,34,68,177,1356,1357],"皇家出行","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f5863d9951f963431189cd4b5e922e.jpg","92.10x3003.6",[44],{"id":1362,"slug":1363,"title":1364,"dynasty":18,"author":716,"museum":20,"description":1365,"tags":1366,"thumbUrl":1367,"material":78,"size":1368,"collection":124,"collections":1369,"showCount":1370,"zanCount":1037,"manualWeight":48,"mainColor":49},218443,"qiu-lin-guan-quan-tu-li-tang-218443","秋林观泉图","这幅画描绘了峡谷口水流湍急，两岸岩石嶙峋，两个高士坐在水边的斜岩上，静静地看着山泉流淌。倾斜的岩石都用强烈的笔触凿出，体现出岩石坚硬的质地；森林茂密，不留缝隙，显示出浓郁的树荫。画家用画笔画出了树叶，强调了色彩。坡上和水中的落叶点缀了秋景。",[23,24,25,7,114,27,29,693,64,117,61,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccc94015347c81f6c539b56469c6225.jpg","24.7x112.3cm",[124],445,{"id":1372,"slug":1373,"title":1374,"dynasty":250,"author":819,"museum":111,"description":1375,"tags":1376,"thumbUrl":1378,"material":122,"size":1379,"collection":44,"collections":1380,"showCount":1381,"zanCount":1037,"manualWeight":48,"mainColor":128},220358,"xi-yuan-ya-ji-tu-juan-shi-tao-220358","西园雅集图卷","此长图景物繁复。庭园中芳草如茵，劲松盘根虬曲，柳树成荫，石桥流水，曲径通幽，清溪深处翠荫茂密，处处雅静怡人。此图布局严密，繁而不乱，密而不塞。通过作者苦心经营，将诸多不同人物、树木、山石、草木、花木及一些陈设，巧妙地统一在这幅长卷中。全卷结构井然有序，运思精妙，布局停匀。通卷虽不留空白，而疏密有致。\n全图共写人物24人，神态不一，衣着各异，人物组合有疏有密，却与空间的景物浑然一体。人物形象均以墨线勾写，几乎全为白描，设色淡雅，衣纹等看似信笔率意而成，实则深具功力，笔笔送到。人物形象逼真生动，有的造形略有夸张。总体来说，此画用笔淋漓纵率之中显得工致缜密，沉着痛快，墨色浓淡得宜。人物俱用细笔，所谓一种“细笔石涛”，精气逼人。山石、松木、芭蕉等，均在工写之间，形象精到，而又意趣动人。故此画不但是石涛的代表作，更是清代人物画发展中的精品。",[23,154,24,25,7,27,118,61,29,63,64,254,255,1377],"桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f5d3c589f09a558783d6079a9170b7.jpg","纵36.5厘米，横328厘米",[44,45],443,{"id":1383,"slug":1384,"title":1385,"dynasty":18,"author":1386,"museum":20,"description":1387,"tags":1388,"thumbUrl":1389,"material":78,"size":1390,"collection":42,"collections":1391,"showCount":1392,"zanCount":978,"manualWeight":48,"mainColor":49},214887,"zhao-ling-liu-jun-tu-zhao-lin-214887","昭陵六骏图","赵霖","这幅画以唐太宗昭陵的六匹骏马为蓝本，分为六个部分，每个部分都有一匹马，并在侧面写有铭文。马匹的形状忠实于原作，但也注意到了画作的优势，通过有力的笔触和微妙的色彩，使马匹的皮毛更加逼真自然，战马驰骋疆场的雄姿也被生动地描绘出来。无论他们是奔跑、跳跃、行进还是站立，他们都被充分展现出来。",[23,24,25,7,28,27,60,90,1009,61,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d6aa1f7279d174f484a829d34cfa3.jpg","27.4x444.2",[42],441,{"id":1394,"slug":1395,"title":1396,"dynasty":18,"author":415,"museum":227,"description":1397,"tags":1398,"thumbUrl":1399,"material":217,"size":217,"collection":217,"collections":1400,"showCount":1401,"zanCount":11,"manualWeight":48,"mainColor":128},227579,"wu-ma-tu-dong-jing-cai-ben-li-gong-lin-227579","五马图（东京彩本）","年初，日本东京国立博物馆举办的“颜真卿：超越王羲之的名笔”特展中，一度被认为毁于二战战火的北宋名画——李公麟所作《五马图》赫然在列，轰动艺术界。\n\n《五马图卷》是李公麟最重要的传世名迹，简约而生动，是宋画高再现性与高表现性的完美结合；上有黄庭坚题跋，曾收藏于南宋内府与乾隆手中，对宋画欣赏与研究极具价值，近一个世纪以来，流传过程也甚为坎坷。",[23,154,24,25,7,174,27,61,90,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc311a3828303adc5d60f6643579ac2af.jpg",[],427,{"id":1403,"slug":1404,"title":1405,"dynasty":54,"author":110,"museum":20,"description":1406,"tags":1407,"thumbUrl":1410,"material":1411,"size":1412,"collection":124,"collections":1413,"showCount":1414,"zanCount":978,"manualWeight":48,"mainColor":128},222098,"jing-jiang-song-bie-tu-shen-zhou-222098","京江送别图","此图引首为王时敏题隶书“名迹貽徽”。本幅款署“沈周”。钤“启南”。后幅有沈周自题跋文，述作此图原由。另有明代文林书“送吳敘州之任序”、祝允明书“敘州府太守吳公詩序”及多家跋文。\n据《吴梅村先生集》考，此图成于明弘治四年(1491年)辛亥三月，沈周时年65岁。图中描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。吴愈是沈周的朋友，文徵明的岳丈，任所叙州，地处今四川宜宾。画面中主人乘舟远去，众人在岸边长揖作别。此时江南正是杨柳葱郁、山桃烂漫、风光无限之时。作者借描绘江南秀色流露出依依惜别之情，寄情于景，情景交融。远山以粗笔披麻皴法出之，墨色浓重滋润，线条苍秀，反映了沈周成熟的画风。",[23,24,1408,118,7,29,115,61,34,63,64,1409],"水墨画","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97856aac11363d716cd5b6de3f3eb0bf.jpg","纸本，设色","纵28厘米，横159厘米",[124,45],411,{"id":1416,"slug":1417,"title":1418,"dynasty":18,"author":832,"museum":20,"description":1419,"tags":1420,"thumbUrl":1421,"material":40,"size":1422,"collection":42,"collections":1423,"showCount":1424,"zanCount":805,"manualWeight":48,"mainColor":49},221541,"si-jing-shan-shui-tu-quan-juan-liu-song-nian-221541","四景山水图全卷","此卷图画分为四段，分别绘春、夏、秋、冬四时景象。\n第一幅，踏青，春花烂漫，杨柳葱翠；\n第二幅，纳凉，夏木浓荫，碧荷点点；\n第三幅，观山，秋高气爽，霜叶尽染；\n第四幅，赏雪，山裹银装，万籁俱寂。\n画面以人物活动为中心，结合界画技法，精心构建庭院台榭等建筑，工整精巧，或富丽，或古朴。山石以小斧劈皴法出之，苍逸劲健，行笔设色严谨而注重法度，画中人物虽小而形神完备。整幅作品面貌古朴，笔法精严，极富南宋画院作品的特色。临安（今浙江杭州）作为南宋都城所在，高官显贵们的庭园别墅建造甚多，刘松年身为画院画家，长年生活其间，描绘起来自然得心应手。此图立意于表现士绅官僚优裕闲适的生活，画家的注意力从山川自然的野韵转移到人工营造修饰的景物，这种题材风格的转变，从侧面反映出南宋时期，一大批无心复国的官僚们，专注于享乐的生活态度。正如诗云：“暖风薰得游人醉，只把杭州作汴州”。",[23,24,7,28,27,29,116,62,63,64,61,117,34,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa115d24c28f3208afa166893f49c7a.jpg","纵40厘米，横69厘米",[42,124,103],409,{"id":1426,"slug":1427,"title":1428,"dynasty":54,"author":269,"museum":1100,"description":1429,"tags":1430,"thumbUrl":1431,"material":285,"size":1432,"collection":261,"collections":1433,"showCount":1434,"zanCount":791,"manualWeight":48,"mainColor":128},220099,"shi-er-mo-hua-tu-juan-xu-wei-220099","十二墨花图卷","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,154,24,25,7,114,193,120,119,274,282,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e6906eeb6ef87e0a0207882c285c054.jpg","全卷32.8cm×544cm",[261],407,{"id":1436,"slug":1437,"title":1438,"dynasty":18,"author":1439,"museum":227,"description":1440,"tags":1441,"thumbUrl":1442,"material":140,"size":1443,"collection":44,"collections":1444,"showCount":1445,"zanCount":978,"manualWeight":48,"mainColor":49},221325,"chao-yuan-xian-zhang-tu-wu-zong-yuan-221325","朝元仙仗图","武宗元","《朝元仙仗图》为北宋宗教画家 所绘制的一幅绢本白描长卷， 曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。\n画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。\n《朝元仙仗图》描绘的是五方帝君中的东华帝君、南极大帝、扶桑大帝，前往朝谒“主持天界之祖”——元始天尊的队仗行列。\n《朝元仙仗图》中的行列应该是由八十八位神仙组成，但是图中缺了最后一位神仙。\n八十七位神仙共分为四种类型：三位帝君，八名武装神，十名男神仙，六十七名女仙，这些女仙中有玉女，也有金童，但都着女装。\n众仙神态从容衣带随风飘舞，徐徐行进于蜿蜒的廊桥之上。\n队列左端最前由仗剑披甲的天神开路，最右端以甲卒、金刚、神王、力士等殿后，气象雄威；后面是仙官、侍从和乐队，高举旗幡伞盖，手捧美食佳肴，吹奏丝竹管弦；三位帝君，华服盛装，头衬圆光，神态庄重，前后左右是金童玉女，画中各神仙身旁还有长方格，内写该神仙的尊号。\n个个神情娴淑恬淡，沉稳慈祥，俊美动人，衣履装束和发髻头饰，各尽其态；队伍最后又是文武仙官，衣饰容貌也都各有特色，画幅上面云雾飘渺，下方丛生莲花、香蒲，所有神仙列成长队，过桥穿路，浩浩荡荡而来，热闹又庄重，仿佛能听到众神仙衣衫窸窣、环佩相碰之声。\n武宗元的活动时期正值宋真宗赵桓在位（公元997年5月8日－122年月2日）。\n宋真宗崇奉道教，大兴土木建筑道院，在汴京（开封）所建“玉清昭应宫”，凡二千六百一十楹，制度十分宏丽，屋宇稍有不合程式的，就拆掉重盖，夜以继日，七年才完工。\n又作“会灵观”，规模略如玉清昭应宫，以首相王但为“昭应宫使”，次相王曾为“会灵观使”。\n全国各地纷纷盖道观、立官职，把年老退职侍从大臣都授予道教的官衔，给以俸禄。\n在统治者这样如醉如狂地提倡道教的运动中，产生了许多以画道释人物著名的壁画家，专为装饰宫观，《朝元仙仗图》便是武宗元在此时期为玉清昭应宫创作寺观壁画所绘制的小样。\n《朝元仙仗图》中的线条勾勒看起来奔放有力，实则从构图、人物安排、物象聚合到线条组织都显示出“平”和“匀”的特点。\n以主像东华天帝君为例，图中的颈部线条为三根大致平行的圆弧线，距离匀称、平均、平稳，与衣领的关系模糊不清。\n通天冠顶部的一组珠饰的七颗宝珠形象相同，似乎为同一形象之复制，平均分布且排成一条僵硬的直线，图中插入头发中以固定头冠的玉簪导没有传达出物体互为垂直面的意义，而是画成一个含糊的多边形。\n整体画面强调照应，又适当注意变化，先是对于复杂重叠的衣褶采用了“铁线描”的手法勾勒，画中线条严谨、简练、流畅，有的线长达几米。\n线条长垂流畅，飘飘欲举，如有风吹拂，生动地表达队列进行中的动感；而人物的面部和头发的线条又变得柔和，纤柔曼妙，如同游丝，与衣纹的铁线形成对比，既表现了不同质感，又使画面具有丰富的线条美。\n面部表情能用各种不同的线来表现，眉眼特别有神，皱眉肌的变化，以及眼与其他各部的关系处理得准确巧妙，从而使同样严肃的面孔上显示出各种不同的个性。\n该画作整体画面色彩单纯明朗，以石青石绿为主，衣冠宝盖大量运用沥粉贴金，总体色调既灿烂又沉厚。\n该画作中共绘制了身份、等级各不同的八十七位神仙，其中东华帝君、南极大帝头带冕冠，脑后衬以圆光，轮廓丰腴，气质雍容，在队伍中尤其显眼。\n而同为五方帝君之一的扶桑大帝整体则显得较为朴素，但神情庄严、不怒自威。\n护卫的武装神或披甲仗剑，或长袍执戟，有的表情淡漠直视前方，有的怒目圆睁环视四周，形象鲜明。\n而对于人物动态一致、倾向一致，服饰大致相似的仙官，则通过微小的转侧和顾盼加以区分，得到相互之间的呼应。\n整幅作品人物安排参差有致，神采飞动，人物神情各异，构图整齐而不呆板，组织繁复而不杂乱。\n该画作中所塑造的诸神，是现实世界各种英勇、强健、崇高、恢宏、安详、美丽、静淑等人类最美的外形和性格的体现。\n从中可以发现作者在人物塑造上的卓越才能，他通过每一个人物的衣饰动作和表情，表现出各人不同的内在品质。\n再加以仪仗、供品、烟云、花草等的气氛渲染，就构成一个庄严华丽的神仙境界——当时人类想象中的美好境界。\n在构图上作者善于从统一中求其变化，在处理繁复的画面时又能做到协调而不杂乱。\n准确而生动的用笔，富于节奏感的线条，随心所欲地把作者想要表达的美感表达了出来。\n这都是这幅作品的成功所在。\n《朝元仙仗图》称得上是线条运用达到登峰造极的代表作之一 ，这样的白描作品一直是历代人物画家学习的范本，无论是线条勾勒的技法，人物的造型特征，衣纹穿插的规律还是人物组织构图的方法，无处不值得人们在自己的创作中借鉴应用。\n远至宋代白描大家李公麟、元代的赵孟頫、明代的陈洪绶、清代的任伯年等，在他们的作品中都能找到《朝元仙仗图》的痕迹，流传至今的元代永乐宫壁画更是对《朝元仙仗图》的直接传承。\n当代人物画家更是把该图作为学习传统人物画的必修课，诸多优秀的工笔画家如李少文、何家英、高云、戴敦邦等的作品以及画家李伯安的作品巨幅长卷《 》在创作时也深受《朝元仙仗图》的启发，特别是众多人物排列行进的场面与《朝元仙仗图》更是如出一辙。\n两宋之际，《朝元仙仗图》归翟妆文收藏。\n翟汝文之后《朝元仙仗图》归张氏收藏，张氏名字的最后一字很难释读，故其事迹不可知。\n元代时期，《朝元仙仗图》归张君锡收藏。\n张君锡之后，《朝元仙仗图》转归杭人崔氏。\n明清时代《朝元仙仗图》数百年流藏于广东境内，曾藏于广东顺德卢氏。\n民国时期，《朝元仙仗图》流入市肆，为“颍川飞凫人”所得。\n不久之后，《朝元仙仗图》归广东收藏家罗原觉收藏，之后罗原觉将此画卖给李尚铭。\n李氏又将其抵押他人，后来于七七事件之前流往日本。\n建国之后，2世纪5年代《朝元仙仗图》被美国人候时泰买去，之后归王季迁收藏。\n25年，《朝元仙仗图》被王季迁后人托管于上海一家银行的保险箱，29年发现其真迹已被人掉包，至今下落不明。\n武宗元（公元994年—15年），初名宗道，字总之，河南白坡（今河南孟津）人，北宋时期画家。\n他家世业儒，以荫得太庙斋郎，官至虞曹外郎，宋真宗景德年间，建玉清昭应宫，征全国画师三千多人，选中者百余人，武宗元名列第一。\n中选百人分二部，宗元为左部之长。\n擅画道释人物，17岁时画洛阳北邙山上清宫壁画，被世人评为“惊绝”，也曾为开封、洛阳各寺观作大量壁画，史称他的作品“神彩活动如草书”。\n其作品中仅有《朝元仙仗图》流传后世。",[23,154,24,25,7,174,173,61,62,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7f35285bd62db636c782a85c5fb9d.jpg","纵44.3cm，横580cm",[44,103],395,{"id":1447,"slug":1448,"title":1449,"dynasty":133,"author":1450,"museum":20,"description":1451,"tags":1452,"thumbUrl":1453,"material":285,"size":1454,"collection":261,"collections":1455,"showCount":1456,"zanCount":914,"manualWeight":48,"mainColor":128},214583,"si-qing-tu-li-kan-214583","四清图","李衎","它原本是一个长卷，但在明朝中期被分成了两卷。此副是故宫博物院的部分，即后卷。兰、竹、石、梧被称为四清，比喻君子的高贵品格。虽然枝叶茂密，但笔触优雅简洁，墨色自然多变。",[23,154,24,25,7,114,120,193,28,118,275,255,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3499d343c9e9aef13f39fb8034bcc7.jpg","35.6x359.8",[261],394,{"id":1458,"slug":1459,"title":1460,"dynasty":18,"author":650,"museum":56,"description":1461,"tags":1462,"thumbUrl":1463,"material":1464,"size":1465,"collection":42,"collections":1466,"showCount":1467,"zanCount":699,"manualWeight":48,"mainColor":49},221289,"shu-se-ping-yuan-tu-guo-xi-221289","树色平远图","此画描绘了河流两岸树色平远的景色。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。 画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。",[23,24,114,7,29,116,1123,404,115,61,193,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[42,124,103],387,{"id":1469,"slug":1470,"title":1471,"dynasty":225,"author":1472,"museum":151,"description":1473,"tags":1474,"thumbUrl":1475,"material":470,"size":1476,"collection":543,"collections":1477,"showCount":1467,"zanCount":699,"manualWeight":48,"mainColor":128},221032,"kuai-xue-shi-qing-tie-wang-xi-zhi-221032","快雪时晴帖","王羲之","《快雪时晴帖》共全文4行，28字。它是作为一封信札写就的，其内容是作者在大雪初晴时以愉快心情对亲朋友人的问候。其中或行或楷，或流而止，或止而流，富有独特的节奏韵律。其笔法圆劲古雅，无一笔掉以轻心，无一字不表现出意致的悠闲逸豫。即使偶尔重心忽左忽右，全局依然匀整安稳，不失平衡的美感。",[23,154,24,25,7,193,120,119,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c8116be7345d164d7d629112cd78e6.jpg","纵23cm，横14.8cm",[543,1013],{"id":1479,"slug":1480,"title":1481,"dynasty":18,"author":1482,"museum":380,"description":1483,"tags":1484,"thumbUrl":1486,"material":78,"size":1487,"collection":261,"collections":1488,"showCount":1489,"zanCount":791,"manualWeight":48,"mainColor":49},216925,"han-ya-tu-li-cheng-216925","寒鸦图","李成","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[23,154,24,25,7,114,118,1123,230,196,1485,973,29,404,193,119,120],"寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 横113.2厘米",[261],385,{"id":1491,"slug":1492,"title":1493,"dynasty":54,"author":55,"museum":1270,"description":1494,"tags":1495,"thumbUrl":1496,"material":78,"size":217,"collection":44,"collections":1497,"showCount":1498,"zanCount":699,"manualWeight":48,"mainColor":49},219568,"yan-le-tu-chou-ying-219568","宴乐图","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[23,24,25,7,28,27,59,61,62,34,117,90,116,70,196,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[44,45],384,{"id":1500,"slug":1501,"title":1502,"dynasty":54,"author":55,"museum":227,"description":1503,"tags":1504,"thumbUrl":1507,"material":1050,"size":1051,"collection":217,"collections":1508,"showCount":1509,"zanCount":1106,"manualWeight":48,"mainColor":49},287636,"mo-li-zhao-dao-ming-huang-xing-shu-tu-quan-juan-chou-ying-287636","摹李昭道明皇幸蜀图全卷","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,24,7,60,28,26,27,29,61,90,654,63,405,1357,1505,1506],"侍从","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg",[],380,{"id":1511,"slug":1512,"title":1513,"dynasty":18,"author":507,"museum":1514,"description":1515,"tags":1516,"thumbUrl":1517,"material":442,"size":1518,"collection":42,"collections":1519,"showCount":1520,"zanCount":1106,"manualWeight":48,"mainColor":49},221458,"wu-long-tu-juan-chen-rong-221458","五龙图卷","日本京都国立博物馆","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,154,24,25,7,114,118,511,117,419,37,483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9fcadd53a3ef596d12b6f0dd8824f3.jpg","45.2×299.5",[42,124,103],374,{"id":1522,"slug":1523,"title":1524,"dynasty":149,"author":1525,"museum":227,"description":1526,"tags":1527,"thumbUrl":1530,"material":1050,"size":1051,"collection":217,"collections":1531,"showCount":1532,"zanCount":1106,"manualWeight":48,"mainColor":49},288331,"xie-sheng-zhen-qin-tu-huang-quan-288331","写生珍禽图","黄荃","图中画了鹡鸰、麻雀、鸠、龟、昆虫等动物二十余件，排列无序，但每一件动物都刻画得十分精确、细微，甚至从透视角度观之也无懈可击。",[23,154,24,7,28,27,209,196,1528,557,1529,193],"禽鸟","龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05a94c2863cccdf9561bc75fe1e17b4.jpg",[],371,{"id":1534,"slug":1535,"title":1536,"dynasty":18,"author":86,"museum":227,"description":1537,"tags":1538,"thumbUrl":1540,"material":217,"size":217,"collection":217,"collections":1541,"showCount":1542,"zanCount":791,"manualWeight":48,"mainColor":49},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,25,7,59,28,174,61,62,63,64,89,90,91,34,67,65,94,1539,31,35,95,71],"轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],368,{"id":1544,"slug":1545,"title":1546,"dynasty":133,"author":1547,"museum":1270,"description":1548,"tags":1549,"thumbUrl":1551,"material":384,"size":1552,"collection":261,"collections":1553,"showCount":1542,"zanCount":1037,"manualWeight":48,"mainColor":128},221855,"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","谢楚芳","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 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艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,154,24,7,27,61,90,155,28,60,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb526d78da24aa77a7005eb850f4b55.jpg",[],352,{"id":1627,"slug":1628,"title":1629,"dynasty":1630,"author":1631,"museum":20,"description":1632,"tags":1633,"thumbUrl":1634,"material":140,"size":1635,"collection":543,"collections":1636,"showCount":1637,"zanCount":978,"manualWeight":48,"mainColor":128},221049,"you-chun-tu-zhan-zi-qian-221049","游春图","隋","展子虔","图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。\n该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。\n山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。\n下端一角，便是坡陀花树，围绕山庄。\n描绘出明媚春光和游人在山水中纵情游乐的神态。\n各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。\n在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。\n《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。\n有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。\n早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。\n在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。\n他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。\n另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。\n历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。\n所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。",[23,24,25,7,26,27,29,61,62,63,64,196,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a9f8ced13bacd0b0f77ddd3245cb51.jpg","纵43厘米，横80.5厘米。",[543],350,{"id":1639,"slug":1640,"title":238,"dynasty":133,"author":134,"museum":151,"description":136,"tags":1641,"thumbUrl":1644,"material":140,"size":242,"collection":124,"collections":1645,"showCount":1646,"zanCount":914,"manualWeight":48,"mainColor":128},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767",[23,24,25,7,114,118,29,115,64,34,923,405,63,609,890,404,613,37,1642,1643],"岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg",[124,103],349,{"id":1648,"slug":1649,"title":1650,"dynasty":18,"author":861,"museum":1100,"description":1651,"tags":1652,"thumbUrl":1653,"material":114,"size":217,"collection":543,"collections":1654,"showCount":1655,"zanCount":791,"manualWeight":48,"mainColor":49},218610,"mo-zhu-tu-juan-mi-fei-ti-ba-su-shi-218610","墨竹图卷-米芾题跋","墨痕游走间，米芾“刷字”之韵跃然纸上。笔锋如剑戟横空，又似流云舒卷，欹侧相生的结体里，藏着跌宕起伏的节奏。浓墨沉雄如坠石，枯笔筋骨毕露若老树，干湿浓淡交织成流动的韵律。每一字皆为跃动的精灵，或大或小，或疏或密，章法气脉连贯如一气呵成。题跋中既有对苏轼墨竹的叹赏，更融入米芾自身的文人风骨——狂放不失雅致，洒脱暗藏匠心。观之如临溪听涛，酣畅淋漓，尽显宋人文艺的灵动与深邃，堪称书坛不朽之佳作。",[23,154,24,25,7,114,275,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751deaf605e5b1cdc4090029dc752a6a.jpg",[543],348,{"id":1657,"slug":1658,"title":1659,"dynasty":250,"author":430,"museum":151,"description":1660,"tags":1661,"thumbUrl":1665,"material":78,"size":1666,"collection":124,"collections":1667,"showCount":1668,"zanCount":48,"manualWeight":48,"mainColor":49},218493,"fang-zhao-meng-fu-que-hua-qiu-se-tu-yi-ming-218493","仿赵孟頫鹊华秋色图","平野旷远，秋气澹然。疏林错落于汀渚间，枯藤缀红，苍松凝翠，枝桠横斜藏萧瑟之韵；浅滩细草萋萋，水鸟翩跹，添野趣几分。左畔圆丘如覆，右峰尖峭似锥，淡墨晕染出层峦之态，远岫含烟，空蒙悠远。笔墨承古意，设色雅淡，将秋郊的旷疏与静谧凝于绢素。画面空灵澄澈，无喧嚣之扰，尽显宋元山水的悠然之境，似可闻风过林梢、水鸟轻啼，令人心驰神往。",[23,24,25,154,7,60,27,118,29,34,1662,985,1663,1664,1123],"平野","孤山","红叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76414e091a2fe78c9e55723e023ebb19.jpg","28.7x146cm",[124],346,{"id":1670,"slug":1671,"title":1672,"dynasty":54,"author":110,"museum":227,"description":1673,"tags":1674,"thumbUrl":1675,"material":353,"size":217,"collection":217,"collections":1676,"showCount":1677,"zanCount":914,"manualWeight":48,"mainColor":128},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,154,24,25,7,114,27,29,64,116,61,115,117,118,275,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg",[],341,{"id":1679,"slug":1680,"title":1681,"dynasty":18,"author":1682,"museum":1683,"description":1684,"tags":1685,"thumbUrl":1687,"material":442,"size":1688,"collection":42,"collections":1689,"showCount":1690,"zanCount":791,"manualWeight":48,"mainColor":49},221536,"xi-yuan-ya-ji-tu-ma-yuan-221536","西园雅集图","马远","美国纳尔逊阿特金斯艺术博物馆","宋代有很多绘画世家，其中最为出名的恐怕要属山西的马家。自北宋后期的马贲开始，马家先后有五代人在皇家画院供职。马氏家族形成了一个庞大的画室或作坊，在这个作坊内雇佣了助手、管理者或代理人，或许还有绘画材料的生产者及裱画匠。1086年（元佑元年），苏轼兄弟、黄庭坚、李公麟、米芾、蔡肇等十六位名士，于驸马王诜宅邸西园集会。马远据此所绘，长卷共分四段。此为其中一段，写米芾挥毫作书，诸文友或立或坐，凝神围观",[23,24,25,114,27,7,118,29,61,115,275,90,64,1686,468,34,765],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","29.5×302.3厘米",[42,124,45],334,{"id":1692,"slug":1693,"title":53,"dynasty":250,"author":1694,"museum":151,"description":1695,"tags":1696,"thumbUrl":1703,"material":140,"size":1704,"collection":44,"collections":1705,"showCount":1706,"zanCount":1037,"manualWeight":48,"mainColor":49},222686,"qing-ming-shang-he-tu-sun-hu-222686","孙祜","此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n“清院本”《清明上河图》开卷是远山、宽阔河面，柳林田畦、童手挑夫，比“明本”娶亲队伍，人数更多，色彩更鲜艳，场面也更热闹。“清院本”戏台上下也比“明本”规模大，用木柱基座搭建的席棚戏台上，演员表演认真，观众在蒙蒙细雨中翘首欣赏，观众身份不同，神态也各异。一片早春田园欢乐景象。离席台稍远处：文人模样男子站在高凳上，拈须而观，仆人高举雨伞为他遮雨；河畔船夫坐在船头船顶观看；女子足不出户却携子爬到屋顶远看；树上、戏台支架杆上及台后都有观众，凝神而视。河面拉船纤夫、赶猪牵牛放羊倌、骑驴抬轿推车赶车者，挑夫贩夫、打铁卖茶，好个热闹。\n在去“虹桥”的河两岸，人流不息。河北侧的禁军演武场，旌旗招展，骑兵飞奔，比“明本”更壮观。“清院本”的“虹桥”是一座石材拱桥，桥上和桥头的地面有明显的石料接缝。河面大船行驶，“虹桥”右侧停泊着正装卸的商船，左侧有高悬龙旗的官船。桥上两边排列着四十多个前后带沿边的店铺，比“明本”数量更多更整齐有序。桥头，吃喝的、说书的、看相的、修脚的、议价的，形象生动。临近城门，还有女子在走索表演。\n接下来是城楼，“清院本”的城楼，和“明本”城楼格局相似，都绘有长长城墙，不似“宋本”只有城楼没有城墙。“清院本”城楼为重檐歇山，加腰檐和擎檐柱，红柱、绿沿、黑瓦，雕梁画栋，城墙也比“明本”更宽。“清院本”“明本”的入城门比较相似，陆门和水门并列，均有瓮城。\n“清院本”的城内，有成片房屋建筑，路北首处房屋和“明本”相同，都是公所衙门。“清院本”和“明本”画面在城内“U”字形处，都有显赫的府邸，“明本”是“学士”“世登两府”，“清院本”则是“圣书”“状元及第”。“清院本”府邸，牌楼后是三进宅院，还有一座观波楼和一座桥亭，长堤横跨湖塘。庭院中楼台、亭桥、水榭环湖而建，园内假山、湖石藤萝架、绿树、桃花融合相配，别具一格。比“明本”更显富贵。\n“明本”和“清院本”与染坊相邻处，都绘有一座富丽堂皇的院落建筑，“明本”是高大粉墙、楼阁长廊、雕梁画栋。“清院本”是“虎皮”石墙、庭院深处有灰砖高楼、顶部塔形装饰物，似乎带有阿拉伯风格；湖水碧波荡漾、卷棚歇山顶楼阁、各色亭阁、游廊环绕、假山耸立、嘉木成林、桃花盛开、仕女荡秋千；院墙东门外有马夫、轿夫等待主顾。如此豪华之建筑，尽显主人地位不凡。\n城内街道上人声鼎沸，多种车辆络绎不绝。各行商贩神态各异。另外，出现“宋本”和“明本”只有药店诊所，“清院本”出现古医科的分支的咒禁科诊所。“清院本”还增添了踏青、表演、戏剧、猴戏、特技、擂台等明清时代的特殊风俗，画面较“宋本”和“明本”更加丰富多彩。\n画作至接近皇家御苑处是一码头，这是“宋本”“明本”所没有的。\n清院本清明上河图是按照各朝的仿本、集各家所长之作品，再加上明清时代特殊风俗，如踏青、表演等等娱乐活动，因此增加了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，画的事物繁多，虽然失去了宋代古制，却是研究明清之际社会风俗不可缺的材料。\n由于西洋画风的影响，街道房舍，均以透视原理作画，并有西式建筑列置其中。此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n作品以长卷形式，采用散点透视构图法，生动记录了清初中国城市生活的面貌。虽然并不是宋朝原作，但一定程度上也反映了明清时期人们的生活，具有很高的历史价值和艺术价值。\n全画使用了除花鸟画以外的许多画科的技法，如人物马用工笔设色、山水树石系用青绿曲法、建筑舟船用界田法、浮云流水用白描曲法，总的来看，该图属于工笔画。画家们用局部近似焦点透视、整体属于散点透视的取景方法展现了18世纪的以苏州城为主要特色的城市风貌该图的总体布局系陈枚的思路，十分紧凑，全无拖沓之嫌，画中高潮送起，将动态的高潮与静态的高潮巧妙地结合起来，一浪高过一浪，即充满节奏感、又戒除单调重复，富有戏剧性的艺术变化。如最早的动态小高潮是前段的娶亲活动，之后的静态小高湖是看戏活动。画中最热闹的大高潮是中段虹桥上下的人物与车船的活动，最清幽的静态大高潮是最后一段的皇家御苑。各高潮之间的过渡段均起到了视觉衔接、防止审美疲劳的作用。全卷宛如一曲交响乐，从曲调悠扬到渐渐亢奋，最后进入庄重和优雅的境界。\n全卷设色独具风格，色彩在柔和中显得主富而统用色较为简明，用笔颜具特色，润在天水，浓在林木，重在山石，红在木柱，鲜在佳丽，明在人物，艳在春色，稳在建筑。这是清宫院体高头大卷人物画风的基本特性。\n此画卷布局疏密、近远、简繁相间。全图对复杂的生活作了集中、生动的概括、以简练的笔法动静结合，再现了当时的汴京风貌，是艺术性与真实性的高度融合，为建筑、交通、车船制造、商业、饮食、医药、服饰、民俗等学科研究提供了可靠依据。在艺术手法上，画面以俯视角度摄取景物，场面宏伟，而众多人物、建筑等的安排有条不紊，结构严谨，人物形象生动传神。它有界画工整准确的优点，又充分发挥了半工半写人物画生动活泼的长处。此画卷用笔熟练，界画桥梁屋宇以及人物，无不精妙。设色用赭笔微加匀梁，自创新法而有雅澹之韵，为清院画中之佳作。",[23,28,27,59,7,1697,61,62,63,64,66,34,35,72,68,1698,1699,65,71,31,36,70,69,1700,1701,1702],"风俗","城郭","街道","自然景观","交通工具","市集场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba48e0062ff6d8804c1adc57bd629c2b.jpg","纵35．6厘米，横1152．8厘米",[44,45],333,{"id":1708,"slug":1709,"title":1710,"dynasty":250,"author":1711,"museum":151,"description":1712,"tags":1713,"thumbUrl":1714,"material":78,"size":217,"collection":45,"collections":1715,"showCount":1716,"zanCount":11,"manualWeight":48,"mainColor":128},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","谢遂","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,154,24,25,7,28,27,60,61,62,63,64,34,91,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[45],329,{"id":1718,"slug":1719,"title":1720,"dynasty":168,"author":1721,"museum":111,"description":1722,"tags":1723,"thumbUrl":1724,"material":140,"size":1725,"collection":44,"collections":1726,"showCount":1727,"zanCount":699,"manualWeight":48,"mainColor":49},221083,"gao-yi-tu-sun-wei-221083","高逸图","孙位","《高逸图》是孙位唯一存世的作品，也为目前屈指可数的几件唐代作品之一。画中表现的是魏晋时期著名的“竹林七贤”，目前画面仅剩四人，经考证是山涛、王戎、刘伶与阮籍。在技法上，孙位继承了顾恺之“劲紧连绵如吐丝”的行云流水的风格，但更加成熟。线条的变化更丰富，人物造型刻画更真实细致。《高逸图》著录于宋徽宗的《宣和画谱》里，画上钤印“宣和七玺”。作品的装裱保留了北宋的形式。",[23,24,25,7,27,61,404,1298,28,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83ff393ed82ede490cdbdd60bca7d62.jpg","纵45.2厘米，横168.7厘米",[44,45],326,{"id":1729,"slug":1730,"title":1731,"dynasty":225,"author":1472,"museum":227,"description":1732,"tags":1733,"thumbUrl":1734,"material":1050,"size":1051,"collection":217,"collections":1735,"showCount":1736,"zanCount":978,"manualWeight":48,"mainColor":128},283697,"feng-cheng-su-mo-lan-ting-xu-quan-juan-shen-long-ben-wang-xi-zhi-283697","冯承素摹兰亭序全卷（神龙本）","王羲之（303年—361年），字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[23,154,25,119,7,120,60,1229,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26cdba5ef638e960a7c1fa4d917fa25.jpg",[],320,{"id":1738,"slug":1739,"title":1740,"dynasty":168,"author":1741,"museum":20,"description":1742,"tags":1743,"thumbUrl":1744,"material":442,"size":1745,"collection":543,"collections":1746,"showCount":1736,"zanCount":791,"manualWeight":48,"mainColor":128},221138,"shang-yang-tai-tie-li-bai-221138","上阳台帖","李白","《上阳台帖》是唐代诗人、书法家 于天宝三年（744年）创作的纸本墨迹草书书法作品，现收藏于 。\n《上阳台帖》为李白自书其四言诗，共25字，既概括了王屋山高耸峻拔之势和源远流长之水，亦通过赞颂 的作品，抒发了作者对其的仰慕之情。\n全卷苍劲雄浑而又气势飘逸，用笔纵放自如，快健流畅，法度不拘一格，一如李白豪放、俊逸的诗风。\n全贴结体亦参差跌宕，顾盼有情，奇趣无穷。\n《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n山高水长，物象千万，非有老笔，清壮可穷。\n十八日，上阳台书，太白。\n引首为 题“青莲逸翰”四个大字，帖前隔水上有徽宗瘦金书题签“唐李太白上阳台”七字。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彝斋”、贾似道“秋壑图书”，元“张晏私印”、“欧阳玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n后纸有宋代徽宗，元代张晏、杜本、欧阳玄、王馀庆、 、驺鲁，清代乾隆皇帝题跋和观款。\n宋徽宗 跋文为：“太白尝作行书乘兴踏月，西入酒家，不觉人物两忘，身在世外一帖，字画飘逸，豪气雄健，乃知白不特以诗鸣也。\n” 元代 跋曰：“谪仙书传世绝少，尝云：欧、虞、褚、陆真奴书耳。\n自以流出于胸中，非若他人积习可到。\n观其飘飘然有凌云之态，高出尘寰得物外之妙。\n尝遍观晋唐法帖，而忽展此书，不觉令人清爽。\n” 元代书法家 题诗云：“唐家公子锦袍仙，文采风流六百年。\n不见屋梁明月色，空余翰墨化云烟。\n” 唐代是中国书法草书体发展的一个巅峰。\n初唐时期，太宗李世民即大力倡导学习王羲之，并带头习王，开清新活泼书风，也从此奠定王羲之书圣之地位。\n而后有孙过庭、李怀琳等草书大家，源于二王，又有创新，笔法丰富而多变，发展完善了二王草书的技法系统。\n及至盛唐时期，那更是对草书尊崇有加，皇宫内府，大臣公侯，士大夫及有文化一族，谁都能挥洒几笔草体，可谓大唐草书之盛世。\n李白亦是在当时涉草并取得一定成就之士。\n其草书来自张旭一脉，且风格飘然有仙气。\n李白于开元十二年（724年）出蜀游三峡，至江陵遇道士 ，得到司马承祯赞赏。\n后唐玄宗命司马承祯王屋山建立道观，并题写匾额。\n而司马承祯不仅道术精深，而且诗、书、画皆有极高造诣，擅长山水画。\n天宝三年（744年），李白与杜甫、高适同游 ，并来此寻访司马承祯，待到达阳台宫后，方知司马承祯已经仙逝。\n不见其人，惟睹其画，故有感而书《上阳台帖》。\n《上阳台帖》其点画如行走在云烟之中，大有收天下于一纸的旷达情怀。\n书法作品作为心理节奏和性格的折射，《上阳台帖》中的每一个墨点、每一根线条都很自然地渗透着李白的这种性格，表现了李白官场绝望后的一种清壮沉雄、自然放达，正如作品中所书：“非有老笔，清壮可穷”，其性情表现得淋漓尽致。\n《上阳台帖》书法苍劲雄浑，气势飘逸，落天纵，笔力劲健，收笔处一放开锋，用笔纵放自如，快健流畅，其用笔于苍劲中见挺秀，意态万千，是《李白墓碑》中所称的“思高笔逸”的真实写照。\n《上阳台帖》其字宽博开张，稚拙而又放逸，其结体亦参差跌宕，顾盼有情，奇趣无穷。\n纵观全帖二十五字，字的长短大小悬殊，“山、水、千、非、有、壮、十八日、上、书、太白”都十分短促，而“高、万、老、笔、清、台”则一字顶俩、顶仨。\n这是很难安排的，作者是靠结构的奇特来显示生的，如“十八日上”四字，有平整欹侧，有仰盼跌宕，笔短而意长。\n而字长者，作者并不将其压缩，而是任其舒展，特别豁达的是“老”字与“台”字，两个撇如逞雄使气一般地挥下，成了此篇最为雄肆的笔触；“何穷”二字则亦收亦放，波澜层叠、浑然一体。\n《上阳台帖》全篇共有草书五行，其章法大小错落，通幅跳跃动荡，浑朴饱满且又天真烂漫，给人以雄壮辽阔、气象不凡之感。\n雄壮辽阔在于用笔的粗犷沉着，笔笔水分充足饱满。\n书写时又缓缓推进，笔笔送到。\n整个作品幅式很小，却体现了一种苍茫、浑厚之感，文中大字小字、小字大字相互交错，真如前人所说“如老翁携幼孙行，长短参差，而情意真挚，痛痒相关”。\n《上阳台帖》写得跌宕起伏，错落有致，如大江大河，突兀而至；如山石崩绝，凌空而来。\n看似漫不经心，随意所书，实则格律森严，神形逸荡。\n“山高”两字，犹如空中坠石，体现出一种险疾之势。\n“非有老笔”四字中的“非”字写得扁而放纵，“有”字则写得小而含蓄，“老”字突然沉笔挥洒，放胆伸毫，将上述诸字轻轻托了起来。\n再如“情”字和“台”字，看似结构并不平稳，似有摇摇欲坠之状，然而，正是在看似颠簸之中营造出的稳健才有韵味。\n“情”字重心略有倾斜，最后一点又恰到好处地把险势拉了回来，真是令人叫绝。\n“台”字的一横同样也起到了这种于险疾中求平整的作。\n整幅作品就像李白的诗歌一样，是跳跃的、非常态的，但又充满了激情，充满了迈，与“黄河之水天上来，奔流到海不复回”的意境相似。\n同时，《上阳台帖》是内容与形式的统一。\n就内容说，令人朗朗上口：“山高水长，物象千万，非有老笔，清壮可穷”，一派苍茫大气，而形式也极相辅。\n明代董其昌《画禅室随笔》：“如凤翥鸾翔，似奇反正。\n” 故宫博物院研究员 ：“太白以诗文青史第一行世，不特书法。\n白此帖中，唯质成文，援笔墨中锋引带，驭锋直冲拔真气，点承暗筑运斤风，沉着痛处，出者进也，纵勒驰掣间：煌煌然，若熔出冶，随地流走，真大德曰生也。\n” 现代书画家、文物鉴定家 ：“此帖有李白名款，有宋徽宗亲题签和跋，用笔不循故常，天马行空，吻合于李白诗风豪迈不覊，宜为太白真迹。\n” 《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n李白留有诗歌九百多首，豪迈奔放，别具一格。\n而其书法则是其诗歌流传的重要载体，亦其诗歌重要的流传途径。\n由其亲笔抄写，且现存下来的《上阳台帖》更是弥足珍贵。\n抚摩观之，诗如其人，书亦如其人也。\n故《上阳台帖》对于李白及其诗的艺术特质和渊源的把握意义重大。\n《上阳台帖》北宋时曾入宣和内府，后归 ，元代经 处，明藏 天籁阁。\n清代先为 所得，再入内府，清末流出宫外，民国时入张伯驹手。\n新中国成立后，张伯驹将《上阳台帖》赠给毛泽东。\n1958年，毛泽东自己立下规矩，党和国家领导人所收礼品一律缴公，所以，这件《上阳台帖》即被送到北京故宫博物院，转交故宫博物院，后一直为其所收藏。\n《上阳台帖》在清代顾复《平生壮观》、清内府《石渠宝笈》、 《墨缘汇观》、 《吴式书画记》等处均有著录。\n29年9月日—11月1日，北京故宫为庆祝建国6周年而推出“故宫藏历代书画展”第六期，《上阳台帖》为展览精品之一。\n218年4月2日—5月6日，在北京故宫武英殿举办的“予所收蓄·永存吾土——张伯驹先生诞辰12周年纪念展”上，《上阳台帖》作为精品之一展出。\n李白（71－762年），字太白，号青莲居士，唐朝诗人，有“诗仙”之称。\n汉族，出生于剑南道之绵州（今四川绵阳江油市青莲乡），一说生于西域碎叶城（今吉尔吉斯斯坦托克马克）。\n存世诗文千余篇，代表作有《蜀道难》、《将进酒》等诗篇，有《李太白集》传世。\n亦工于书法，有《上阳台帖》传世。",[23,25,119,120,193,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9563a2fc3f539952c7388c4fd79fdb.jpg","纵28.5cm，横38.1cm",[543],{"id":1748,"slug":1749,"title":1750,"dynasty":18,"author":415,"museum":151,"description":1751,"tags":1752,"thumbUrl":1754,"material":285,"size":1083,"collection":124,"collections":1755,"showCount":1756,"zanCount":1106,"manualWeight":48,"mainColor":128},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,24,154,7,174,28,114,29,117,34,419,61,1753,63,64,694,420,468],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg",[124],318,{"id":1758,"slug":1759,"title":1760,"dynasty":18,"author":1761,"museum":1270,"description":1762,"tags":1763,"thumbUrl":1764,"material":78,"size":1765,"collection":42,"collections":1766,"showCount":1767,"zanCount":1106,"manualWeight":48,"mainColor":49},220073,"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","范宽","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,154,24,25,7,29,973,118,114,27,482,255,254,1123,1298,1185,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[42,124],315,{"id":1769,"slug":1770,"title":1771,"dynasty":250,"author":819,"museum":20,"description":1772,"tags":1773,"thumbUrl":1774,"material":696,"size":217,"collection":217,"collections":1775,"showCount":1776,"zanCount":978,"manualWeight":48,"mainColor":128},234231,"yuan-ji-shan-shui-tu-juan-shi-tao-234231","原济山水图卷","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。",[23,24,114,7,118,29,63,64,117,34,35,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98857fb9227e3d88875c038ee2e558af.jpg",[],312,{"id":1778,"slug":1779,"title":1780,"dynasty":149,"author":886,"museum":380,"description":1781,"tags":1782,"thumbUrl":1783,"material":140,"size":1784,"collection":124,"collections":1785,"showCount":1786,"zanCount":48,"manualWeight":48,"mainColor":49},221153,"xia-jing-shan-kou-dai-du-tu-juan-quan-juan-dong-yuan-221153","夏景山口待渡图卷全卷","《夏景山口待渡图》图中山势重叠，缓平绵长，植被丰茂，水汽若蒸，似江南夏日景色。起首处水面浩渺，扁舟隐现，中景山势重叠，林木疏朗挺直，竹丛杂处其间，茅屋隐约可见；卷末渡船未到，官客等待，点出主题。全图构思精细，设色雅淡，冈峦清润，林木秀密。技法上以披麻皴为主，多用苔点，色彩淡雅，为典型的江南山水",[23,24,154,25,7,29,64,115,34,889,114,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1987f1d1f3d0d2e45e2314a9f565c70.jpg","纵50厘米，横320厘米",[124,103],309,{"id":1788,"slug":1789,"title":1790,"dynasty":250,"author":1791,"museum":151,"description":1792,"tags":1793,"thumbUrl":1799,"material":122,"size":1800,"collection":44,"collections":1801,"showCount":1786,"zanCount":617,"manualWeight":48,"mainColor":128},218296,"mo-song-ren-wen-hui-tu-yao-wen-han-218296","摹宋人文会图","姚文瀚","唐太宗为秦王时，府中蓄有十八谋士，登基后，特命阎立本画十八学士图，宋以后常以文人雅集的方式呈现。姚文瀚此卷绘于乾隆十七年，上有嵇璜楷书〈十八学士赞〉，与院藏〈刘松年唐十八学士图〉构图相同，设色明净秀丽，用笔精细挺劲，人物开面略施阴影，具立体感，对各类家具器物的细节描绘考究。姚文瀚（生于西元一七一三－卒年不详），北京人。号濯亭。乾隆时供奉内廷，工佛道人物。",[24,7,60,28,27,61,1794,1795,276,257,1796,1797,1798,537],"文人雅集","孩童","书房","文房四宝","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57554a37f077ed634f35ee35c88231b9.jpg","46.8x196.1cm",[44],{"id":1803,"slug":1804,"title":249,"dynasty":149,"author":521,"museum":1100,"description":1805,"tags":1806,"thumbUrl":1808,"material":78,"size":1809,"collection":261,"collections":1810,"showCount":1811,"zanCount":791,"manualWeight":48,"mainColor":128},220047,"bai-niao-chao-feng-tu-xu-xi-220047","构图开阔舒展，右侧古木荫翳，灵凤独立石上，翎羽妍丽夺目。百禽翔游栖止各尽其态，或振翅穿林、或浮波弄影、或凝立枝梢，品类繁富灵动鲜活。汀渚花木错落，烟水澹澹，赤日悬于淼茫之上，晕开融融暖意。\n\n设色古雅温润，勾勒兼具工致与野逸，将百朝灵瑞的吉庆之意，融于苍润悠然的自然之境，既见写生妙趣，亦托太平祥瑞之思，淡远雅致，余韵悠长。",[23,154,24,7,28,27,209,196,210,257,34,256,117,64,1807],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dbcbe061745c03e7b73b79d4def2e8.jpg","34.3 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相州汤阴(今河南汤阴县)人。\n岳飞虽出身军伍，但自幼受到良好的中国传统教育和勤奋的学习，文武双全，能诗善词，书法以行、草为主，畅快淋漓，龙腾虎跃，气韵生动，章法严谨，意态精密，纤浓符中，刚劲不柔，自有一种淳正之气，颇含文臣气质。传世书迹，有《书谢眺诗》、《前后出师表》、《吊古战场文》等。\n岳飞草书《吊古战场》，相传碑文为岳飞书唐朝李华作的《吊古战场文》和南宋文天祥，清彭玉麟、德馨的题跋。碑共10石，每石高52厘米，宽103厘米，刻于清光绪九年(1883年)。现藏于杭州岳庙。",[23,154,24,25,7,119,120,1892,114,193],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491ff67b6cc8d84947170df024a1605.jpg","草书墨迹","28x424cm",[543],280,{"id":1899,"slug":1900,"title":1901,"dynasty":18,"author":1682,"museum":151,"description":1902,"tags":1903,"thumbUrl":1904,"material":122,"size":1905,"collection":124,"collections":1906,"showCount":1897,"zanCount":791,"manualWeight":48,"mainColor":128},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,24,154,25,7,114,27,118,29,117,34,64,115,63,116,196,654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[124,45],{"id":1908,"slug":1909,"title":1910,"dynasty":54,"author":55,"museum":380,"description":1911,"tags":1912,"thumbUrl":1913,"material":384,"size":1914,"collection":124,"collections":1915,"showCount":1916,"zanCount":11,"manualWeight":48,"mainColor":49},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,24,25,154,7,26,27,28,29,63,64,62,116,275,34,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 横987厘米",[124,45],279,{"id":1918,"slug":1919,"title":1920,"dynasty":133,"author":1344,"museum":20,"description":1921,"tags":1922,"thumbUrl":1927,"material":353,"size":1928,"collection":261,"collections":1929,"showCount":1916,"zanCount":699,"manualWeight":48,"mainColor":128},221707,"ba-hua-tu-juan-qian-xuan-221707","八花图卷","此卷以分段法描绘海棠、梨花、杏花、水仙、桃花、牡丹等8种花卉，每种相对独立，合之又成为整体。8种花卉各具姿态，偃仰向背绝无雷同，笔致柔劲，一丝不苟，敷色清雅，浓淡相宜，整幅精工而不滞板，细腻而不纤巧。本幅前右下角钤“舜举”印一方，拖尾处有元代赵孟頫题跋：“右吴兴钱选舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。尔来此公日酣于酒，手指颤抖难复作此。而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。至元廿六年九月四日同郡赵孟頫。”",[23,24,25,7,27,28,209,280,278,1923,1924,1925,194,1926,436],"海棠","栀子","梨花","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3daf5f7775f9a2ba3a9ee6a0616487.jpg","纵29.4厘米，横333.9厘米",[261,45],{"id":1931,"slug":1932,"title":1933,"dynasty":250,"author":550,"museum":1934,"description":1935,"tags":1936,"thumbUrl":1938,"material":140,"size":1939,"collection":261,"collections":1940,"showCount":1916,"zanCount":805,"manualWeight":48,"mainColor":128},220989,"hu-shan-chun-nuan-tu-quan-tu-yun-shou-ping-220989","湖山春暖图全图","天津博物馆","《湖山春暖图》 恽寿平山水取自黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，运笔飘逸潇洒，明丽简洁，天趣盎然。以水墨着色渲染，用笔含蓄，画法工整，恽寿平的艺术创作，有自己独创的艺术见解，反映出他成熟后的风格的高超技艺，依此可见，这幅画属于他的后期作品。",[23,24,25,7,27,29,118,34,1937,64,115,63,117,116],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1451fe83f699e29b98945f19f67af72.jpg","618.2cm x 57.6cm",[261,45],{"id":1942,"slug":1943,"title":1944,"dynasty":54,"author":1945,"museum":20,"description":1946,"tags":1947,"thumbUrl":1950,"material":78,"size":1951,"collection":261,"collections":1952,"showCount":1953,"zanCount":914,"manualWeight":48,"mainColor":49},216937,"mei-hua-shuang-qin-juan-chen-ji-ru-216937","梅花双禽卷","陈继儒","梅花双禽卷是中国明朝时期陈继儒所作的一幅山水画。这幅画描绘了两只居于梅花树下的雄鹰，它们正在寻找猎物。画中的景象十分写实，雄鹰的羽毛细腻而生动，而梅花树下的草地也非常逼真。梅花双禽卷被认为是陈继儒最杰出的作品之一，并被誉为“中国画史上的经典之作”。",[23,24,7,27,209,274,524,119,193,1948,1949],"枝干","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026b7f00452e9bbd679851fd52e23c4e.jpg","纵32.5cm，横256.5cm",[261],277,{"id":1955,"slug":1956,"title":1957,"dynasty":250,"author":1958,"museum":20,"description":1959,"tags":1960,"thumbUrl":1961,"material":1962,"size":1963,"collection":261,"collections":1964,"showCount":1965,"zanCount":1106,"manualWeight":48,"mainColor":128},216100,"song-mei-tu-hong-ren-216100","松梅图","弘仁","此卷分前后两段。前段画末有弘仁书写的程守蚀庵《省静堂集·一年诗》中的七言绝句《遍阅山中诸碑》，款署：“丙申春日偶写揭蚀庵集因一绝。渐江学人。”钤“渐江僧”白文印。\n前段图绘虬龙盘曲的苍松和棱角分明的怪石。弘仁的松石是对黄山松石的真实写照，石涛言：“公游黄山最久，故得黄山之真性情也，即一木一石，皆黄山本色。”图中的松石以粗犷霸悍的行笔、淋漓酣畅的施墨表现，具有弘仁晚年豪放洒脱的画风特点，简洁的构图体现出诗意中的空寂。\n后段图绘水墨梅花。梅不畏严寒、高标独立的精神正是作者所追求的人生品格。弘仁一生最喜画梅，自号“梅花古衲”，创作出大量以梅为主题的佳作，此卷便是其中之一。图中的梅枝如曲铁，婉转中呈现刚毅不屈之态。其简约的格局，精谨的笔墨，结构出一派纯净、幽旷而又俊逸的意境。",[23,24,25,7,114,118,119,193,276,274,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fadfb3b3275d62e25c91b495f8cfe05.jpg","绢本,设色,水墨","前段设色，纵27.8厘米，横269.7厘米；后段墨笔，纵27.8厘米，横86.7厘米",[261],275,{"id":1967,"slug":1968,"title":1969,"dynasty":225,"author":1472,"museum":1970,"description":1971,"tags":1972,"thumbUrl":1974,"material":442,"size":1975,"collection":543,"collections":1976,"showCount":1977,"zanCount":1037,"manualWeight":48,"mainColor":128},220404,"xin-tai-ping-ben-huang-ting-jing-wang-xi-zhi-220404","心太平本黄庭经","日本五岛美术馆","右军刻本的经典(此本传为赵孟頫藏宋拓本)，不知何时流入日本并归宇野雪村藏，开篇是“上有黄庭下关元，后有幽阙前命门”，此帖刻工亦极精，末署“永和十二年五月廿四日五山阴县写”，让自己感兴趣的还在于此帖后的题跋，有元代方方壶以隶书所题的“元至正二年春仲上清道士方方壶识”，又有“道门硕儒之称”的无为道人(张宇初)所题：“右黄庭经一帖。尝闻之前辈在元盛时吾山所藏。迨八十余本。于中此本最为精善。或传为松雪斋本也。而兵后并皆散逸。惟此本方壶翁独能宝之。未常示人。先父冲虚公用力求之数载方得。将以为家宝。今观其笔势神化。诚非他帖可比。恐后来者不知所自暇因识之。岁洪武已末仲夏嗣四十三代天师无为书于方廉斋。”后则继有明代陈继儒、董其昌再题，董其昌的记有“黄庭俱七字成文，右军首书四言，惟此贴独异……又昔人论右军黄庭，尚存锺法，今他本不似元常结构，似钟惟此本，余在长安闻此帖有年，曾游新安访之，乃南羽从留都购得，信希世之珍，墨池为放光。”——董其昌的惊喜是有道理的，同样是小楷，此帖与《乐毅论》相比，法严气逸，雍容和雅，有隶意，古韵足，这也正是思翁所云“尚存锺法”的原因吧。",[23,119,537,1229,7,442,193,540,1973,60],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bed687f6100a9b9df30c7becc6428d8.jpg","25.4x100厘米",[543],274,{"id":1979,"slug":1980,"title":1981,"dynasty":54,"author":1982,"museum":20,"description":1983,"tags":1984,"thumbUrl":1986,"material":752,"size":1987,"collection":261,"collections":1988,"showCount":1989,"zanCount":978,"manualWeight":48,"mainColor":128},222416,"bai-hua-tu-zhou-zhi-mian-222416","百花图","周之冕","是图有作者自识：“萬曆壬寅(1602年)秋日寫，汝南周之冕。”系周之冕的晚年之作。该图勾画了四季花卉，其中木本花卉多为折枝。画家将吴派的写意山水笔墨转化为花鸟画的造型语言，形成了勾花点叶派。画家以写意的手法勾写或涂抹出花叶、枝干，随意之中透露着明快和清雅，反映出文人画家淡泊不羁的胸臆。\n清《石渠宝笈·三编》著录。",[23,24,25,27,28,209,7,274,194,1985,281,456,1948],"玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a3ecd116129eeb96dfb86398c9a098.jpg","纵31.5厘米，横706厘米",[261,45],273,{"id":1991,"slug":1992,"title":1993,"dynasty":168,"author":1994,"museum":20,"description":1995,"tags":1996,"thumbUrl":1997,"material":442,"size":1998,"collection":543,"collections":1999,"showCount":2000,"zanCount":791,"manualWeight":48,"mainColor":128},221102,"mo-lan-ting-xu-feng-cheng-su-221102","摹兰亭序","冯承素","此本用楮纸两幅拼接，纸质光洁精细。因卷首有唐中宗李显神龙年号小印,故称“神龙本”。后纸明项元汴题记：“唐中宗朝馮承素奉勒摹晉右軍將軍王羲之蘭亭禊帖”，后世鉴藏家依此定为冯承素摹本。\n此卷前纸13行，行距较松；后纸15行，行距趋紧，然前后左右映带，攲斜疏密，错落有致，通篇打成一片，优于其它摹本。用笔俯仰反复，笔锋尖端锐利，时出贼毫、叉笔，既保留了照原迹勾摹的痕迹，又显露出自由临写的特点，摹临结合，显得自然生动，并具一定的“存真”的优点，在传世摹本中最称精美，体现了王羲之书法遒媚多姿、神情骨秀的艺术风神，为接近原迹的唐摹本。\n据考，卷首“神龙”半印小玺并非唐中宗内府钤印，而是后人所添，定冯承素摹也不可信，但仍是唐以来流传有绪的古摹本。\n本卷前隔水有“唐摹兰亭”四字标题。引首乾隆御题“晋唐心印”四字。后纸有宋至明20家题跋、观款。钤鉴藏印180余方。其流传经过，根据各题跋、印记和各家著录，大致如下：南宋高宗、理宗内府、驸马都尉杨镇，元郭天锡，明内府、王济、项元汴，清陈定、季寓庸、乾隆内府。历代著录有：明汪砢玉《珊瑚网·书录》、吴其贞《书画记》，清卞永誉《式古堂书画汇考·书考》、顾复《平生壮观》、吴升《大观录》、阮元《石渠随笔》、《石渠宝笈·续编》等。刻入“兰亭八柱”，列第三。",[23,119,120,60,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49007199f121076b6c9a9fcfb4a3913.jpg","纵24.5厘米，横69.9厘米",[543],267,{"id":2002,"slug":2003,"title":2004,"dynasty":18,"author":2005,"museum":1100,"description":2006,"tags":2007,"thumbUrl":2008,"material":285,"size":2009,"collection":44,"collections":2010,"showCount":2000,"zanCount":978,"manualWeight":48,"mainColor":128},216254,"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[23,154,24,25,7,174,114,61,35,34,29,90,193,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 x 436.2",[44,543],{"id":2012,"slug":2013,"title":2014,"dynasty":54,"author":110,"museum":20,"description":2015,"tags":2016,"thumbUrl":2017,"material":1411,"size":2018,"collection":217,"collections":2019,"showCount":2020,"zanCount":791,"manualWeight":48,"mainColor":128},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[23,24,25,7,114,27,118,29,405,34,276,64,117,116,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","37.5×65cm×4",[],266,{"id":2022,"slug":2023,"title":2024,"dynasty":225,"author":1472,"museum":2025,"description":2026,"tags":2027,"thumbUrl":2028,"material":78,"size":2029,"collection":543,"collections":2030,"showCount":2020,"zanCount":914,"manualWeight":48,"mainColor":128},218649,"xing-rang-tie-wang-xi-zhi-218649","行穰帖","美国普林斯顿大学美术馆","此帖为唐代王羲之草书作品的双钩，2行，15字。笔画厚实，没有尖锐的边缘，有如印章的含义。角色是开放和多样的",[23,25,7,120,119,193,1229,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeefa6965b37716730ae0572603f9cce.jpg","24.4x8.9",[543],{"id":2032,"slug":2033,"title":2034,"dynasty":18,"author":2035,"museum":227,"description":2036,"tags":2037,"thumbUrl":2039,"material":1050,"size":1051,"collection":217,"collections":2040,"showCount":2041,"zanCount":11,"manualWeight":48,"mainColor":128},288524,"xiao-xiang-qi-guan-tu-mi-you-ren-288524","潇湘奇观图","米友仁","《潇湘奇观图》用淋漓水墨画江上云山、云雾变幻的奇境，山峰、江水、树木并未作具体细致的描写，追求的是苍茫雨雾中自然界的特殊韵致。\n《潇湘奇观图》的画法用泼墨又参加积墨、破墨，使墨气淋漓，氤蕴浑厚。笔法甚少勾勒，而信笔横点，积点成山，藏锋其内，与墨浑然结合。树法似草，但与画面浑然一体。",[23,154,24,7,114,29,37,34,2038,193,118],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99980652bf55d8e34d046ae41cea3fe6.jpg",[],262,{"id":2043,"slug":2044,"title":2045,"dynasty":168,"author":321,"museum":20,"description":2046,"tags":2047,"thumbUrl":2048,"material":40,"size":2049,"collection":103,"collections":2050,"showCount":2041,"zanCount":914,"manualWeight":48,"mainColor":128},239524,"yan-li-ben-bu-nian-tu-juan-yan-li-ben-239524","阎立本步辇图卷","这是一幅历史画。它反映唐代初年一个重大的历史事件。公元七世纪，地处我国西南的吐蕃（今西藏地区）开始强大兴盛，其三十二世赞普松赞干布是个“骁勇多英略”的领袖。贞观八年（634年），他遣使臣到长安（今陕西西安），向唐王朝求婚联姻，唐太宗李世民答应了他的请求，决定将宗室女文成公主许配给松赞干布。贞观十五年（641年）春天，松赞干布派相国禄东赞到长安来迎接文成公主，唐太宗李世民则派礼部尚书江夏王宗室李道宗陪同文成公主进吐蕃。文成公主除了带去很多中原地区的文化典籍外，随行的还有许多各种行业的工匠，对于促进吐蕃经济、文化的发展起到了重要的作用。此后很长一段时间里，唐王朝和吐蕃之间关系融洽，和睦相处。\n阎立本以此为题，绘制了这幅歌颂古代汉、藏民族友好交往的作品。画幅描绘的是唐太宗李世民在宫内接见松赞干布派来的吐蕃使臣禄东赞的情景。李世民端坐在由六名宫女抬着的坐榻（又称步辇，图画即以此为名）上，另有三个宫女分别在前后掌扇和持华盖。唐太宗面前站立三人：最右者，身穿大红袍，是这次仪式的引见官员；中间是吐蕃的使臣禄东赞，拱手而立，发型和服饰与中原地区不同；最左为一穿白袍的内官。按照画家阎立本当时的地位和身份，他完全可能是这次历史性会见的目击者，所以他笔下的人物非常真实、生动。唐太宗李世民的威严，使臣禄东赞的干练、谦和，引见官员和内侍的恭谨，年轻宫女的天真活泼，都各具特点，跃然绢上，禄东赞和唐太宗等人在民族气质上的差别也有所表现。\n全画以细劲的线条塑造人物形象，线条纯熟，富有变化和表现力；设色浓重、鲜艳，是一幅出色的工笔重彩人物画作品。图中的李世民、禄东赞等人应当带有肖像画特征。",[23,154,24,25,7,27,61,28,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c10940154a8e201509088f4822cf0.jpg","纵38.5厘米，横129厘米",[103,543],{"id":2052,"slug":2053,"title":2054,"dynasty":54,"author":2055,"museum":1100,"description":2056,"tags":2057,"thumbUrl":2058,"material":285,"size":2059,"collection":124,"collections":2060,"showCount":2041,"zanCount":48,"manualWeight":48,"mainColor":128},214298,"shan-shui-tu-liu-jue-214298","山水图","刘珏","此卷是刘珏为沈周的弟弟沈召所作的山水画册，并将其修改为手卷，笔墨淋漓，用笔极其自信，使画面在扫视之间活灵活现，成为一幅完美的杰作。",[23,24,25,7,114,118,29,34,117,37,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a458237bde639af130f94491f86651.jpg","33.6x57.8",[124],{"id":2062,"slug":2063,"title":2064,"dynasty":18,"author":415,"museum":227,"description":1397,"tags":2065,"thumbUrl":2066,"material":217,"size":217,"collection":217,"collections":2067,"showCount":2068,"zanCount":791,"manualWeight":48,"mainColor":128},227580,"wu-ma-tu-li-gong-lin-227580","五马图",[23,24,154,25,7,174,27,61,90,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff861a45a3281680f50e29e58b525d252.jpg",[],259,{"id":2070,"slug":2071,"title":2072,"dynasty":18,"author":507,"museum":2073,"description":2074,"tags":2075,"thumbUrl":2076,"material":285,"size":2077,"collection":261,"collections":2078,"showCount":2079,"zanCount":978,"manualWeight":48,"mainColor":49},219265,"xi-zhu-long-tu-chen-rong-219265","戏珠龙图","苏宁博物馆","墨色淋漓间，矫健龙身腾跃于云雾之中，鳞爪飞扬，气势磅礴。龙首昂扬，双目炯炯，似与宝珠相戏，动感十足。画家以浓淡干湿的笔墨变化，勾勒出龙的刚劲体态与云雾的缥缈朦胧，虚实相生间尽显龙的威严与神秘。画面中题跋与印章错落，承载着历史印记，更添古朴厚重之感。整幅作品将龙的祥瑞之气与艺术的笔墨神韵融为一体，是传统龙题材绘画中的经典之作，尽显东方美学的独特魅力。",[154,24,25,7,114,511,37,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc419787f4a611822757835e84e90923c.jpg","纵32.5横237.5厘米",[261],258,{"id":2081,"slug":2082,"title":2083,"dynasty":18,"author":2084,"museum":151,"description":2085,"tags":2086,"thumbUrl":2087,"material":78,"size":2088,"collection":44,"collections":2089,"showCount":2079,"zanCount":1106,"manualWeight":48,"mainColor":49},216926,"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","赵构","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[23,24,25,7,154,120,174,27,61,69,34,117,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[44],{"id":2091,"slug":2092,"title":2093,"dynasty":149,"author":1844,"museum":1270,"description":2094,"tags":2095,"thumbUrl":2098,"material":78,"size":217,"collection":44,"collections":2099,"showCount":2100,"zanCount":791,"manualWeight":48,"mainColor":49},219500,"juan-xiu-tu-zhou-wen-ju-219500","倦绣图","此作用柔婉工笔铺陈深闺日常，床帏内仕女斜倚，眉宇间带着绣作之余的慵懒倦怠，身侧侍女静立侍奉。左侧侍者端物缓步而来，右侧仕女凭桌伫立，似在打理妆台。边角案几陈设着盆栽器物，衬出闺阁的雅致静谧。设色清淡古雅，线条匀细柔丽，将深阁女子闲散松弛的情态刻画入微，晕染出日常闺中休憩的幽柔氛围，藏着平淡雅致的闺中诗意。",[23,154,24,25,7,28,27,61,155,2096,1550,2097,193],"床帐","桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc8762f2527e714db62518fa3278003.jpg",[44,45],257,{"id":2102,"slug":2103,"title":2104,"dynasty":225,"author":2105,"museum":20,"description":2106,"tags":2107,"thumbUrl":2108,"material":2109,"size":2110,"collection":543,"collections":2111,"showCount":2112,"zanCount":791,"manualWeight":48,"mainColor":128},221021,"zhong-qiu-tie-wang-xian-zhi-221021","中秋帖","王献之","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,119,1892,7,114,442,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab6dd85baee9f73028d89815dd2fd5a.jpg","纸本，手卷","纵27厘米，横11.9厘米",[543],256,{"id":2114,"slug":2115,"title":2116,"dynasty":54,"author":269,"museum":20,"description":2117,"tags":2118,"thumbUrl":2121,"material":752,"size":2122,"collection":124,"collections":2123,"showCount":2124,"zanCount":791,"manualWeight":48,"mainColor":128},222231,"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[23,24,25,7,114,273,2119,119,209,274,282,275,283,277,404,281,2120,908,117],"题跋","竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[124,103],253,{"id":2126,"slug":2127,"title":2128,"dynasty":168,"author":674,"museum":151,"description":2129,"tags":2130,"thumbUrl":2133,"material":78,"size":2134,"collection":44,"collections":2135,"showCount":2136,"zanCount":1037,"manualWeight":48,"mainColor":49},218265,"ren-wu-juan-zhou-fang-218265","人物卷","它描绘了儿童在院子里玩灯笼，而女士们聚集在一起演奏音乐。详细描述了灯笼的种类和形状，但人物的脸和衣服与周家的不一样，所以这卷书一定是由后来的艺术家复制的。",[23,24,154,25,7,28,27,61,1009,34,211,2131,2132,298],"小孩","大人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd5d7d833562e3e6f0969c27f3c1208.jpg","30.8x220",[44],252,{"id":2138,"slug":2139,"title":2140,"dynasty":168,"author":1182,"museum":227,"description":2141,"tags":2142,"thumbUrl":2145,"material":1050,"size":1051,"collection":217,"collections":2146,"showCount":2147,"zanCount":791,"manualWeight":48,"mainColor":49},289005,"wang-chuan-tu-wang-wei-289005","辋川图","《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[23,154,24,7,763,27,118,29,62,34,31,115,2143,2144,2038,405],"山居","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a16151940e7ec69c8d6735f55d11672.jpg",[],250,{"id":2149,"slug":2150,"title":970,"dynasty":133,"author":134,"museum":20,"description":2151,"tags":2152,"thumbUrl":2154,"material":442,"size":975,"collection":124,"collections":2155,"showCount":2147,"zanCount":48,"manualWeight":48,"mainColor":128},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[23,24,25,7,114,29,118,119,193,482,1185,1123,468,1286,692,2153],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg",[124,103],{"id":2157,"slug":2158,"title":2159,"dynasty":54,"author":110,"museum":20,"description":774,"tags":2160,"thumbUrl":776,"material":442,"size":353,"collection":124,"collections":2162,"showCount":2163,"zanCount":1106,"manualWeight":48,"mainColor":128},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[23,24,25,7,29,2161,114,27,118,120,119,117,34,64,63,115,116],"文人画",[124],248,{"id":2165,"slug":2166,"title":2167,"dynasty":133,"author":760,"museum":111,"description":2168,"tags":2169,"thumbUrl":2170,"material":114,"size":217,"collection":103,"collections":2171,"showCount":2172,"zanCount":791,"manualWeight":48,"mainColor":49},219738,"zhu-pu-tu-wu-zhen-219738","竹谱图","此作用淡墨铺就底色，开篇幽草伴湖石，渐入修竹成林。竹竿劲挺如君子立世，以浓墨撇写竹叶，错落生姿，或迎风欹斜，或垂梢含露，墨色干湿浓淡交织，层次分明。后半段湖石渐耸，竹影疏密掩映，尽显野逸之趣。\n\n左侧题笔与画境相融，以书入画，笔墨老辣苍润，将隐逸林下的清寂意韵藏于一笔一划中，简淡之间尽是萧散出尘的林下风神，把竹之孤高与文人风骨晕染在卷幅里。",[23,24,114,7,275,255,118,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c704a7c558d314bd1858ec21db613.jpg",[103],246,{"id":2174,"slug":2175,"title":589,"dynasty":18,"author":1133,"museum":151,"description":2176,"tags":2177,"thumbUrl":2178,"material":78,"size":2179,"collection":124,"collections":2180,"showCount":2181,"zanCount":1037,"manualWeight":48,"mainColor":49},218230,"shang-lin-tu-juan-zhao-bo-ju-218230","赵伯驹（生年不详，约卒于西元一一六二年），字千里，宋太祖七世孙，赵大年之子。仕至浙东兵马钤辖。善画山水、花果、翎毛及人物，楼阁界画尤妙。上林苑乃秦朝旧苑，汉武帝扩建。周围三百里，离宫七十所，规模宏伟。苑中饲养禽兽多种,，春秋二季皇帝时常至此围猎。本卷青绿设色，画上林苑帝王围猎情景。人物众多，车辇仪仗无一不备。",[23,24,25,7,26,27,29,61,62,34,196,117,405,38,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4585d7f14f3b12fabf2d53658317cb.jpg","44x1169.4",[124],244,{"id":2183,"slug":2184,"title":2185,"dynasty":168,"author":2186,"museum":20,"description":2187,"tags":2188,"thumbUrl":2189,"material":1319,"size":2190,"collection":543,"collections":2191,"showCount":2192,"zanCount":1106,"manualWeight":48,"mainColor":128},239553,"wang-xi-zhi-lan-ting-xu-juan-chuan-tang-chu-sui-liang-mo-ben-chu-sui-liang-239553","王羲之兰亭序卷（传唐褚遂良摹本）","褚遂良","东晋永和九年（353年）三月三日，山阴名士四十一人集于兰亭，修禊祭，宴曲水。即席赋诗，汇为一卷，由王羲之当场作序。这篇序情文并茂，心手双畅，向称“天下第一行书”。其妍美流便的风神，被后世视为行书的典范和楷模。唐太宗李世民酷爱羲之书法，在得到《兰亭序》真迹后，曾命当朝书法名家褚遂良、欧阳询以及弘文馆拓书人冯承素等勾摹数本，分赐臣下，以广布扬。兰亭真迹据记载已随唐太宗殉葬昭陵。这些唐摹本主要有两个系统，一为褚遂良摹本，存世的褚遂良、虞世南、冯承素等墨迹摹本，多属此系统，以冯摹的“神龙本”最为接近原作；一为欧阳询摹本，刻帖“定武本”即源自欧本，为存世最佳的石刻帖本。\n此卷旧传为褚遂良所摹，故卷前项元汴标题“褚摹王羲之兰亭帖”，简称为“褚摹兰亭”，实未必确切。全卷有宋、元、明诸家题跋或观款，以及鉴藏印记215方，又半印4方。其中“滕中”等2方北宋印和南宋绍兴内府“绍兴”、“内府印”、“睿思东阁”等7方印属真，第一后纸上米芾诗题及7方钤印亦真。因知此卷当为北宋米芾前临摹本。但作品质地属楮皮纸，是宋以后方普遍使用的纸质，或可证此为北宋摹本。全卷由两幅纸拼接，前纸19行，后纸9行，行款排列较松匀，以临写为主，辅以勾描，因此书写较为流畅，亦具一定功力。\n此卷流传鉴藏经过大致为：北宋滕中、南宋绍兴内府、元赵孟頫、明浦江郑氏、项元汴、清卞永誉、乾隆内府。曾著录于清顾复《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、清内府《石渠宝笈·续编》、阮元《石渠随笔》等书，并刻入《兰亭八柱帖》。",[23,25,7,60,120,193,119,1229,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231a989ca4ec3e5d71859f048f630428.jpg","纵24厘米，横88.5厘米",[543],242,{"id":2194,"slug":2195,"title":2196,"dynasty":54,"author":1030,"museum":568,"description":2197,"tags":2198,"thumbUrl":2201,"material":696,"size":2202,"collection":124,"collections":2203,"showCount":2192,"zanCount":791,"manualWeight":48,"mainColor":49},222352,"qiu-shan-gao-shi-tu-juan-tang-yin-222352","秋山高士图卷","绘童子拱手侍立，圆凳旁之地面，铺设有席，席上散置纸笔书砚等物。中部三人相对畅谈，背景画树石苔草，运笔条畅有力，浓淡交织，极为精采。幅末设石桌，上置瓶炉，另一卷垂挂在地。",[23,24,7,27,29,118,28,2199,2200,115,64,116,34,117,35],"秋山","高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2acdbaf836a548b0d716e2dd10782a.jpg","23.7＊352cm",[124,45],{"id":2205,"slug":2206,"title":2207,"dynasty":18,"author":2208,"museum":20,"description":2209,"tags":2210,"thumbUrl":2215,"material":40,"size":2216,"collection":217,"collections":2217,"showCount":2192,"zanCount":1037,"manualWeight":48,"mainColor":49},221491,"huo-lang-tu-quan-juan-li-song-221491","货郎图全卷","李嵩","古吴轩出版社主编的《李嵩货郎图》是《历代名画宣纸高清大图》系列之一，采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负地弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。\n画家借助货郎这一题材表现了南宋市井生活的一个侧面，是民俗学家不可多得的珍贵史料。",[23,154,24,25,7,28,174,27,61,1795,2211,2212,213,34,2213,2214,193],"妇女","货担","动物","狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff486169f4887c2ad43e56c3c00718926.jpg","纵25.5厘米，横70.4厘米",[],{"id":2219,"slug":2220,"title":2221,"dynasty":54,"author":55,"museum":227,"description":2222,"tags":2223,"thumbUrl":2231,"material":217,"size":217,"collection":217,"collections":2232,"showCount":2233,"zanCount":978,"manualWeight":48,"mainColor":49},228453,"qing-ming-shang-he-tu-shou-juan-han-yin-shou-ti-ba-chou-ying-228453","清明上河图手卷含引首题跋","此作以精工院笔重绘旧题，将晚明江南的升平烟火铺陈于长卷之内。青绿设色妍雅清丽，线条秀劲灵动，亭台楼阁层叠错落，商铺酒肆鳞次栉比，行人车马往来穿梭，贩夫走卒、文人仕女神态各异，鲜活复刻出南都的富庶风华。它既承袭古本骨架，又暗合明代世情，把市肆喧闹、舟桥津渡的俗世温情藏进每一处细节，工致的笔触晕染出江南独有的雅致与鲜活，让观者如穿行旧巷，尽览晚明的人间盛景。",[23,154,24,7,2224,28,2225,59,62,610,65,949,2226,2227,71,68,61,2228,2229,2230],"手卷","青绿设色","舟桥","津渡","市井生活","富庶风华","俗世温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc788a28a455ea93496704656398401.jpg",[],240,{"id":2235,"slug":2236,"title":2237,"dynasty":250,"author":2238,"museum":151,"description":2239,"tags":2240,"thumbUrl":2243,"material":78,"size":2244,"collection":44,"collections":2245,"showCount":2233,"zanCount":724,"manualWeight":48,"mainColor":128},215148,"fang-yang-da-zhang-song-yuan-ben-jin-ling-tu-juan-feng-ning-215148","仿杨大章宋院本金陵图卷","冯宁","长卷是一幅色彩斑斓的画，画中有山有城，有街有路，有车有马，有亭有村，有农业，有数百人。这个场景有一丝张择端《清明上河图》的宏大和活泼的风格。卷尾的签名是：乾隆五十年十一月，我冯宁受命仿制宋院体金陵画。",[23,154,24,7,27,28,60,29,62,61,138,1699,2241,34,75,2242],"马匹","农业","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa95f5753c7200f69180a52966afeeee4.jpg","35x1050",[44],{"id":2247,"slug":2248,"title":2249,"dynasty":18,"author":451,"museum":20,"description":2250,"tags":2251,"thumbUrl":2253,"material":2254,"size":2255,"collection":42,"collections":2256,"showCount":2257,"zanCount":914,"manualWeight":48,"mainColor":128},221297,"xie-sheng-jia-die-tu-juan-zhao-chang-221297","写生蛱蝶图卷","该画作描绘了群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。笔法上，蝶、蚱以工笔细描，花草则以双勾填色法。设色清淡、浓艳各得其所，彩不压墨。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。",[23,24,25,7,28,27,2252,256,1550,337,281,119,193],"蛱蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b406765c81dbad32d814e51b46fac.jpg","纸本设色画","纵27.7厘米，横91厘米",[42,261,45],238,{"id":2259,"slug":2260,"title":2261,"dynasty":18,"author":716,"museum":151,"description":2262,"tags":2263,"thumbUrl":2264,"material":720,"size":2265,"collection":42,"collections":2266,"showCount":2267,"zanCount":978,"manualWeight":48,"mainColor":49},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[23,24,154,7,114,118,119,193,29,63,64,115,764,230,765,613,117,420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米",[42],237,{"id":2269,"slug":2270,"title":2271,"dynasty":18,"author":716,"museum":151,"description":2272,"tags":2273,"thumbUrl":2275,"material":140,"size":2276,"collection":42,"collections":2277,"showCount":2278,"zanCount":914,"manualWeight":48,"mainColor":49},221577,"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","此图描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,24,154,7,29,118,27,117,34,2274,64,419,73,690,786,38],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[42,124,103],232,{"id":2280,"slug":2281,"title":2282,"dynasty":250,"author":819,"museum":20,"description":2283,"tags":2284,"thumbUrl":2285,"material":442,"size":2286,"collection":261,"collections":2287,"showCount":2278,"zanCount":1106,"manualWeight":48,"mainColor":128},220392,"mei-zhu-tu-juan-shi-tao-220392","梅竹图卷","诗文与画作的有机结合不仅增添了文人画的书卷气息，同时也展示了作者于画艺之外的诗文功底和精湛的书法造诣。图中所绘梅竹或细笔勾勒，或阔笔勾斫，线条于方圆结合中秀拙相生。其多样的笔法与酣畅淋漓的施墨在半生半熟的纸质上达到了湿润而不漫漶的笔墨效果，堪称石涛晚年的写意画佳作。",[23,24,25,7,114,118,119,193,274,275,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440c586308456b8200d8bd68ac0e8093.jpg","纵34.2厘米，横194.4厘米",[261],{"id":2289,"slug":2290,"title":2291,"dynasty":54,"author":2292,"museum":227,"description":2293,"tags":2294,"thumbUrl":2295,"material":1411,"size":217,"collection":217,"collections":2296,"showCount":2297,"zanCount":48,"manualWeight":48,"mainColor":49},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,25,7,60,27,114,118,29,34,117,63,64,115,116,61,613,690,786,691,38,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg",[],230,{"id":2299,"slug":2300,"title":2301,"dynasty":168,"author":2302,"museum":20,"description":2303,"tags":2304,"thumbUrl":2305,"material":217,"size":2306,"collection":543,"collections":2307,"showCount":2297,"zanCount":1106,"manualWeight":48,"mainColor":128},221089,"mo-lan-ting-xu-juan-yu-shi-nan-221089","《摹兰亭序卷》","虞世南","《兰亭序》是东晋右军将军王羲之51岁时的得意之笔，记述了他与当朝众多达官显贵、文人墨客雅集兰亭、修稧事也的壮观景象，抒发了他对人之生死、修短随化的感叹。崇山峻岭之下，茂林修竹之边，乘带酒意，挥毫泼墨，为众人诗赋草成序文，文章清新优美，书法遒健飘逸。被历代书界奉为极品。宋代书法大家 米芾称其为“中国行书第一帖”。王羲之因此也被后世尊为“书圣”。后人在研究其书法艺术时赞誉颇多：“点画秀美，行气流畅”，“清风出袖，明月入怀”，“飘若浮云，矫若惊龙”，“遒媚劲健，绝代所无”，“贵越群品，古今莫二”。确实如此，传说王羲之以后也曾再书《兰亭序》，但均逊色于原作，所以《兰亭序》原稿一直为王羲之视为传家之宝，为王氏后代收藏，传至王羲之第七代时被唐太宗李世民“骗”入朝廷，唐太宗得《兰亭序》后，曾诏名手赵模、冯承素、虞世南、褚遂良等人钩摹数个乱真副本，分赐亲贵近臣，之后民间也广为临摹，但无一胜过王羲之的原作，所以《兰亭序》真迹被唐太宗视为稀世珍品而最终殉葬，这更让后世对《兰亭序》原作崇敬不已，冠以中国书法第一帖的美名实在无可争议。\n\n千百年来，《兰亭序》有多个版本在世间流传，最受推崇的是藏于北京故宫博物院的冯承素摹本《兰亭序》。《冯本》为唐代内府栩书官冯承素摹写，因其卷引首处钤有“神龙”二字的左半小印，后世又称其为“神龙本”，因使用“双钩”摹法，为唐人摹本中最接近兰亭真迹者。此本摹写精细，笔法、墨气、行款、神韵，都得以体现，公认为是最好的摹本。",[23,119,120,60,7,193,25,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9000c4d4ad5ddc233e1f2a03ab38558.jpg","纵24.8cm，横57.7cm",[543,1013],{"id":2309,"slug":2310,"title":2311,"dynasty":133,"author":534,"museum":1514,"description":2312,"tags":2313,"thumbUrl":2314,"material":442,"size":2315,"collection":543,"collections":2316,"showCount":2297,"zanCount":791,"manualWeight":48,"mainColor":128},220858,"xuan-miao-guan-chong-xiu-san-men-ji-zhao-meng-fu-220858","玄妙观重修三门记","《玄妙观重修三门记》是元代书法家赵孟頫创作的一幅书法作品。纸本现收藏于日本东京国立博物馆，以之为底本的石刻位于苏州玄妙观正山门内。\n该书法作品的文章由宋末元初文人牟巘撰写，记载了苏州玄妙观重新修缮殿门一事。原稿用墨略淡，墨色清醇沉润，笔面间偶露行草笔致。\n玄妙观是位于苏州古城内繁华地带的一座道教宫观，原名三清观，在元朝受到皇家敕命更名并赐御笔匾额，观内道士为了隆重庆祝这一盛事，决定对观内殿宇进行重新修缮，可是由于筹集的经费不足，三道已经破败不堪的殿门却再也无力整修。经过道士严焕文等人一番努力，并得到夫人胡氏妙能的倾力捐助，终于在至元二十九年（1292）动工修缮。既然这一盛事有此波折，观内道士决定在观内树立石碑以纪念，遂邀请当时的文人牟巘为之撰文，又邀请当朝书画家赵孟頫亲笔书写碑文并篆额。这纸法帖，就是当年为了勒摹上石所写的底本。\n此书显露出来的赵字用笔风格，与《妙严寺记》《胆巴碑》等如出一辙。赵字的用笔，一方面恪守中锋、顺势的原则，一方面又杂糅行书的笔法，从而形成了或藏锋痕迹含蓄，或露锋意味明朗的风格。既不同于魏晋、南北朝书法的工整、严谨，也不同于唐楷的法度森严与精雕细琢。从单个字的处理来看，线与线之间的顾盼承接，空间与空间的虚实对比，无不包含着一种内在的力量和如涓涓细流永无休止之势，同时，也反映出作者对线条娴熟的驾驭能力，如“臣”字，其中虽少一笔，但从中可以看出作者在势的处理上一笔到底的那种按捺不住的律动。\n此书结字方正，左右、上下之间的呼应紧密，字形大小因其自然而由之，布白在匀称之中却又能够表现虚实之间的和谐相处。有些字分别添加、减省笔画，或者变形书写。添加笔画的有“鸿、建、象、氏、民、旧、陟、土”等字。如“旧”字应当是王羲之、王献之该字写法的杂糅与合成，字形取势则模仿了李邕的写法，即将字底“臼”字作“旧”形，藏在右下角落里。减省笔画的有“摹、念、矗、曾、飙、层、度、远、罗、宪、严”等字，有些是合理运用异体字，有些则为其独创。笔画变位或变形书写的有“悉、旧、几、受、化”等字，大多是唐楷已有之。\n明·陈继儒：“鉴赏家谓玄妙观碑酷似李北海《岳麓碑》，若见苏灵芝《铁佛寺刻》，弥见松雪翁书学来历。此卷精彩可照四裔。”（卷后跋文）\n明·李日华：“《玄妙观重修三门记》有太和（李邕）之朗，而无其佻；有季海（徐浩）之重，而无其一钝；不用平原（颜真卿）面目，而含其精神。天下赵碑第一也。”（《恬致堂集》）\n赵孟頫亲笔所书纸本早已散失异域，藏于日本东京国立博物馆。所刻之碑原在玄妙观正山门内，“文革”时失落。1990年，苏州碑刻博物馆仿刻成碑，现存正山门内。\n卷文:天地阖辟，运乎鸿枢，而乾坤为之户；日月出入，经乎黄道，而卯酉为之门。是故建设琳宫，摹宪玄象，外则周垣之联属，灵星之横陈；内则重闼之划开，阊阖之仿佛。非崇严无以备制度，非巨丽无以竦视瞻。惟是勾吴之邦，玄妙之观，赐额改矣，广殿新矣，而三门甚陋。万目所观，辟之于人，神观不足，一身之内，强弱弗侔，非欠欤？观之徒严焕文深念前功，是图是究。\n时则有夫人胡氏妙能，捐其簪珥，给其资用。爰壬辰之纪，岁亟先甲以庀徒。曾几何时，悉更其旧。翚飞丹栱，檐牙高矗于层霄；兽啮铜环，铺首辉煌于朝日。大庭中敞，峻殿周罗，可以树羽节，可以容鸾驭；可以陟三成之坛，通九关之奏；可以鸣千石之虡，受百灵之朝。气象伟然，始与殿称矣。\n于是吴兴赵孟頫复求记于陵阳牟巘。土木云乎哉，言语云乎哉。惟帝降衷，惟皇建极，因人心固有，与天下为公，初无侧颇，无充塞然。或者舍近而求诸远，既昧厥元；欲入而闭之门，复迷所向。孰与抽关启钥，何异擿埴索涂。是未知玄之又玄，户之不户也。\n夫始乎冲漠者，造化之枢纽；极乎高明者，中庸之阃奥。盖所谓会归之极，所谓众妙之门。庸作铭诗，具刊乐石，其词曰：\n天之牗民，道若大路。未有出入，不由于户。而彼昧者，他岐是骛。如面墙壁，惟弗瞩故。脱扃剖鐍，孰发真悟。乃崇珍馆，乃延飙驭。閈闳洞启，端倪呈露。四达民迷，有赫临顾。咨尔羽䙱，壹尔志虑。阴阖阳辟，恪守常度。\n集贤直学士朝列大夫行江浙等处儒学提举吴兴赵孟頫书并篆额",[23,119,537,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345465230873dfcb1eb56f5c18241795.jpg","纵35.8厘米，横283.8厘米",[543,1013],{"id":2318,"slug":2319,"title":2320,"dynasty":250,"author":2321,"museum":227,"description":2322,"tags":2323,"thumbUrl":2324,"material":752,"size":2325,"collection":124,"collections":2326,"showCount":2327,"zanCount":914,"manualWeight":48,"mainColor":128},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","龚贤","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,154,24,25,7,114,118,29,482,255,254,1071,419,420,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纵28.8厘米，横404.1厘米",[124,103],229,{"id":2329,"slug":2330,"title":2331,"dynasty":250,"author":819,"museum":227,"description":2332,"tags":2333,"thumbUrl":2334,"material":217,"size":217,"collection":217,"collections":2335,"showCount":2336,"zanCount":1037,"manualWeight":48,"mainColor":128},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[23,24,25,7,114,272,118,120,119,193,29,405,31,34,404,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],228,{"id":2338,"slug":2339,"title":2340,"dynasty":133,"author":534,"museum":20,"description":2341,"tags":2342,"thumbUrl":2343,"material":2344,"size":2345,"collection":44,"collections":2346,"showCount":2347,"zanCount":1037,"manualWeight":48,"mainColor":128},220829,"ren-qi-tu-zhao-meng-fu-220829","人骑图","本幅绘一戴官帽腰系玉带的红袍青年男子骑于马背之上，男子微有髭须，左手牵缰，右手持鞭，右脚轻踩马镫，神态优雅自足。马匹孔健有力，左前蹄微起，呈行进之势。画面布局、人物形象和马匹写实画法，都深受唐代画马图影响。",[23,24,25,7,27,28,61,90,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267dc888b93d2680f156c8524c0ca2da.jpg","纸本 设色 手卷","纵30厘米，横52厘米",[44,45],227,{"id":2349,"slug":2350,"title":2351,"dynasty":168,"author":2352,"museum":2353,"description":2354,"tags":2355,"thumbUrl":2356,"material":824,"size":2357,"collection":543,"collections":2358,"showCount":2359,"zanCount":914,"manualWeight":48,"mainColor":128},221077,"qian-zi-wen-he-juan-zhi-yong-221077","千字文合卷","智永","藏于日本民间","智永，僧法极，字智永，人称永禅师，智永善书，书有家法,还将王羲之作为传家之宝的《兰亭序》，带到云门寺保存，云门寺有书阁，智永禅师居阁上临书20年。《真书千字文》系智永的代表书作，历来对它评价颇高。对他所写的《千字文》，清何绍基说：“笔笔从空中来，从空中住，虽屋漏痕，犹不足以喻之”。我们细读他的墨迹《千字文》，看得出他用笔上藏头护尾，一波三折，含蓄而有韵律的意趣。董、何之说可谓精确、具体、恰当。\n智永对乃祖王羲之、王献之的书法极为钦佩，决心使乃祖的书法万古流芳。智永练习书法极为刻苦。他在永欣寺时，就曾盖一座小楼专供练字，发誓“书不成，不下此楼”。就在这座冷冷清清的小楼里，他如痴如醉地练字，毛笔用了一支又一支，他常把用坏了的毛笔扔进大瓮，天长日久，就积了好几瓮，后来埋在一起，成为“退笔冢”。\n经过二三十年的努力，智永的书法果然大有进步。他的名气也越来越大，求其真迹者很多，以至他户外之履常满，连门限也踩坏了，智永又只好用铁皮来加固门槛，时人称之为“铁门槛”。\n张怀瓘将古今善书法者分成三品：神品、妙品、能品。智永的行书入于能品，隶书、章草、草书皆入妙品。可见智永书法成就已达到相当高的水平。\n智永书法流传甚广，宋御府即曾收藏智永草书13件，真草10件。其《真草千字文》一直流传至今。\n《真草千字文》采用以楷书对释草书的方式，这是智永的创造，既便于学书者释读草字，又能让人同时欣赏他两种体裁的书法，可谓一举两得。智永禅师草书“千字文”，完全得笔于乃祖王右军，并师承了草字法规。",[23,119,537,1892,7,1973,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2ef623eca96f5f0d8a6929b8718009.jpg","原册每开纵24厘米，横11厘米",[543,1013],226,{"id":2361,"slug":2362,"title":2363,"dynasty":133,"author":1867,"museum":151,"description":2364,"tags":2365,"thumbUrl":2367,"material":442,"size":2368,"collection":124,"collections":2369,"showCount":2370,"zanCount":914,"manualWeight":48,"mainColor":128},220793,"an-chu-zhai-tu-juan-ni-zan-220793","安处斋图卷","倪瓒以擅长水墨山水为傲，所作多取材于太湖周边的优美景致。画中笔法简洁，山水意境悠远，野岸沙渚，疏林茅茨，柳树萧萧，颇有世外山野高人的遁世脱俗之感。画的右下角有作者的自题诗：“湖上斋居处士家，淡烟疏柳望中赊。安时为善年年乐，处顺谋身事事佳。竹叶夜香缸面酒，菊苗春点磨头茶。幽栖不作红尘客，遮莫寒江卷浪花。”左上角是乾隆御览后的即兴题诗：“是谁肥遁隐君家，家对湖山引兴赊。名取仲舒真可法，图成懒瓒亦云嘉。高眠不入客星梦，消渴常分谷雨茶，致我闲情频展玩，围炉听雪剪灯花。”",[23,24,25,7,114,118,29,230,404,116,64,2366,193,119],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f5b8544aa4c8572b05c11e13372fd2.jpg","33×89.4cm",[124,103],225,{"id":2372,"slug":2373,"title":2374,"dynasty":133,"author":534,"museum":20,"description":2375,"tags":2376,"thumbUrl":2377,"material":40,"size":2378,"collection":44,"collections":2379,"showCount":2380,"zanCount":699,"manualWeight":48,"mainColor":49},220891,"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[23,154,24,25,7,28,27,90,91,61,34,64,193,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","纵28.5厘米，横154厘米。",[44,45],220,{"id":2382,"slug":2383,"title":2384,"dynasty":133,"author":534,"museum":56,"description":2385,"tags":2386,"thumbUrl":2387,"material":442,"size":2388,"collection":124,"collections":2389,"showCount":2380,"zanCount":978,"manualWeight":48,"mainColor":128},220837,"shuang-song-ping-yuan-tu-zhao-meng-fu-220837","双松平远图","双松的画法稍工，山石则以带有飞白松动笔触勾括，略皴而无染。虽略存李郭画风之形，但简括异常，实属新体。\n画法上更具书法笔趣和文人墨戏的意味。卷首自识「子昂戏作双松平远」，卷尾又识「仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹，不能一二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仪所作者，虽未敢与古人比，然视近世画手则自谓稍异耳。因野云求画，故书其末。《大观录》、《墨缘汇观》、《无益有益齐读画诗》等书著录\n图中近景画苍松立于怪石枯木之中，远景写平坡矮山。写山石空勾轮廓，不加皴染，间有飞白。画双松则用细笔双钩，简约古雅。画面右上署“子昂戏作双松平远”八字，卷末自题日：“仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹不能一、二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仆所作者虽末能与古人比，然视近世画手，则自谓少异耳。因野云求画，故书其末。孟烦。”于此可见，赵孟頫欲弃南宋院体画风而直追唐、五代诸大家。",[24,25,7,114,118,29,276,117,115,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66f53d1e4db114c3b3d0147d1368cb.jpg","纵26.7厘米、横107.3厘米",[124,103],{"id":2391,"slug":2392,"title":2393,"dynasty":18,"author":2394,"museum":2395,"description":2396,"tags":2397,"thumbUrl":2399,"material":285,"size":2400,"collection":261,"collections":2401,"showCount":2380,"zanCount":1037,"manualWeight":48,"mainColor":128},218906,"bai-yan-tu-ma-ben-218906","百雁图","马贲","檀香山艺术博物馆","老愚离群影久孤，客来笑示百雁图。揩眵试数失两箇，莫喻画意翻令呼。得非长门报秋使，或是大窖传书奴。不然一举千里高鸿俱，其余淟泪碌琐徒，且唼且息翔且呼。营营郑圃田之稷，睢睢齐海隅之菰。遑知尔更衔尔芦，瓠肥卒至充人厨。小而曰鶀亦就笯，迩闻泽梁弛禁官罢虞，麋鹿鱼鳖同少苏，羽仪好在春云。河中马贲元佑、绍圣间人，长于百雁百鸦百鹿百牛等图，虽极繁伙而位置不乱。此卷尤为杰出也，可不宝哉！王逢并识。",[23,24,25,7,114,28,196,985,2398],"群鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d77751cddde9611521a50fab81cbde3.jpg","579x45cm",[261],{"id":2403,"slug":2404,"title":2405,"dynasty":54,"author":110,"museum":227,"description":2406,"tags":2407,"thumbUrl":2409,"material":217,"size":217,"collection":217,"collections":2410,"showCount":2411,"zanCount":914,"manualWeight":48,"mainColor":128},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,24,25,7,114,27,29,116,1857,254,64,193,119,120,35,117,2408],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":2413,"slug":2414,"title":2415,"dynasty":54,"author":1030,"museum":20,"description":2416,"tags":2417,"thumbUrl":2418,"material":1411,"size":2419,"collection":124,"collections":2420,"showCount":2421,"zanCount":914,"manualWeight":48,"mainColor":49},222332,"shi-ming-tu-quan-juan-tang-yin-222332","事茗图全卷","本幅中作者自题：“日長何所事，茗碗自賚持。料得南窗下，清風滿鬢絲。吳趨唐寅。”钤“唐居士”。\n“事茗”姓陈，为王宠友邻，与唐寅交往亦甚密。唐寅以陈氏名号为题作此图，并将“事茗”二字嵌入题诗中。此图布局别出新意，虚实相生，层次分明。近景巨石侧立，巨石墨色浓黑，皴擦细腻，凹凸清晰可辨。屋舍、坡岸淡雅清润，屋中主人临窗品茗，描绘出幽静宜人的理想化的生活环境。透过画面，似可听到潺潺的流水，闻到淡淡的茶香。\n本幅中另有清乾隆御笔题记：“记得惠山精舍里，竹罏沦茗绿杯持。解元文笔闲相仿，消渴何劳玉虎丝。甲戌闰四月雨余，几暇偶展此卷，因摹其意，即用卷中原韵题之，并书于此。御笔。”钤印“古香”白文方、“太缶”朱文方。尾纸陆粲款署：“嘉靖乙未孟秋之吉，平原陆粲著。”钤印“陆氏浚明”白文方、“贞山”朱文方。鉴藏印钤：耿昭忠“丹诚”、“千山耿信公书画之章”、“信公珍赏”、“信公鉴定珍藏”、“琴书堂”、“都尉耿信公书画之章”；耿嘉祚“耿会侯鉴定书画之章”、“耿嘉祚印”、“耿湛恩章”、“湛恩记”、“漱六主人印”；索额图“也园索氏收藏书画”、“长白索氏珍藏图书印”、“九如清玩”、“乐庵”、“乐圣且衔杯”、“御赐忠孝堂长白山索氏珍藏”等诸家印记多方，另有清内府鉴藏诸印。\n清内府《石渠宝笈·初编》卷十五著录。",[23,24,25,7,114,27,29,61,613,34,117,64,119,193,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[124,45],217,{"id":2423,"slug":2424,"title":2425,"dynasty":18,"author":2426,"museum":20,"description":2427,"tags":2428,"thumbUrl":2429,"material":40,"size":2430,"collection":42,"collections":2431,"showCount":2421,"zanCount":1037,"manualWeight":48,"mainColor":49},221445,"han-que-tu-juan-cui-bai-221445","寒雀图卷","崔白","本幅署款“崔白”二字，有清高宗弘历题诗一首。卷后明文彭题跋。\n图绘枯木及9只麻雀飞动或栖止其间的情景。9只小雀依飞鸣动静之态散落树间，自然形成三组。构图巧妙，布局得当，在动与静之间既有分割又有联系。\n作者以干湿兼用的墨色、松动灵活的笔法绘麻雀及树干。麻雀用笔干细，敷色清淡。树木枝干多用干墨皴擦晕染而成，无刻划痕迹，明显区别于黄筌画派花鸟画的创作技法。尽管此图在形势、风格上还较为工致优雅，但在北宋花鸟画中占主导地位的平和、富丽的特色，在崔白的作品中已不见，反映了北宋宫廷花鸟画在审美感受上进入了新的阶段。崔白新创的花鸟画改变了流传百年的黄筌画派的一统格局，推动了宋代花鸟画的发展。",[23,154,24,25,7,209,28,196,1123,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c651618a9378a8dc159bf2a2ceb5781.jpg","纵25.5厘米，横101.4厘米",[42,261,45],{"id":2433,"slug":2434,"title":2435,"dynasty":54,"author":1982,"museum":227,"description":2436,"tags":2437,"thumbUrl":2439,"material":1050,"size":1051,"collection":217,"collections":2440,"showCount":2441,"zanCount":724,"manualWeight":48,"mainColor":49},287613,"si-shi-hua-niao-tu-zhou-zhi-mian-287613","四时花鸟图","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,24,7,27,28,209,274,275,278,279,194,196,1528,281,2438],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg",[],216,{"id":2443,"slug":2444,"title":621,"dynasty":18,"author":309,"museum":227,"description":310,"tags":2445,"thumbUrl":2451,"material":1050,"size":1051,"collection":217,"collections":2452,"showCount":2453,"zanCount":914,"manualWeight":48,"mainColor":49},288520,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-288520",[23,24,154,25,7,1044,28,27,2446,61,922,2447,2448,2449,2450,119,193],"夜宴","乐舞","听乐","观舞","休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde43b93040d57e342c67c97ee8336009.jpg",[],214,{"id":2455,"slug":2456,"title":2457,"dynasty":168,"author":1182,"museum":651,"description":2458,"tags":2459,"thumbUrl":2461,"material":140,"size":2462,"collection":217,"collections":2463,"showCount":2453,"zanCount":48,"manualWeight":48,"mainColor":49},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,24,25,7,27,26,59,28,29,62,63,61,117,34,69,2460],"云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fac5623a6e549db33830a4f701ceb37.jpg","纵194.5cm，横60.5cm",[],{"id":2465,"slug":2466,"title":2467,"dynasty":18,"author":861,"museum":227,"description":2468,"tags":2469,"thumbUrl":2470,"material":217,"size":217,"collection":217,"collections":2471,"showCount":2472,"zanCount":1106,"manualWeight":48,"mainColor":128},227505,"li-bai-xian-shi-juan-la-jian-su-shi-227505","李白仙诗卷蜡笺","《李白仙诗卷》蜡笺本。行书。纵：34.5厘米，横：106厘米 。日本大阪市立美术馆藏。\n\n此作书于元祐八年（1093）七月十日，苏轼五十八岁，是其重要的代表作之一。苏轼的很多作品因注重创造意识，透过它们强烈的艺术感染力，可以多少领会到作者的苦心孤诣，换句话说，是露出了刀劈斧凿之痕的。那线条的优雅，行气的从容，章法的疏密有致，给人一种精美绝伦之感。这当然是一种美，但这种美中的形式因素相对要多一些。试观此《李白仙诗卷》，却大有“粗服乱头”之感。",[23,25,119,120,7,627,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6d975139a01fe3b63e08f3f1c34ac2.jpg",[],213,{"id":2474,"slug":2475,"title":2476,"dynasty":54,"author":110,"museum":227,"description":2477,"tags":2478,"thumbUrl":2480,"material":1050,"size":1051,"collection":217,"collections":2481,"showCount":2482,"zanCount":1106,"manualWeight":48,"mainColor":49},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,154,24,7,25,763,114,27,118,405,605,694,2143,63,64,2479,71,120,119,193],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],211,{"id":2484,"slug":2485,"title":2486,"dynasty":250,"author":994,"museum":111,"description":2487,"tags":2488,"thumbUrl":2490,"material":285,"size":2491,"collection":261,"collections":2492,"showCount":2482,"zanCount":48,"manualWeight":48,"mainColor":128},218898,"yu-ya-tu-juan-zhu-da-218898","鱼鸭图卷","朱耷，号八大山人。八大山人被人们所称道不仅是因为他是一个独具个性的画家，还因为坚守民族气节的品质。明末崇祯皇帝自缢时，八大山人已九岁，作为一个宗室后裔遭到国破家亡的命运，其悲痛可以想象的。他佯狂避世，杜绝交往，甘于贫困，沉溺于书画的创作中。他的作品独具一种“笔意纵恣”的画风。这件《鱼鸭图》是他晚年艺术创作成熟阶段的代表作品 。画面上只有几只鸭子、几尾游鱼和几块半露水面的石块，造型十分简练，笔墨浓淡的处理却十分考究，生动地刻画出岩石的坚实感、鸭毛的松蓬以及鱼身上鳞、鳍的变化。八大将鱼眼画成“白眼”，喻含了他对清王朝的不满和蔑视。",[23,24,25,7,114,1820,2489,404,193],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35823c256193bde43d49e8eda3ea517d.jpg","纵23.2厘米 横569.5厘米",[261],{"id":2494,"slug":2495,"title":2496,"dynasty":168,"author":2497,"museum":151,"description":2498,"tags":2499,"thumbUrl":2500,"material":78,"size":2501,"collection":124,"collections":2502,"showCount":2503,"zanCount":1106,"manualWeight":48,"mainColor":49},214748,"qu-jiang-tu-li-zhao-dao-214748","曲江图","李昭道","李昭道（675年－758年），字希俊，陇西成纪 （今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[154,24,25,7,26,27,28,59,29,62,61,64,66,34,610,36,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3",[124],208,{"id":2505,"slug":2506,"title":2507,"dynasty":133,"author":534,"museum":151,"description":2508,"tags":2509,"thumbUrl":2510,"material":442,"size":2511,"collection":543,"collections":2512,"showCount":2513,"zanCount":914,"manualWeight":48,"mainColor":128},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[23,154,24,25,7,120,174,114,27,61,29,115,64,921,404,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[543],207,{"id":2515,"slug":2516,"title":2517,"dynasty":133,"author":534,"museum":20,"description":2518,"tags":2519,"thumbUrl":2521,"material":40,"size":2522,"collection":261,"collections":2523,"showCount":2524,"zanCount":914,"manualWeight":48,"mainColor":49},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,24,25,7,27,28,120,119,90,61,254,2520,639,64,193],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[261,45],206,{"id":2526,"slug":2527,"title":2528,"dynasty":54,"author":110,"museum":227,"description":2477,"tags":2529,"thumbUrl":2531,"material":1050,"size":1051,"collection":217,"collections":2532,"showCount":2533,"zanCount":791,"manualWeight":48,"mainColor":185},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[23,154,24,25,7,114,27,29,613,275,34,117,63,116,120,193,2530],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":2535,"slug":2536,"title":2537,"dynasty":54,"author":55,"museum":20,"description":2538,"tags":2539,"thumbUrl":2541,"material":78,"size":2542,"collection":124,"collections":2543,"showCount":2533,"zanCount":1037,"manualWeight":48,"mainColor":128},216385,"zhi-gong-tu-juan-chou-ying-216385","职贡图卷","字实父，号十洲，江苏太仓人，寓居苏州。初为漆工，后改学绘画。移居苏州后得识文徵明，并拜周臣为师，主宗南宋“院体”，形成以严谨劲利为主调的艺术风格。中年时画名渐起，经常接受富商和收藏家邀请，至其家中作画。嘉靖十六年（1537年）应昆山鉴藏家周凤来延聘居其家六年。尔后又至嘉兴大收藏家项元汴家作画，长达十余年，其间广泛接触、观摩和临摹古代名迹，技艺大进，尤其在继承唐宋传统的工笔重彩人物和青绿山水方面取得了突出成就。晚年与文徵明父子及其门生交往密切，又吸取了“吴派”文人画之长，使作品增添了清雅的气息，其声誉与沈、文、唐相并埓，有“吴门四家”之称。",[23,24,7,25,28,26,27,61,29,34,68,2540,119,120],"职贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147faf5fa860f47d5379f373a9bfd3bd.jpg","29.5*580.3",[124,44],{"id":2545,"slug":2546,"title":2547,"dynasty":18,"author":861,"museum":227,"description":2548,"tags":2549,"thumbUrl":2550,"material":217,"size":217,"collection":217,"collections":2551,"showCount":2552,"zanCount":1106,"manualWeight":48,"mainColor":49},227548,"su-mi-he-bi-juan-su-shi-227548","苏米合壁卷","宋四家是中国北宋时期四位书法家苏轼、黄庭坚、米芾和蔡襄的合称。这四个人大致可以代表宋代的书法风格，而且成就最高，故称“宋四家”。\n\n明清以来，有一些人认为宋四家中的“蔡”原本应该是蔡京，后人不齿其为人，所以把蔡京换为蔡襄，并认为蔡襄的艺术成就在蔡京之上。",[23,154,24,25,7,120,114,275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29cc290566e8c44a8299b10e7320bf6.jpg",[],204,{"id":2554,"slug":2555,"title":17,"dynasty":18,"author":2556,"museum":151,"description":2557,"tags":2558,"thumbUrl":2565,"material":140,"size":2566,"collection":42,"collections":2567,"showCount":25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。明末清初画家，中国画一代宗师。",[23,24,25,7,119,120,114,61,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f9f166a40fcf4ec139f19c82aed61.jpg",[],203,{"id":2597,"slug":2598,"title":2599,"dynasty":18,"author":415,"museum":1270,"description":2600,"tags":2601,"thumbUrl":2602,"material":285,"size":2603,"collection":44,"collections":2604,"showCount":2605,"zanCount":914,"manualWeight":48,"mainColor":128},218627,"hua-yan-jing-bian-tu-li-gong-lin-218627","华严经变图","华严的意思是：华 是比喻达到一切功德圆满的果位，所以，佛陀时代的深层意义的果位被 严 所装饰，那么就叫佛陀华严。经 是可以解释的教学。华严经》是佛陀成佛后第二天在菩提树下由文殊菩萨、普贤菩萨和其他高级菩萨宣讲的佛陀内在真理的教义。按照《华严经》画的七八或七九会，被称为华严变奏曲，是这幅画的主题。",[23,154,24,25,7,173,174,61,511,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0192474c5d3ca959fdaab930f638a005.jpg","34.6x1244",[44],201,{"id":2607,"slug":2608,"title":2609,"dynasty":168,"author":169,"museum":170,"description":171,"tags":2610,"thumbUrl":2611,"material":180,"size":181,"collection":217,"collections":2612,"showCount":2613,"zanCount":791,"manualWeight":48,"mainColor":128},223368,"ba-shi-qi-shen-xian-juan-hua-xin-wu-dao-zi-223368","八十七神仙卷画芯",[23,24,154,25,7,174,173,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36123b58a75f5a7d01e9b779c4e2af7b.jpg",[],200,{"id":2615,"slug":2616,"title":2617,"dynasty":2618,"author":430,"museum":227,"description":2619,"tags":2620,"thumbUrl":2624,"material":122,"size":217,"collection":44,"collections":2625,"showCount":2613,"zanCount":978,"manualWeight":48,"mainColor":128},215033,"ri-ben-jie-tou-sheng-huo-tu-juan-yi-ming-215033","日本· 街头生活图卷","不详","长卷铺展，市井烟火缓缓流淌。画面中，人物百态跃然绢上：挑担商贩步履匆匆，执伞行人衣袂轻扬，孩童追蝶跑过街巷，工匠俯身专注劳作。半掩的店门后，掌柜笑脸依稀；巷口茶摊边，老者围坐闲谈。伞的弧线、担的轮廓、车的轱辘，交织成动态的生活图景。每一处细节都藏着鲜活故事，仿佛能听见吆喝声、欢笑声、器物碰撞声，在时光里轻轻回响。这是对日常的温柔描摹，将平凡岁月里的热闹与鲜活，永远定格在素净的绢帛之上，让观者瞬间跌入那充满烟火气的旧时光。",[23,2621,154,7,27,28,174,61,946,1699,97,71,2213,75,92,2622,2623],"日本画","摊位","日常","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e3a1210052e7e7d88509d4781dd6f9.jpg",[44],{"id":2627,"slug":2628,"title":2629,"dynasty":250,"author":819,"museum":227,"description":2630,"tags":2631,"thumbUrl":2632,"material":217,"size":217,"collection":217,"collections":2633,"showCount":2634,"zanCount":914,"manualWeight":48,"mainColor":128},234169,"yuan-ji-song-zhu-shi-tu-juan-shi-tao-234169","原济松竹石图卷","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,24,114,7,118,276,275,255,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a026c786782c5ee0e249a5786dafbd.jpg",[],199,{"id":2636,"slug":2637,"title":2638,"dynasty":250,"author":994,"museum":568,"description":2639,"tags":2640,"thumbUrl":2641,"material":217,"size":217,"collection":217,"collections":2642,"showCount":2643,"zanCount":48,"manualWeight":48,"mainColor":128},230286,"yu-shi-tu-juan-zhu-da-230286","鱼石图卷","此作用极简水墨写就，大片留白晕出空寂玄远的意境。怪石以枯淡焦墨挥扫，嶙峋奇崛，笔势纵逸老辣，似藏丘壑风骨。游鱼寥寥数笔便形神具足，悠游于虚空之间，不见水波而满幅皆含水意，将闲逸之趣藏于无中生有的灵趣之中。\n\n题跋与画面相映成趣，书法朴拙疏朗，和水墨笔意浑然相融。整卷以虚代实，以少胜多，脱尽尘俗烟火气，将冷逸禅意藏于笔墨留白之间，寥寥数笔便勾勒出物我两忘的天地，尽显极简至极的东方写意美学。",[23,24,114,7,272,404,1820,275,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780cb8efb806c53984af9356a5a498f8.jpg",[],198,{"id":2645,"slug":2646,"title":2647,"dynasty":133,"author":534,"museum":20,"description":2648,"tags":2649,"thumbUrl":2650,"material":140,"size":2651,"collection":44,"collections":2652,"showCount":2643,"zanCount":978,"manualWeight":48,"mainColor":2653},220856,"yu-ma-tu-juan-zhao-meng-fu-220856","浴马图卷","画上有一湾溪水，清澈透亮，溪水边有梧桐和垂柳，绿色成荫相映成趣，溪水中和岸边还有十四匹骏马，九名马倌。绘画中马的姿态各不相同，每一匹马的神态都非常生动，有的在水中站立，有的在喝水，有的在吃草，有的还在昂首嘶叫，有的卧在地上还在左顾右盼。马倌们牵着马在溪水边，有的人在给马洗澡，有的人在河岸边休息。在画面中，一位马倌洗完马后骑在马背上，等着马喝完水便准备上岸；一人一马，马在回眸主人而人则右手舀水，左手为马擦拭，眼神与马相对，表现爱惜之情，此时的人和马似乎心神交会了；马倌赤着上身坐在水边的岩石上，一只脚穿靴，而另一只脚却光着，悠闲地翘着二郎腿，面带微笑，马匹昂首目视前方，神气十足。\n唐宋绘画严谨的法度意趣建立在文学化境界上，元代以后绘画体现为书法化写意性和对于宣纸、水性的把握上，《浴马图》就体现了这种画风明显的演变过渡痕迹。\n《浴马图》是元武宗的命题之作，赵孟頫不敢大意，除了连日到宫中的养马之处现场观察外，他还细心揣摩元武宗的意图。元武宗是在一场血腥的宫延政变中上台执政的，当上皇帝后他大兴土木、对外用兵，和察合台汗国联手干掉了窝阔台汗国，结果引发了财政危机；他又滥发银钞，引发了严重的通货膨胀，但他却命令赵孟頫要在这幅关于马的画作里，表现出和平盛世的气氛。赵孟頫冥思苦想之后，终于创作出了《浴马图》。此画是赵孟俯中年时的作品。\n水中正在洗马的几个马倌，多是半裸，这在古代绘画中比较少见。人物的衣纹飘逸流动，面孔正侧向背各有特征，人和马之间，充满了一种友爱的感情。\n背景的笔法古朴遒劲，树干坡石，被法洗练而结实，无论是清澈透明的溪水，还是婆要多姿的水草，双钩填绿的梧桐、柳树及其他夹叶树，画法皆有特色。\n此画的特点之一，在画中有阳光感，与清澈的河水和岸边梧桐垂柳荫形成鲜明的冷热对照。这种表现手法在赵氏的其他作品中很少见。在技法方面，此画用工笔重彩，刻意学唐人，画法精工细致，这种工细紧密的线描似唐人手笔。人物造型趋肥胖，个个面如傅粉，华滋润泽，马体肥硕，追踪唐马造型。同时此画作者将书法用笔落于绘画之中，如人马线描工细劲健，犹如篆籀，古朴严谨中而蕴隽秀。\n《浴马图》场面宏大，共画马倌九人，骏马十四匹。马的造型准确，各种姿态跃然纸上，形态肤色各不相同；人物形象俊美，年龄、相貌、动作皆富于个性。\n骏马体格雄健，神态各异，或低头饮水，或引颈嘶鸣，或昂首顾盼，或卧在岸边，或在低首吃草等，意态生动。马倌有老少之别，穿着各种不同颜色服装，或立在水中为马洗刷，或牵马临溪，或跨马下水，或驱马上岸，或骑马上张望，或在岸边小憩等动态多样。河边绿茵如席，梧桐垂柳，婀娜多姿，环境清爽怡人。图中所有的形象有动有静，疏密有致，既不相扰，又互为照应，其人和马的动作互相呼应，生动有致，既突出了主题，又给观者以回味的余地。\n此图为工笔着色画。故马有黑、白、红、黄、灰、花斑诸色。画树、坡岸行笔凝重，勾、皴、染并用，苍逸中含清润，其背景用青绿敷染。人物鞍马分别施不同色彩，设色浓润，风格清新秀丽。",[23,24,25,7,27,28,90,61,254,64,91,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc608c918408f5c92a9bf9ef5f91842ca.jpg","纵28.5cm,横154cm",[44,45],"37474F",{"id":2655,"slug":2656,"title":2657,"dynasty":18,"author":861,"museum":2658,"description":2659,"tags":2660,"thumbUrl":2663,"material":442,"size":2664,"collection":543,"collections":2665,"showCount":2666,"zanCount":48,"manualWeight":48,"mainColor":128},221313,"dong-ting-zhong-shan-er-fu-quan-juan-su-shi-221313","洞庭中山二赋全卷","吉林省博物院","苏轼的字看似平实、朴素，但有一股汪洋浩荡的气息，就像他渊厚的学问一样，神龙变化不可测。 他长于行书、楷书， 笔法肉丰骨劲， 跌宕自然， 给人以“大海风涛之气”“古槎怪石之形”的艺术美感。 苏轼的书法，后人赞誉颇高。黄庭坚在他《山谷集》里说：“其书姿媚……至酒酣放浪，意忘工拙，字特瘦劲……至于笔圆而韵胜，挟以文章妙天下，忠义贯日月之气，本朝善书，自当推（苏）为第一”。明董其昌盛赞他“全用正锋，是坡公之兰亭也”。传世书迹有《前赤壁赋》《黄州寒食诗帖》《洞庭春色赋》《中山松醪赋》等。",[23,120,119,7,193,2661,276,2662,29],"洞庭","酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff26499125ec3104dc526016eca85f356.jpg","28.3x450.3cm",[543],196,{"id":2668,"slug":2669,"title":2670,"dynasty":18,"author":507,"museum":56,"description":2671,"tags":2672,"thumbUrl":2673,"material":285,"size":2674,"collection":261,"collections":2675,"showCount":2666,"zanCount":978,"manualWeight":48,"mainColor":49},218750,"yun-xing-yu-shi-tu-chen-rong-218750","云行雨施图","这幅无名画据说是宋代著名龙画家陈容的作品，与波士顿博物馆的标准九龙图相比，它最接近波士顿博物馆的收藏。两条龙盘踞在岩石间的缝隙中，墨色苍白而古老，笔触滴水不漏。这幅画可以说是陈所翁画派的一个精品。",[23,24,25,7,114,118,511,254,117,1071,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa093ef59801c36ccbbb03de72275687d.jpg","40x180cm",[261],{"id":2677,"slug":2678,"title":2679,"dynasty":54,"author":2680,"museum":151,"description":2681,"tags":2682,"thumbUrl":2683,"material":285,"size":2684,"collection":543,"collections":2685,"showCount":2686,"zanCount":1106,"manualWeight":48,"mainColor":128},214552,"za-shu-shi-tie-juan-zhu-yun-ming-214552","杂书诗帖卷","祝允明","此卷书曹植《乐府》诗四首，写草书而不乱，情密势足，激越跃发，荦荦大度，点画狼藉，纵横驰骋，是他晚年狂草作品的高峰。",[23,119,1892,7,25,1229,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9356818737424fb65f189c2dbbb9d6.jpg","36.1x1147.5",[543],194,{"id":2688,"slug":2689,"title":2690,"dynasty":54,"author":55,"museum":1683,"description":2691,"tags":2692,"thumbUrl":2693,"material":140,"size":2694,"collection":124,"collections":2695,"showCount":2696,"zanCount":914,"manualWeight":48,"mainColor":128},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,25,7,26,27,28,120,119,29,115,61,116,64,63,62,34,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[124,45],193,{"id":2698,"slug":2699,"title":2700,"dynasty":133,"author":2701,"museum":151,"description":2702,"tags":2703,"thumbUrl":2704,"material":470,"size":2705,"collection":124,"collections":2706,"showCount":2696,"zanCount":1037,"manualWeight":48,"mainColor":49},221737,"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[23,24,25,7,114,118,29,116,63,64,34,61,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[124,103],{"id":2708,"slug":2709,"title":2710,"dynasty":54,"author":2711,"museum":56,"description":2712,"tags":2713,"thumbUrl":2715,"material":78,"size":217,"collection":44,"collections":2716,"showCount":2696,"zanCount":1106,"manualWeight":48,"mainColor":128},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,24,25,7,114,27,28,118,29,61,116,63,64,34,255,119,2714],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[44],{"id":2718,"slug":2719,"title":2720,"dynasty":18,"author":430,"museum":20,"description":2721,"tags":2722,"thumbUrl":2723,"material":2724,"size":2725,"collection":42,"collections":2726,"showCount":2727,"zanCount":1106,"manualWeight":48,"mainColor":49},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,7,28,27,174,61,155,29,854,511,196,34,117,62,90,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[42,44,45],192,{"id":2729,"slug":2730,"title":2731,"dynasty":18,"author":294,"museum":1683,"description":2732,"tags":2733,"thumbUrl":2734,"material":78,"size":217,"collection":42,"collections":2735,"showCount":2727,"zanCount":914,"manualWeight":48,"mainColor":128},219112,"si-qin-tu-zhao-ji-219112","四禽图","枝桠横斜间，禽鸟各呈姿态：或敛翅静栖于梅梢，羽翎纹理纤毫毕现；或侧首凝睇，眼神藏着未语的灵秀；或振翅欲飞，翅尖似带起微风轻响。淡墨勾枝，浅彩点花，笔意清逸如春风拂过，花枝摇曳间，暗香仿佛浮动。\n\n行间题字与朱印错落，墨迹温润与朱砂明艳交织，似时光屐痕，与花鸟相映成趣，更添古雅之韵。每一笔透着对自然的敬畏，每处细节藏着文人闲情——不刻意雕琢，却于平淡中见真味，将生机与静谧凝于尺幅。\n\n整卷如流动的诗画，春日灵趣与岁月沉淀融于一体，读来心远尘嚣，仿佛置身鸟语花香的清境，忘却俗事纷扰。",[24,7,28,174,209,524,274,275,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c879664cc93247940a1bf71e75def95.jpg",[42,261],{"id":2737,"slug":2738,"title":2739,"dynasty":133,"author":2740,"museum":651,"description":2741,"tags":2742,"thumbUrl":2743,"material":122,"size":2744,"collection":261,"collections":2745,"showCount":2727,"zanCount":914,"manualWeight":48,"mainColor":49},216665,"ba-jun-tu-zhao-yong-216665","八骏图","赵雍","该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代"青绿山水"，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中"夹叶填彩"的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做"披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,25,7,28,27,90,254,404,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a3902ef0909cc4272f189e62ad7bd.jpg","36x270cm",[261],{"id":2747,"slug":2748,"title":2749,"dynasty":18,"author":832,"museum":56,"description":2750,"tags":2751,"thumbUrl":2752,"material":384,"size":2753,"collection":42,"collections":2754,"showCount":2755,"zanCount":791,"manualWeight":48,"mainColor":49},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[23,24,154,25,7,28,118,114,29,1185,1123,117,35,31,115,764,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[42,124,45],191,{"id":2757,"slug":2758,"title":2759,"dynasty":18,"author":716,"museum":56,"description":2760,"tags":2761,"thumbUrl":2762,"material":2763,"size":2764,"collection":42,"collections":2765,"showCount":2766,"zanCount":914,"manualWeight":48,"mainColor":49},221576,"jin-wen-gong-fu-guo-tu-li-tang-221576","晋文公复国图","此图绘于北宋末年，描述了晋文公（重耳）被他父亲放逐在外19年后即位复国的故事。全图共分六段，采用连环绘图的形式进行描绘，晋文公的形象多次出现，可每段都有树石、车马、房屋作配景。所绘人物形象各具神态，文公的雍容庄重，侍臣的恭敬、武士的威严、仕女的秀雅以及仆役的畏怯等，都刻画得细致入微、准确生动、栩栩如生。整个横幅图式处理得疏密有致，线条的粗细、曲直、虚实、轻重，富于变化，恰到好处。图中人物的服饰尽可能还原春秋时的模样。北宋末年，康王赵构的经历和艰难与重耳类似，所以图中以宋高宗赵构手书的《左传》作暗景，目的是激发南宋君臣，不怕困难，不畏艰险，忍辱负重，为复国雪耻而努力。这种隐喻可谓饱含深情、用心良苦，可惜的是赵构不是重耳，他不听劝阻，也没有复国的决心与愿望，甚至为了贪图个人享乐和一己之私，甘愿偏安一隅，不惜谋害忠良，重用奸佞之臣等。",[23,24,25,7,27,28,193,61,90,230,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47339394ffdf5384ea908fa5ebe6c90.jpg","绢本 设色 手卷","纵29.4厘米 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内容大致为蛮王礼佛国、四金刚护法、八大龙王、十六观世音菩萨、五佛会图。 七佛图、维摩经变、四大菩萨、六佛母、十六罗汉、禅宗六祖、人大高僧、十二天神、宝塔经幢、十六国主众等组成。 《梵像卷》反映了佛教在南诏、大理国时期十分兴盛的历史， 是研究当时大理国崇奉密宗的历史和文化艺术的珍贵资料。",[23,24,25,7,173,28,27,61,2802,2803,2804,2805,193],"佛像","菩萨","飞天","经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b98f57c5c0b171cfb25668ee54783e.jpg","全长1635.5厘米，宽30.4厘米",[44,45],{"id":2810,"slug":2811,"title":2812,"dynasty":225,"author":1472,"museum":380,"description":2813,"tags":2814,"thumbUrl":2815,"material":217,"size":217,"collection":543,"collections":2816,"showCount":2794,"zanCount":48,"manualWeight":48,"mainColor":49},221029,"wan-sui-tong-tian-tie-wang-xi-zhi-221029","《万岁通天帖》","《萬歲通天帖》又稱唐摹《王羲之一門書翰》、《王氏寶章集》。硬黃紙本，行草書，是東晉王羲之等七人十帖的唐摹書法精品，現藏於遼寧省博物館。\n宋代《秘閣續帖》、明代華夏《真賞齋帖》、文徵明《停雲館帖》、王肯堂《鬱岡齋帖》、清代《三希堂法帖》曾刻錄。 其中以真賞齋為精刻而有名。",[23,119,7,120,1892,60,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266db6eca32a01e618503ecb5383e358.jpg",[543,1013],{"id":2818,"slug":2819,"title":885,"dynasty":18,"author":2035,"museum":111,"description":2820,"tags":2821,"thumbUrl":2822,"material":285,"size":217,"collection":124,"collections":2823,"showCount":2824,"zanCount":914,"manualWeight":48,"mainColor":128},218592,"xiao-xiang-tu-mi-you-ren-218592","图绘三湘、九嶷之际，山峦逶迤、江水迷茫、杂木疏落、白云浮动之雨后景色，于一派空濛中，流露出清润的气氛。全图大都用淡墨晕染和点染，于树干、山凹、屋脊等处以重墨勾染，显出空间层次。云气或线勾或墨晕，工整而不呆板。此图与他另一幅《潇湘奇观图》画法一致，同为水墨云山的典型之作。",[24,25,7,114,118,29,37,34,193,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab948642dad21d5beec814b81b41d5c.jpg",[124],188,{"id":2826,"slug":2827,"title":2828,"dynasty":133,"author":534,"museum":20,"description":2829,"tags":2830,"thumbUrl":2831,"material":285,"size":2832,"collection":124,"collections":2833,"showCount":2824,"zanCount":914,"manualWeight":48,"mainColor":49},214659,"shui-cun-tu-zhao-meng-fu-214659","水村图","这幅卷轴是大德六年（1302年）画的，当时赵孟頫49岁，这是他最后一件有可靠年代的作品。赵孟頫用水墨写江南水乡的平坦开阔，从笔墨到构图都受到董源的影响，但董源的画风已经完全融入了赵孟頫的个人风格，表现得毫不突兀。山是用披麻皴画的，风景以平远的形式展开。渴笔较多，笔触松散、细微，写 的感觉强烈，体现了书法的审美情趣。艺术家通过风景来表达他的感情，表达了一种平静的心境和对 平凡的纯真 的追求。这幅画的意义在于它对元代绘画独特风格的形成产生了较大的影响，表明赵孟頫在确立元、明、清三代文人画的潮流中发挥了重要作用。",[23,24,7,114,29,118,119,63,64,115,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe155c8611d2660be5cb2e30167916f.jpg","24.9x120.5",[124],{"id":2835,"slug":2836,"title":2837,"dynasty":168,"author":2838,"museum":56,"description":2839,"tags":2840,"thumbUrl":2841,"material":2842,"size":2843,"collection":543,"collections":2844,"showCount":2845,"zanCount":1106,"manualWeight":48,"mainColor":49},221069,"ling-fei-jing-chang-juan-zhong-shao-jing-221069","灵飞经长卷","钟绍京","《灵飞经》又名《六甲灵飞经》，是灵道教的一部经。主要阐述存思之法。今道藏有《上清琼宫灵飞六甲左右上符》，一卷。《汉武内传》谓此经用于请命延算、长生久视、驱策众灵、役使鬼神。\n《灵飞经》书法作品是唐代著名小楷之一，无名款。元袁桷、明董其昌皆以为唐钟绍京书。明董其昌说：“赵文敏一生学钟绍京终十得三、四耳”。近代大书家启功先生的书法也受益于《灵飞经》。可见《灵飞经》有着超凡脱俗的艺术感染力。\n清包世臣在《艺舟双楫·右下笔潭》中称其：“如新莺歌白啭之声”，杨守敬评：“灵飞经一册，最为精劲，为世所重”。《灵飞经》的章法为纵有行，横无列。",[23,119,537,540,1229,7,25,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ea8afb39f27c1c093c1675d3b1faa1.jpg","墨迹本","20.8×8.9cm",[543,1013],186,{"id":2847,"slug":2848,"title":2849,"dynasty":149,"author":1844,"museum":227,"description":2850,"tags":2851,"thumbUrl":2853,"material":217,"size":217,"collection":217,"collections":2854,"showCount":2855,"zanCount":791,"manualWeight":48,"mainColor":128},226711,"zhong-ping-hui-qi-tu-juan-zhou-wen-ju-226711","重屏会棋图卷","《重屏会棋图》卷，五代，周文矩绘，绢本，设色，纵40.3厘米，横70.5厘米。\n本幅无作者款印。经徐邦达先生鉴定，此系宋人摹本。尾纸除有明代沈度、文徵明的伪款题跋外，还有近人于怀的墨题真迹。钤元柯九思“緼真斋”，清安仪周“棠邨审定”、“安仪周家珍藏”及清内府“乾隆御览之宝”等鉴藏印共16方。其中的“緼真斋”、宋徽宗的“双龙小玺”、“宣和”、“政和”等宋元诸印均伪。\n图绘摆设精美的室内，四位身份高贵的男子于棋桌前的情景。他们神态各异，举止不同，有的催促落子，有的举棋不定，有的观棋不语，真实地反映出观棋者与弈棋者不同的神态。画中没有标注这些人物的姓名。目前，经过几代学者的深入研究，才逐渐确认出本幅作品的画面主人公及其内容。图中描绘的是五代南唐中主李璟的宫廷行乐生活。有关此图情节的记载最早见于北宋《王文公集》卷五十中王安石的《江邻几邀观三馆书画》诗，诗中指认出图中头戴高帽者为李璟；南宋初年的王明清在《挥尘三录》中记载了他以家藏的李璟肖像画与此图进行考辨的过程；元代袁桷《清容居士集》和陆友仁《研北杂志》则考证出会棋者是李璟兄弟四人，屏风所画为白居易《偶眠》诗意。最终指明图中人物具体方位的是清吴荣光《辛丑销夏记》所录庄虎孙的跋语：“图中一人南面挟册正坐者，即南唐李中主像；一人并榻坐稍偏左向者，太北晋王景遂；二人别榻隅坐对弈者，齐王景达、江王景逿。”\n作为写实性的绘画作品，作者在逼真地刻画出人物肖像特征的同时，也真实地描绘出室内的生活用具，如投壶、屏风、围棋、箱箧、榻几、茶具等，为后人研究五代时期各种生活器用的形制以及中国早期皇室的行乐雅集活动提供了重要的形象资料。作者以“颤笔描”绘制图中人物的衣纹，表现出布纹的质感，并准确地勾勒出不同动态下人物的形体变化，展示了周文矩以线塑型的深厚功底。此图的设色虽多用矿物颜料，但未层层积染或浓涂重抹，而只是在勾线后清淡地施以颜色。在几案边的花纹上勾染了略显深重的石青、石绿；而李璟的衣袍虽也用朱砂晕染，却甚为简淡，只是侍童的衣带用较重的朱砂，以与浅淡的衣袍形成对比。其余三人的衣着竟一色不染。\n由于此图背景的屏风中还画有屏风，因此人们称此图为“重屏”图。它受到了历代画家广泛的传移摹写，并被宋内府《宣和画谱》、明张丑《清河书画舫》、清卞永誉《式古堂书画汇考》等数十种书著录。故宫所藏的这幅画即使不是周文矩原作，也应是接近于原作的宋人摹本精品。\n此图自清宣统朝流出宫廷后散落民间。1949年后，国家文物局从吉林省长春文物商于莲客手中购得此图，随后将它与元代高克恭《秋山暮霭图》、任仁发《二马图》卷一并入藏故宫博物院。\n清安仪周《墨缘汇观》、胡敬《西清札记》、内府《石渠宝笈三编》等著录。\n周文矩，生卒年不详，活动于10世纪，句容（今属江苏）人，南唐画院翰林待诏。中主李璟时，他便以擅绘人物、车马、界画楼台以及宫廷贵族生活题材画而知名。后主李煜执政期间，他常受诏作画，曾像顾闳中一样被派去窥绘韩熙载的夜宴生活，只是他所画的韩氏夜宴图未能传世。他的画风受后主李煜的颤笔法影响很大，喜以瘦挺颤掣的笔法入画，以别具特色的画风称誉画坛。",[23,24,25,7,28,27,174,119,193,61,1798,298,2852],"室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9f5fda46eb059b27ecc01f52d1e757.jpg",[],185,{"id":2857,"slug":2858,"title":2859,"dynasty":149,"author":886,"museum":227,"description":2860,"tags":2861,"thumbUrl":2862,"material":1050,"size":1051,"collection":217,"collections":2863,"showCount":2864,"zanCount":914,"manualWeight":48,"mainColor":2653},289944,"xia-shan-tu-dong-yuan-289944","夏山图","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。",[23,154,24,7,114,29,34,31,115,116,91,118,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ceabacb99b9da3101f03c4570459283.jpg",[],184,{"id":2866,"slug":2867,"title":2868,"dynasty":54,"author":495,"museum":227,"description":2869,"tags":2870,"thumbUrl":2871,"material":217,"size":217,"collection":217,"collections":2872,"showCount":2864,"zanCount":699,"manualWeight":48,"mainColor":49},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[23,24,25,7,27,29,120,118,28,116,63,64,34,61,193,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],{"id":2874,"slug":2875,"title":2876,"dynasty":168,"author":1305,"museum":20,"description":2877,"tags":2878,"thumbUrl":2879,"material":442,"size":2880,"collection":543,"collections":2881,"showCount":2864,"zanCount":1106,"manualWeight":48,"mainColor":49},221054,"zheng-zuo-wei-tie-quan-juan-yan-zhen-qing-221054","争座位帖全卷","《争座位帖》亦称《论座帖》、《与郭仆射书》，为颜真卿行草书精品，唐广德二年（公元764）颜真卿写给定襄王郭英义的书信手稿。行草书，传有七纸，约64行古时。\n《争座位帖》与颜的《祭侄文稿》、《祭伯文稿》被合称为“颜书三稿”。与王羲之的《兰亭序》并称为“行书双璧”。此稿信笔疾书，苍劲古雅，为世所珍。",[23,119,120,7,25,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fead3ade21468b04a4fd65a4d6fb8c1.jpg","370x30厘米",[543,1013],{"id":2883,"slug":2884,"title":293,"dynasty":18,"author":294,"museum":227,"description":1621,"tags":2885,"thumbUrl":2888,"material":1050,"size":1051,"collection":217,"collections":2889,"showCount":2890,"zanCount":914,"manualWeight":48,"mainColor":49},288538,"mo-zhang-xuan-dao-lian-tu-zhao-ji-288538",[24,7,28,27,1044,155,677,297,2886,2887,60,193],"捣练","劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcfdff97a90609c29cad09ccf054425.jpg",[],183,{"id":2892,"slug":2893,"title":2894,"dynasty":168,"author":1182,"museum":2353,"description":2895,"tags":2896,"thumbUrl":2898,"material":442,"size":2899,"collection":217,"collections":2900,"showCount":2890,"zanCount":1106,"manualWeight":48,"mainColor":128},232622,"jiang-gan-xue-ji-tu-juan-wang-wei-232622","江干雪霁图卷","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。\n王维（701－761），字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。",[23,154,24,25,7,114,118,29,2897,602,1123,196,69],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627ae19f708849d303e0326ebd7204c5.jpg","纵31.3厘米，横207.3厘米",[],{"id":2902,"slug":2903,"title":2904,"dynasty":168,"author":2905,"museum":151,"description":2906,"tags":2907,"thumbUrl":2908,"material":470,"size":2909,"collection":543,"collections":2910,"showCount":2890,"zanCount":1106,"manualWeight":48,"mainColor":128},221097,"zi-xu-tie-quan-juan-huai-su-221097","自叙帖全卷","怀素","《自叙帖》为怀素自述其生平大略，兼录颜真卿、张谓、戴叔伦等人对其的赠诗成文。通篇为狂草，笔笔中锋，如锥划沙盘，纵横斜直，无往不收；全卷强调连绵草势，运笔上下翻转，忽左忽右，起伏摆荡，有疾有速，有轻有重，通幅于规矩法度中，奇踪变化，神采动荡，实为草书艺术的极致表现。《自叙帖》自唐末五代以来一直是草书领域的热门法帖，在中国草书史上承前启后，在书法艺术领域影响深远。 它是怀素流传下来篇幅最长的作品，人称“天下第一草书”。 正如北京大学教授、引碑入草开创者的李志敏评价：怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。",[23,119,1892,7,193,1229,25,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2b523ef15a110b2a5489755e76b49e.jpg","纵28.3厘米，横775厘米",[543,1013],{"id":2912,"slug":2913,"title":2914,"dynasty":225,"author":1472,"museum":1514,"description":2915,"tags":2916,"thumbUrl":2918,"material":2919,"size":2920,"collection":543,"collections":2921,"showCount":2890,"zanCount":914,"manualWeight":48,"mainColor":2653},221028,"shi-qi-tie-wang-xi-zhi-221028","十七帖","《十七帖》是王羲之草书代表作，因卷首由“十七”二字而得名。原墨迹早佚，现传世《十七帖》是刻本。唐张彦远“法书要录”记载了《十七帖》原墨迹的情况：“《十七帖》长一丈二尺，即贞观中内本也，一百七行，九百四十三字。是煊赫著名帖也。太宗皇帝购求二王书，大王书有三千纸，率以一丈二尺为卷，取其书迹与言语以类相从缀成卷。”\n此帖为一组书信，据考证是写给他朋友益州刺史周抚的。书写时间从永和三年到升平五年（公元347-361年），时间长达十四年之久，是研究王羲之生平和书法发展的重要资料。清人包世臣有“十七帖疏征”一文可以参考。\n此帖前人评价甚高。如宋黄伯思说：“此帖逸少书中龙也”。朱熹说“玩其笔意，从容衍裕，而气象超然，不与法缚，不求法脱。所谓一一从自己胸襟中流出者。”也有人认为此帖“笔法古质浑然，有篆籀遗意”。这些评价都很中肯。尤其说它们写的从容、不受法的拘束，好像从自己胸中自然流出一样，最为深刻准确。孙过庭曾说过：“子敬（王献之）已下，莫不鼓努为力，标置成体”，即王羲之以下，都是在写字时故意用力，故意要表现自己有自己的艺术风格，这样就反而失去书写时的自然之美了。这种对比式的评论，对书法欣赏很有启示。",[23,1892,119,7,1229,2917],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4981f2b1a02a1372ae9f32e7e1133e56.jpg","纸本墨拓","纵25.1厘米，横16.4厘米。",[543,1013],{"id":2923,"slug":2924,"title":2925,"dynasty":54,"author":269,"museum":20,"description":2926,"tags":2927,"thumbUrl":2930,"material":442,"size":2931,"collection":103,"collections":2932,"showCount":2933,"zanCount":1106,"manualWeight":48,"mainColor":128},222237,"xie-yu-tu-xu-wei-222237","蟹鱼图","《蟹鱼图》“走笔如飞，泼墨淋漓”，在用笔上他强调一个“气”字，看似草草，若断若连，实际上笔与笔之间有着气势在贯通，观他的作品，能体会出他是在借物吟咏人生情怀，由此可见，画家徐渭以他的才情，将中国大写意花鸟画推上了艺术的最高峰，此图不愧为大写意艺术的巨匠的杰作。",[23,24,114,7,272,2928,1820,2929,985],"蟹","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f0c23795adba5be0f62953199fed27d.jpg","28.7cmx98cm",[103],182,{"id":2935,"slug":2936,"title":2937,"dynasty":18,"author":86,"museum":20,"description":87,"tags":2938,"thumbUrl":2939,"material":100,"size":101,"collection":217,"collections":2940,"showCount":47,"zanCount":48,"manualWeight":48,"mainColor":49},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,154,24,25,7,28,59,27,61,62,63,64,89,90,91,254,67,65,35,31,36,73,71,68,69,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg",[],{"id":2942,"slug":2943,"title":2944,"dynasty":18,"author":507,"museum":151,"description":2945,"tags":2946,"thumbUrl":2947,"material":720,"size":2948,"collection":261,"collections":2949,"showCount":47,"zanCount":48,"manualWeight":48,"mainColor":49},219210,"lei-yu-sheng-long-tu-chen-rong-219210","雷雨升龙图","陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,24,25,154,7,114,511,1071,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517aa1aaeada469a2fccc91ffd164825.jpg","纵29.6横56.6cm",[261],{"id":2951,"slug":2952,"title":2953,"dynasty":54,"author":110,"museum":227,"description":2954,"tags":2955,"thumbUrl":2956,"material":217,"size":217,"collection":217,"collections":2957,"showCount":2958,"zanCount":1106,"manualWeight":48,"mainColor":128},228913,"zhu-lin-tu-shen-zhou-228913","竹林图","此作以清和笔调铺展水村居境，汀洲之上屋舍错落，竹树环合，幽人静居于内，远山叠石皴法苍润，林木点染清逸。水墨晕染间，江南水滨的空寂雅趣漫溢而出。\n\n左侧题诗与画境相生相契，诗书画印浑融一体，将林下忘机的隐逸襟怀寄于湖山烟霭中。笔致温厚平宁，无一丝奇峭锋芒，恰如诗文所书的清修之态，把文人优游泉石、守拙安闲的意趣缓缓铺陈，淡朴的底色里藏着沉静自足的文人心境，尽显文人画以画载情、诗画共生的意韵。",[23,54,24,25,7,27,114,118,29,275,35,34,117,63,64,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":2960,"slug":2961,"title":2962,"dynasty":54,"author":55,"museum":151,"description":2963,"tags":2964,"thumbUrl":2966,"material":470,"size":594,"collection":217,"collections":2967,"showCount":2958,"zanCount":48,"manualWeight":48,"mainColor":49},228437,"shang-lin-fu-tu-juan-chou-ying-228437","上林赋图卷","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[23,24,154,25,7,26,27,28,29,61,62,1298,196,117,34,690,2965,70,64],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9816e974a23c3473ddacef5f4392ab.jpg",[],{"id":2969,"slug":2970,"title":2971,"dynasty":899,"author":900,"museum":901,"description":2972,"tags":2973,"thumbUrl":2974,"material":911,"size":217,"collection":217,"collections":2975,"showCount":2958,"zanCount":1106,"manualWeight":48,"mainColor":128},220587,"hua-he-kun-chong-qi-bai-shi-220587","花和昆虫","这幅长卷以兼工带写之法绘就，泼墨挥写折枝花草，葫芦藤蔓蜿蜒豪放，墨叶酣畅淋漓，牵牛、萱花、海棠设色明妍鲜活，笔意朴拙老辣，尽显秋花野逸生机。\n工笔草虫穿插其间，蟋蟀、天牛、蜻蜓、蛱蝶皆纤毫毕现，翅脉通透轻薄，肢体灵动鲜活，将小虫的灵动神态刻画入微。大写意的烂漫朴拙与工笔的精细雅致相映成趣，把乡郊秋日的鲜活野景凝于卷上。搭配古雅题款与篆刻，整体意趣天然浑融，将乡野小景化作文人雅韵，尽显独有的花鸟意致。",[23,154,24,25,7,27,114,28,272,209,454,557,904,905,908,909,337,439,907,486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39df443cbe832b9d4633286bff1506d1.jpg",[],{"id":2977,"slug":2978,"title":2979,"dynasty":18,"author":2980,"museum":227,"description":2981,"tags":2982,"thumbUrl":2983,"material":1050,"size":1051,"collection":217,"collections":2984,"showCount":2985,"zanCount":48,"manualWeight":48,"mainColor":49},287569,"jiang-shan-lou-guan-tu-gao-qing-ban-yan-wen-gui-287569","江山楼观图（高清版）","燕文贵","此图绘长江两岸初冬始雪时景色，是将山水、人物相结合的一件画作。画卷上，寒风凄厉，初雪纷飞，江岸小桥，渔人行旅，浩瀚江水，涟漪层层，枯树黄芦迎风摇曳。苦于生计的渔民们，或驾着小舟穿梭江面，或架设网罟捕鱼，或卷起裤脚在冰冷的浅水处布网，衣单裳薄的纤夫逆风拖船，骑驴奔波的商旅在寒风中瑟缩着身子艰难前行，寒冷之景，宛然在目。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣，天空则用洒粉法弹出轻盈飘舞的飞雪，技法颇为别致。",[23,154,24,25,7,114,29,405,602,37,62,34,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c0dcc60066b1e64a74cc691d005bae.jpg",[],179,{"id":2987,"slug":2988,"title":2989,"dynasty":149,"author":2990,"museum":151,"description":2991,"tags":2992,"thumbUrl":2996,"material":217,"size":217,"collection":217,"collections":2997,"showCount":2985,"zanCount":914,"manualWeight":48,"mainColor":49},226697,"jiang-xing-chu-xue-tu-quan-juan-zhao-gan-226697","江行初雪图全卷","赵干","《江行初雪图》是五代时期画家赵干创作的一幅绢本水墨设色画作，现收藏于台北故宫博物院。\n《江行初雪图》全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,154,24,25,7,27,28,2993,1123,985,115,764,64,61,2994,890,2995,765,33,2929],"江岸","寒林","初雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea9bf6aaac2d8f3ea6e83d5b869ee5c.jpg",[],{"id":2999,"slug":3000,"title":3001,"dynasty":250,"author":2321,"museum":1327,"description":3002,"tags":3003,"thumbUrl":3005,"material":442,"size":3006,"collection":124,"collections":3007,"showCount":2985,"zanCount":1106,"manualWeight":48,"mainColor":49},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[23,24,154,7,114,118,29,405,468,34,419,37,115,3004,35],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[124,103],{"id":3009,"slug":3010,"title":3011,"dynasty":18,"author":3012,"museum":151,"description":3013,"tags":3014,"thumbUrl":3015,"material":470,"size":3016,"collection":42,"collections":3017,"showCount":2985,"zanCount":48,"manualWeight":48,"mainColor":49},221295,"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,154,24,25,7,60,59,28,27,29,62,63,64,115,116,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[42,124,103],{"id":3019,"slug":3020,"title":3021,"dynasty":18,"author":1133,"museum":151,"description":3022,"tags":3023,"thumbUrl":3024,"material":78,"size":3025,"collection":44,"collections":3026,"showCount":3027,"zanCount":1106,"manualWeight":48,"mainColor":49},216969,"yu-wang-kai-shan-tu-juan-zhao-bo-ju-216969","禹王开山图卷","赵伯驹，是中国宋代画家。他的作品《禹王开山图卷》是一幅著名的山水画，是他最著名的作品之一。\n\n《禹王开山图卷》画中描绘的是禹王开山垦沼的故事，以及禹王统治时期的生活和文化。画面上的人物和建筑都极具细致和生动，山水风光也非常优美。\n\n赵伯驹的画风风格独特，他擅长用细腻的线条勾勒出各种题材，并运用浓淡自然的墨色，使画面充满生机和活力。《禹王开山图卷》是宋代著名的山水画之一，被视为赵伯驹的代表作。",[154,24,25,7,26,27,28,118,29,61,117,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ff12f946a0ce4f72da37bbe835ca4f7.jpg","35x221.1",[44],178,{"id":3029,"slug":3030,"title":3031,"dynasty":18,"author":86,"museum":151,"description":3032,"tags":3033,"thumbUrl":3036,"material":27,"size":3037,"collection":42,"collections":3038,"showCount":3039,"zanCount":914,"manualWeight":48,"mainColor":49},221319,"qing-ming-yi-jian-tu-juan-zhang-ze-duan-221319","清明易简图卷","在画卷尾端的山石上有“翰林画史臣张择端进呈”签名，台湾中研院刘渊临认为其代表“金人入主汴京时的短时间风格”。北宋风俗画作品，北宋画家张择端所作。它生动地记录了中国十二世纪城市生活的面貌，是一幅举世闻名的现实主义风俗画卷。",[23,154,24,25,7,28,59,174,27,61,36,66,62,92,67,68,31,34,69,75,3034,3035],"民俗","宋代风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2dad2c8025aad97b6171fce959ff9.jpg","该幅 38x673.4公分；隔水一 38x14.5公分；引首一 38x98.5公分；隔水二 38x14.3公分；引首二 38x50.9公分；隔水三 38x14.2 公分；隔水四 38x14.2公分；拖尾一 36x50.8公分；隔水五 14.2公分；拖尾二 28.2x55.2公分；隔水六 14.2公分。",[42,45],177,{"id":3041,"slug":3042,"title":3043,"dynasty":225,"author":226,"museum":227,"description":3044,"tags":3045,"thumbUrl":3046,"material":217,"size":217,"collection":217,"collections":3047,"showCount":3048,"zanCount":978,"manualWeight":48,"mainColor":49},227037,"song-mo-ben-chuan-lie-nv-ren-zhi-tu-juan-gu-kai-zhi-227037","宋摹本 传 列女仁智图卷","《列女仁智图》卷，绢本，墨笔淡着色，纵25.8厘米，横417.8厘米。\n《列女仁智图》卷旧传东晋顾恺之作，此为南宋人摹本。\n汉成帝沉湎于酒色，宠信赵飞燕姐妹，朝政大权旁落于外戚手中，危及刘氏政权。楚元王四世孙光禄大夫刘向（前77－前6年）针对这一情况，采摘自古以来诗书上所记载的贤妃、贞妇、宠姬等资料，编辑成《列女传》一书呈送汉成帝，希望他从中吸取经验教训，以维护刘氏政权。全书按妇女的封建行为道德准则和给国家带来的治、乱后果，分为母仪、贤明、仁智、贞顺、节义、辩通、孽嬖七卷，此即其中“仁智卷”部分。\n仁智卷共收集15个列女故事。此卷为残本，其中“楚武邓曼”、“许穆夫人”、“曹僖氏妻”、“孙叔敖母”、“晋伯宗妻”、“灵公夫人”、“晋羊叔姬”7个故事保存完整。“齐灵仲子”、“晋范氏母”、“鲁漆室女”3个故事只存一半，其余5个故事则全丢失，又错将“鲁漆室女”之右半与“晋范氏母”之左半拼接在一起，使人误以为是一个故事。\n此卷多处保存了汉代的衣冠制度，如男子头戴进贤冠，身着曲线大袖袍，腰结绶带并配挂长剑；女子梳着垂髾髻，身着深衣，特别是眉毛涂以朱色，是模仿赵昭仪的新妆，这些都表现了特定时期的风俗和时尚。又蘧伯玉所乘坐的马车称“轺车”，亦为汉代形制，描绘得非常细致而无错误，这些都可以从大量出土的汉代画像石、砖和壁画中找到与之相应的图象。\n在北魏司马金龙墓出土的漆屏风画《列女古贤图》中，表现卫灵公与夫人夜坐闻马车声的一段，与此卷所表现的同一内容相比较，无论是构图布局还是人物的姿态手势都非常近似，可以证实其与《列女仁智图》同出自一个古本。而在传摩过程中，后者更为忠实于古本原作。\n据《汉书》记载，刘向在向汉成帝呈送《列女传》的同时，还呈送了《列女颂图》，并画为屏风。汉成帝的班婕妤失宠后，在她的诗中曾谈到在宫内看到《列女图》，并以此来鉴戒自己。这些都载在班固所著的《汉书》中。东汉时代的画像石、砖中，有不少表现列女故事的题材。画史并载蔡邕曾创作有《小列女图》。这一时期《列女图》的大量出现，既是出于宫廷政治斗争的需要，同时也是为了在社会上广泛推行妇女的道德教育，借以维护封建秩序。\n根据《列女仁智图》中保存有较多的汉代风俗，以及其构图形式的古朴，推测此卷的原本应当出自于东汉时代，而祖本则为刘向所创。剔除后世在反复传摹中所附加的痕迹，仍然能透视二千年前汉代宫廷绘画的艺术光辉。其人物线条粗犷流畅，造型准确。特别是对妇女的描绘，体态轻盈，婀娜多姿，尤为绝妙。构图布局则与汉画像石一脉相承。《列女传》及《列女仁智图》在宋代有多本，此是被保留下来的惟一的一本，尤为珍贵。",[23,154,24,25,7,174,60,61,90,94,193,119,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60eb1ec8833db63938ad3a1ecbc21f2e.jpg",[],175,{"id":3050,"slug":3051,"title":3052,"dynasty":18,"author":861,"museum":20,"description":3053,"tags":3054,"thumbUrl":3055,"material":442,"size":3056,"collection":543,"collections":3057,"showCount":3048,"zanCount":48,"manualWeight":48,"mainColor":128},221310,"zhi-ping-tie-su-shi-221310","治平帖","释文：\n轼启：久别思念不忘，远想体中佳胜，法眷各无恙。佛阁必已成就，焚修不易。数年念经，度得几人徒弟。应师仍在思蒙住院，如何？略望示及。石头桥、堋头两处坟茔，必烦照管。程六小心否，惟频与提举是要。非久求蜀中一郡归去，相见未间，惟保爱之，不宣。轼手启上。治平史院主、徐大师二大士侍者。八月十八日。\n卷末有赵孟頫、文徵明、王穉登题跋。鉴藏印有“商丘宋荦审定真迹”、“吴江张基德载图书”二方。本卷引首有明人所画苏轼像及释东皋妙声所书《东坡先生像赞》。\n此帖是苏轼书写的信札，内容主要是委托乡僧照管坟茔之事。根据帖后赵孟頫、文徵明、王穉登三人之跋可知，此帖当是苏轼于北宋熙宁年间在京师时所作，时年约30余岁。该帖笔法精细，字体遒媚，与苏轼早年书法特征吻合，正如赵孟頫所称“字划风流韵胜”。\n《平生壮观》卷二、《装余偶记》卷二、《盛京书画录》第二册著录。",[23,154,24,25,7,120,174,61,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9babc75fc8a45145c2cd4c01861509d.jpg","纵29.2厘米，横45.2厘米",[543],{"id":3059,"slug":3060,"title":3061,"dynasty":250,"author":3062,"museum":56,"description":3063,"tags":3064,"thumbUrl":3067,"material":78,"size":3068,"collection":44,"collections":3069,"showCount":3048,"zanCount":978,"manualWeight":48,"mainColor":49},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,7,28,27,118,29,61,62,63,64,116,34,3065,3066,74,90,31,405,37],"山脉","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[44,124],{"id":3071,"slug":3072,"title":3073,"dynasty":54,"author":430,"museum":3074,"description":3075,"tags":3076,"thumbUrl":3078,"material":122,"size":3079,"collection":124,"collections":3080,"showCount":3048,"zanCount":1106,"manualWeight":48,"mainColor":49},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","费城艺术博物馆","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[154,24,25,7,29,114,118,60,1298,115,690,3077,691,34,33,610,37],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","27.8x96cm",[124],{"id":3082,"slug":3083,"title":3084,"dynasty":18,"author":430,"museum":1100,"description":662,"tags":3085,"thumbUrl":3087,"material":78,"size":3088,"collection":44,"collections":3089,"showCount":3048,"zanCount":48,"manualWeight":48,"mainColor":128},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图",[23,24,25,7,60,27,174,28,61,155,29,115,62,34,2460,117,3086,196],"异兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[44],{"id":3091,"slug":3092,"title":3093,"dynasty":168,"author":321,"museum":151,"description":3094,"tags":3095,"thumbUrl":3101,"material":215,"size":3102,"collection":44,"collections":3103,"showCount":3104,"zanCount":978,"manualWeight":48,"mainColor":49},221066,"zhi-gong-tu-yan-li-ben-221066","职贡图","该画描绘的是唐太宗时，婆利国和罗刹国千里迢迢前来朝贡的情景。画中共有二十七人，其中白衣虬髯骑白马的人是罗刹国使者，身后有仆从打着伞执着扇，抬着礼物。左边穿长袍手里托着珊瑚打着伞盖的人是婆利国使者，他的随从也带着各式各样的礼物。整幅画设色淡雅，人物造型奇特，线条流畅自然。",[23,24,25,154,7,28,27,61,3096,90,2213,213,177,3097,3098,3099,1590,3100],"异域人物","推车","随从","伞盖","行进场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e8b3405f3cc59b7a13648e7f06f67.jpg","纵61.5cm，横191.5cm",[44,45],174,{"id":3106,"slug":3107,"title":3108,"dynasty":18,"author":507,"museum":227,"description":3109,"tags":3110,"thumbUrl":3112,"material":217,"size":217,"collection":217,"collections":3113,"showCount":3114,"zanCount":48,"manualWeight":48,"mainColor":49},227690,"mo-long-tu-juan-chang-juan-chen-rong-227690","墨龙图卷(长卷)","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。",[23,154,24,7,114,511,1071,3111],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeade678f60985fee28594e370dca39b.jpg",[],172,{"id":3116,"slug":3117,"title":3118,"dynasty":18,"author":796,"museum":20,"description":3119,"tags":3120,"thumbUrl":3121,"material":442,"size":3122,"collection":543,"collections":3123,"showCount":3114,"zanCount":791,"manualWeight":48,"mainColor":49},220393,"yan-shan-ming-mi-fei-220393","研山铭","《研山铭》与《虹县诗》用力稍过和《多景楼》的颇显急躁相比，此作以闲适纵逸的笔调显示出对所藏研山倍加珍重的得意与自信，点画如刀劈斧斫，气势如虹；粗者大笔如椽，几成块面，如“五、出、极、化”，细者劲似发条，弹槽欲出，如“怪、痕、震”。\n《研山铭》善于在正侧、偃仰、向背、转折、顿挫中形成飘逸超迈的气势、沉着痛快的风格。字的起笔往往颇重，到中间稍轻，遇到转折时提笔侧锋直转而下。捺笔的变化也很多，下笔的着重点有时在起笔，有时在落笔，有时却在一笔的中间，对于较长的横画还有一波三折。勾也富有特色。 侧倾的体势，欲左先右，欲扬先抑，都是为了增加跌宕跳跃的风姿、骏快飞扬的神气，以几十年集古字的浑厚功底作前提，故而出于天真自然，绝不矫揉造作。\n结字自由放达，信手天成，下笔挥洒纵横，跌宕多姿，不受前人羁勒，倾侧之中含稳重，一笔一划都融合在作品的整体精神之中，字字因势生形，字与字之间绝少连属，数字间没有明显的游丝映带，却能一气贯通，显得自然畅达。正是欹侧之势使上下、左右顾盼生情，险绝而生稳，收似欹反正之效。\n在章法布局上米芾借鉴运用了前人的技巧，打破局部的平稀和对称，并以向左倾斜流动的态势，形成一种行距间相互穿插的格局，在动态中求得总体的平衡。通篇时疏时穿，虚实相生，都在有意无意之间。从整体布局上看气象萧森，笔走龙蛇，在跳荡的表象之下，有浑然的整体存在，给人以强烈的对比感，通篇给人以强烈的音乐节奏感、韵律感。\n《研山铭》书体修长，且每个字长短都有变化，没有固定的尺寸，笔法遒媚，通观全篇，其笔迹竟无一处雷同，行中带草，笔势连绵，没有丝毫的飘忽之感，沉着稳重，并无粗涩横野，在圆转流美之中显示出恣肆烂漫、欹侧生姿的美韵",[23,154,24,25,7,120,114,404,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7374b1f0d39e9aa4bee66efe967e9999.jpg","纵36厘米，横136厘米",[543],{"id":3125,"slug":3126,"title":3127,"dynasty":168,"author":1182,"museum":151,"description":3128,"tags":3129,"thumbUrl":3130,"material":140,"size":3131,"collection":124,"collections":3132,"showCount":3114,"zanCount":914,"manualWeight":48,"mainColor":49},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[23,24,25,7,114,118,119,120,1185,29,1123,63,64,115,764,116,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[124],{"id":3134,"slug":3135,"title":566,"dynasty":18,"author":3136,"museum":1100,"description":3137,"tags":3138,"thumbUrl":3139,"material":78,"size":3140,"collection":44,"collections":3141,"showCount":3114,"zanCount":914,"manualWeight":48,"mainColor":128},216922,"xiang-shan-jiu-lao-tu-ma-xing-zu-216922","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,154,24,7,28,27,61,275,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F695cadd81d87bdb7478f46096b1241a9.jpg","27.1x217.2",[44],{"id":3143,"slug":3144,"title":3145,"dynasty":18,"author":294,"museum":151,"description":3146,"tags":3147,"thumbUrl":3151,"material":140,"size":3152,"collection":543,"collections":3153,"showCount":3154,"zanCount":791,"manualWeight":48,"mainColor":49},221342,"nong-fang-shi-tie-zhao-ji-221342","秾芳诗帖","南明抗清英雄陈邦彦曾跋赵佶瘦金书《秾芳诗帖》，“宣和书画，超轶千古。此卷以画法作书，脱去笔墨畦径，行间如幽兰丛竹，泠泠作风雨声，真神品也。”既是对这一诗帖的评赞，也是对“瘦金书”的艺术效果很好的概括。",[23,119,1229,7,537,1578,193,278,3148,3149,3150],"庭","露","霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff429bef1de6af3c93a64b6d6d677d91d.jpg","纵27.2厘米，横265.9厘米",[543],171,{"id":3156,"slug":3157,"title":3158,"dynasty":18,"author":3159,"museum":151,"description":3160,"tags":3161,"thumbUrl":3167,"material":78,"size":217,"collection":44,"collections":3168,"showCount":3154,"zanCount":914,"manualWeight":48,"mainColor":49},216731,"wen-ji-gui-han-tu-chen-ju-zhong-216731","文姬归汉图","陈居中","旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,24,25,7,28,27,61,29,90,34,117,3162,1505,3163,3164,3165,3166],"旌旗","骑兵","车驾","郊野","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ccb7fb1bc626b0b7aa8fc314796013.jpg",[44],{"id":3170,"slug":3171,"title":3172,"dynasty":54,"author":110,"museum":20,"description":3173,"tags":3174,"thumbUrl":3175,"material":1411,"size":3176,"collection":217,"collections":3177,"showCount":3178,"zanCount":1106,"manualWeight":48,"mainColor":128},234144,"nan-shan-zhu-yu-tu-shen-zhou-234144","南山祝语图","《南山祝语图》是刻画韩世光所居的“云堂”，韩氏先世为良相，本人为良医，均有泽于世。画面中心主人盘坐在云堂外的石台上，专心守护着丹灶，即点出了韩氏的身份和居处。云堂并无云气缭绕，然阶下栖立仙鹤，周围环以松竹，也显示此堂是营建在山巅云端之间。这种境界有力地衬托出了主人公的品行。沈周此“幽居庄园”类题材的写实山水，无论是表现苏州文人隐居的茅屋斗室或描绘精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和舒适的情致，以寄托文人的理想和品格。所取景致，既基于对客观环境的提炼概括，又寓有一定象征意义，或传情达意，或比喻人品。",[23,24,25,7,27,29,2161,118,120,119,482,483,116,34,117,613,692,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5x156.6cm",[],170,{"id":3180,"slug":3181,"title":3182,"dynasty":54,"author":1030,"museum":56,"description":3183,"tags":3184,"thumbUrl":3186,"material":285,"size":3187,"collection":44,"collections":3188,"showCount":3178,"zanCount":724,"manualWeight":48,"mainColor":128},219700,"jiao-ye-shui-nv-tu-tang-yin-219700","蕉叶睡女图","唐寅是明中叶时期重要的人物画家，他多才多艺，不仅擅长画人物画，在文学、山水、花鸟，书法都有卓越的成就。唐寅，字子畏，另字伯虎，晚号六如居士，1470年出生于苏州，卒于1524年，与祝允明、文徵明、徐祯卿并称“吴中四才子”。\n明代仕女画的人物造型在经过魏晋时期的秀骨清像，隋唐的丰肥腴丽，宋元的端庄矜持后，逐渐变为明艳清瘦、削肩狭背。而唐寅作为“明四家”之一，他的仕女画师承唐代传统，飘洒高雅，人物造型优美，细巧秀逸，成为明代仕女画的典型代表。\n唐寅仕女画独特的艺术风格在中国美术史上有一定的地位，其绘画的风格对后世人物画的发展与创作有着重要影响，在各种拍卖会上也经常崭露头角。",[23,24,25,7,174,114,120,193,61,155,3185],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511b3649559e91e7d9b4530da531e4c8.jpg","纵20.3cm，横61.0 cm",[44],{"id":3190,"slug":3191,"title":3192,"dynasty":18,"author":3193,"museum":151,"description":3194,"tags":3195,"thumbUrl":3201,"material":470,"size":3202,"collection":543,"collections":3203,"showCount":3204,"zanCount":48,"manualWeight":48,"mainColor":128},221283,"ba-su-shi-huang-zhou-han-shi-shi-huang-ting-jian-221283","跋苏轼黄州寒食诗","黄庭坚","《黄州寒食诗卷跋》是黄庭坚在苏轼《黄州寒食诗帖》后写的一段跋语，此跋历来为人们所珍视，与原帖合称“双璧”。《寒食帖跋》表现了“黄书”的基本艺术特点。《跋文》用笔锋利爽截而富有弹性。其字写得藏锋护尾，纵横奇崛，其长笔画波势比较明显。由于黄庭坚善于把握字的松紧，因此形成了中宫收缩而四周放射的特殊形式感，人们也称其为辐射式书体。在布局上，《跋文》常从欹侧中求平衡，于倾斜中见稳定，因此变化无穷，曲尽其妙。从局部看，一行字忽左忽右，但从整体看，呼应对比，浑成一体。此跋给人以神情饱满，气势贯通的感受，决无荒率之病，达到了艺术的化境，所以他在最后不无得意地说：“他日东坡或见此书，应笑我于无佛处称尊也”。",[23,154,119,120,442,1602,3196,3197,3198,3199,3200,7,25],"墨书","笔力劲健","结体舒展","顿挫有致","墨色变化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee18dc5af9010f82b2dba444201b634.jpg","纵34.2公分，横199.5公分",[543],169,{"id":3206,"slug":3207,"title":3208,"dynasty":54,"author":55,"museum":151,"description":3209,"tags":3210,"thumbUrl":3211,"material":470,"size":3212,"collection":217,"collections":3213,"showCount":3214,"zanCount":1106,"manualWeight":48,"mainColor":128},222217,"zhao-meng-fu-xie-jing-huan-cha-tu-juan-chou-ying-222217","赵孟頫写经换茶图卷","画中，画匠出身的仇英尚“古意”，作品以宋代李公麟白描入手，并将色彩溶于线条之中，纤细柔和的画出了松林、竹篱间铺纸作书的赵孟頫，以及与之对坐的禅师，另有一书童手持茶叶。整个画面宁静淡然，秀雅温润，充满禅意。\n画后面的文徵明《心经》是以王羲之的书法名作《黄庭经》的笔法写成，而赵孟頫在求佛问道的过程中也曾多次抄写《黄庭坚》并有作品流传至今。如此看来，文徵明此处所书的《心经》，几乎可以说是赵孟頫风格的再现。",[23,24,25,7,28,27,61,34,117,639,196,119,193,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c7765f2bce81c38906b328ef48f04.jpg","纵22厘米、横311厘米",[],167,{"id":3216,"slug":3217,"title":3218,"dynasty":168,"author":3219,"museum":416,"description":3220,"tags":3221,"thumbUrl":3223,"material":78,"size":3224,"collection":44,"collections":3225,"showCount":3214,"zanCount":11,"manualWeight":48,"mainColor":49},220267,"wu-xing-er-shi-ba-xiu-shen-xing-tu-liang-ling-zan-220267","五星二十八宿神形图","梁令瓒","此图原分为上下两卷，前半卷画五星，后画二十八宿。此图现只存在五星及“角”至“危”十二宿神形，计17图，应当为上卷。星宿一般都与占卜相关联，而此图将天文，传说和世俗理念组为一体，独树一帜，形成了一种独特的艺术形式。每个星、宿各作一图，或老人，或描绘成女像，或是画成怪异的形象。有的人物骑着牛，有的手中拿着器物，面部特征与表情也各有不同。设色以黄色为基调，另有朱、青、绿、黑各色配合。衣褶、人体和兽身都采用晕染法，稍有立体感。",[23,154,24,25,7,173,28,27,174,61,91,90,1009,511,3222],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3c8239f23b32915d34a24fb6fe3187.jpg","纵27.5厘米，横489.7厘米",[44],{"id":3227,"slug":3228,"title":3229,"dynasty":250,"author":251,"museum":651,"description":3230,"tags":3231,"thumbUrl":3234,"material":384,"size":3235,"collection":261,"collections":3236,"showCount":3237,"zanCount":48,"manualWeight":48,"mainColor":49},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,154,24,25,7,28,27,196,209,34,117,555,571,1528,281,2408,1298,639,420,468,210,3232,3233],"水禽","花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","45cm*1600cm",[261,45],166,{"id":3239,"slug":3240,"title":3241,"dynasty":3242,"author":3243,"museum":227,"description":3244,"tags":3245,"thumbUrl":3248,"material":1050,"size":1051,"collection":217,"collections":3249,"showCount":3250,"zanCount":914,"manualWeight":48,"mainColor":2653},226521,"guan-jun-tie-zhang-zhi-226521","冠军帖","汉","张芝","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[23,119,1892,7,3246,3247],"古代书法","汉代草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8430773f56eb0dd4f44e420eff83f0b2.jpg",[],164,{"id":3252,"slug":3253,"title":3254,"dynasty":18,"author":294,"museum":151,"description":3255,"tags":3256,"thumbUrl":3257,"material":470,"size":3258,"collection":42,"collections":3259,"showCount":3250,"zanCount":48,"manualWeight":48,"mainColor":49},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[23,24,25,7,28,174,114,209,196,555,1823,985,2929,404,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[42,261,103],{"id":3261,"slug":3262,"title":3263,"dynasty":133,"author":534,"museum":3264,"description":3265,"tags":3266,"thumbUrl":3267,"material":442,"size":3268,"collection":543,"collections":3269,"showCount":3250,"zanCount":791,"manualWeight":48,"mainColor":128},220845,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220845","《般若波罗蜜多心经》","甘肃天庆博物馆","赵孟頫一生抄写经书太多，一方面是自己礼佛之需，另一方面也是无形中增加了自己书法功力。此赵孟頫《心经》墨迹行书册，是为中峰和尚抄写的",[23,154,24,25,7,174,120,540,173,193,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b128cdfa8732b90cc7f3d1ec7d91a42.jpg","26X151cm",[543],{"id":3271,"slug":3272,"title":3273,"dynasty":18,"author":294,"museum":190,"description":3274,"tags":3275,"thumbUrl":3277,"material":140,"size":3278,"collection":42,"collections":3279,"showCount":3280,"zanCount":914,"manualWeight":48,"mainColor":128},221328,"wu-se-ying-wu-tu-zhao-ji-221328","五色鹦鹉图","《五色鹦鹉图》是北宋时期宋徽宗 创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[23,154,24,25,7,28,27,209,274,3276,119,120,193],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[42,261,45],163,{"id":3282,"slug":3283,"title":3284,"dynasty":250,"author":819,"museum":227,"description":3285,"tags":3286,"thumbUrl":3287,"material":696,"size":3288,"collection":103,"collections":3289,"showCount":3290,"zanCount":791,"manualWeight":48,"mainColor":128},224527,"jiang-shan-sheng-lan-shi-tao-224527","江山胜揽","此卷绘山川湖泊。山峦连绵起伏，景物屑迭。树木茂密丛生，瀑布、溪水倾泻而下。水面宽广，云雾蒸腾，有寂静空灵之美。画中线条极细，有素描效果。山石用披麻铍，横直交错，秀灵而坚实。密集的破笔苔点，使山势更显苍莽。篁叶取法倪瓒，只是变萧疏为茂密。墨色的干湿浓淡恰到好处。画作用笔和山石构置繁密，但作者巧妙地运用虚实、黑白的均衡布局，通过水的空灵和云雾的蒸腾，避免了过分的迫塞。综合而论，这是一幅能代表石涛笔墨清腴，风格恣肆洒脱的山水作品。",[23,24,7,114,29,118,119,193,34,468,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fd2208972fffab3bc42dc072272735.jpg","纵20厘米，横762厘米",[103],161,{"id":3292,"slug":3293,"title":3294,"dynasty":18,"author":3295,"museum":20,"description":3296,"tags":3297,"thumbUrl":3298,"material":696,"size":3299,"collection":42,"collections":3300,"showCount":3290,"zanCount":914,"manualWeight":48,"mainColor":128},221460,"chang-jiang-wan-li-tu-juan-zhao-fu-221460","长江万里图卷","赵黻","展开此卷，可看到万里江山中的烟云风雨、山石峻岭、山间小道、樵夫行旅、乘风破浪的小舟、穿云破雾的飞鸟、山谷中的屋宇、村落、归庄的农民、深山古寺等等，可谓东起吴越、西至巴蜀、万里江山、气势宏大、一气呵成。着重描写江山壮丽景色，气势雄伟，笔法学李唐而略纵逸，但仍未脱南宋院体画之痕迹。卷末款署“赵黻作”三字，钤“黻”朱文印，画面有明代钱惟善、张宁、陆树声等诗跋 。",[23,24,7,114,763,118,29,602,405,37,34,115,36,1197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纵45.1厘米，横992.5厘米",[42,124,103],{"id":3302,"slug":3303,"title":3304,"dynasty":18,"author":3305,"museum":380,"description":3306,"tags":3307,"thumbUrl":3308,"material":27,"size":3309,"collection":543,"collections":3310,"showCount":3290,"zanCount":914,"manualWeight":48,"mainColor":2653},221203,"hou-chi-bi-fu-quan-juan-zhao-shen-221203","后赤壁赋全卷","赵昚","由于该作之末没有作者的款识，因此对于书写人是谁这一问题，从元代起就有不同的说法：有人认为是宋徽宗赵佶所书，有人认为是宋高宗赵构之作，还有人认为是宋孝宗赵昚手笔。（注：关于书作者问题，元朝的俞贞木认为是赵佶所书，但遭到了同为元朝人黄本等人的质疑。杨仁恺指出，《后赤壁赋》为赵昚作品，并提出了相关论据。具体详见《关于宋孝宗赵昚的几点考察》，载《杨仁恺书画鉴定集》）赵昚学赵构书法很像，几可乱真。从书写上分析，赵昚作字较之赵构，往往落笔凝重不够，结字略显松懈。检视此卷，正有这样的欠缺。再则，赵昚更喜爱苏轼诗文，因此这件草书《后赤壁赋》卷当出自赵昚之手。\n书法是历代帝王在登基之前的必修课，它关乎一国之君的脸面和尊严。他们学习、接受诗文、书画之类的传统文化，表示出对文化的崇敬和亲近，这样做有利于稳固统治地位。上述徽宗赵佶、高宗赵构、孝宗赵昚即是例证。\n在各种书体的书写中，草书最为简洁洗练。一个十分复杂的汉字，可以简略成几根线条；一 件草书作品，只需连续几个动作，连绵而下，便告成功。如果说楷、隶、篆书行笔舒缓，如端人正襟危坐，那么草书则更具动感，兼能含纳激越之情。可以这么说，人人都能写楷、隶、篆书，但草书绝不会是人人都可以写好的。由于草书省去了许多笔画，使空间结构产生了很大变化，更须理清脉络，这对书家的技巧要求就更高、更精。如果不明草理、不依草法，而任墨成形、信笔为体，就难免会产生失误，作品也就会演变成无法辨识的“天书”。草书书写全然是精神化的漫游，是人精神的一种外现。依此来审视这卷草书，我们就会发现赵昚是具备书写技巧的书法家。他以心灵对草书作出深刻体验，使性情与功力相得益彰。\n在南宋，以赵构为中心，学习书法风气甚浓，成为小朝廷“中兴”的一种点缀。赵昚受这种气氛的影响，爱好书法也是理所当然的事。他曾自称“无他嗜好，或得暇，惟读书写字为娱”（马宗霍《书林纪事》）。在书法上，赵昚秉承家法，并有机会得到赵构的亲授，故明陶宗仪在《书史会要》中说：“孝宗书有家庭法度。”这件草书《后赤壁赋》卷结字循规蹈矩，草法纯熟而严谨，笔画秀劲匀整，笔意圆润，行笔圆转流畅，又具有沉着遒劲的韵致，颇具流畅而能浑厚、飞动而兼沉着之美。作品通篇气象浑穆，一气呵成，可见书者书写时神完气足、兴致清畅。面对此作，我们仿佛看到赵昚把笔濡墨，在那一段磁青绢上舒心挥毫，营造出一片春云浮空、卷舒起伏、变化多端的图景。此作虽为草书，读之却使人感受到不温不火、从容自如的大将风范。赵昚书法无连绵苟且之习，用笔起讫分明，笔笔清楚，字字独立而气脉连贯，易于辨识。我们可以从中抽出单个的字来一一欣赏，即便脱离整幅的语言环境也不碍观瞻。赵昚此卷有自家面貌，但也渊源有自，从笔意、字势中均可看到唐、宋书家对他的影响。注重法度是赵昚书法之长，这与苏轼主张“真生行，行生草，真如立，行如行，草如走，未有未能行立而能走者”是一致的。世云“唐人尚法，宋人尚意”，是就唐与宋的整体书风而言的；倘若专论草书，宋人也是“尚法”的。赵昚书法即可印证这一点。",[23,7,119,25,120,664,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cd876766aeb129bded31c4aa34e7c0.jpg","26.9x621",[543],{"id":3312,"slug":3313,"title":3314,"dynasty":133,"author":534,"museum":111,"description":3315,"tags":3316,"thumbUrl":3319,"material":140,"size":3320,"collection":543,"collections":3321,"showCount":3290,"zanCount":791,"manualWeight":48,"mainColor":128},220848,"du-fu-qiu-xing-ba-shou-zhao-meng-fu-220848","杜甫秋兴八首","此卷书杜甫秋兴八首。款署：“此诗是吾四十年前所书，今人观之未 必以为吾书也。子昂重题。至治二年(1322)正月十七日。”据此知该卷 书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[23,7,119,120,115,2153,921,3317,923,482,454,3318,3111,193],"秋风","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","纵23.5厘米，横261.5厘米",[543],{"id":3323,"slug":3324,"title":3325,"dynasty":133,"author":534,"museum":1270,"description":3326,"tags":3327,"thumbUrl":3328,"material":78,"size":3329,"collection":261,"collections":3330,"showCount":3290,"zanCount":914,"manualWeight":48,"mainColor":49},219098,"shi-ma-tu-zhao-meng-fu-219098","十马图","群马姿态各异，或昂首伫立，或低头啮草，或相互亲昵，动静交织间满溢生机。线条勾勒细腻传神，鬃毛飘逸如丝缕，马尾垂落似流瀑，马匹肌理与灵动之态毕现。设色淡雅温润，赭墨晕染出毛色层次，古朴绢底衬得画面沉静雅致。马匹互动自然和谐，似能闻蹄声轻响，尽显画家对生命的细致体察与文人画的清逸韵味。",[23,24,25,7,28,27,90,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7681aecb61572b4fba7da83735ac45.jpg","纵26横233厘米",[261],{"id":3332,"slug":3333,"title":3334,"dynasty":18,"author":861,"museum":111,"description":3335,"tags":3336,"thumbUrl":3337,"material":285,"size":3338,"collection":543,"collections":3339,"showCount":3290,"zanCount":914,"manualWeight":48,"mainColor":128},218559,"da-xie-min-shi-tie-juan-su-shi-218559","答谢民师帖卷","释文：“轼启。是文之意疑若不然，求物之妙如系风捕影，能使是物了然于心者，盖千万人而不一遇也。而况能使了然于口与手者乎。是之谓词达，词至于能达，则文不可胜用矣。扬雄好为艰深之词，以文浅易之说，若正言之，则人人知之矣，此正所谓琱虫篆刻者。其《太玄》《法言》皆是物也，而独悔于赋何哉?终身琱虫而独变其音节，便谓之经，可乎。屈原作《离骚》经，盖风雅之再变者。虽与日月争光可也，可以其似赋而谓之琱虫乎。使贾谊见孔子，升堂而有余矣。而乃以赋鄙之，至与司马相如同科。雄之陋如此比者甚众，可与知者道，难与俗人言也，因论文偶及之耳。欧阳文忠公言，文章如精金美玉，市有定价，非人所能以口舌贵贱也。纷纷多言，岂能有益于左右，愧悚不已。所须惠力法雨堂字，轼本不善作大字，强作终不佳。又舟中局迫难写，未能如教，然则方过临江，当往游焉。或僧有所欲记录，当为作数句留院中，慰左右念亲之意。今日已至峡山寺，少留即去，愈远惟万万以时自爱不宣。轼顿首再拜。民师帐句推官阁下，十一月五日。” 此帖卷首已残，晚明以降，藏家王衡请娄坚仿苏轼书体补写阙文。录如下:“近奉违亟辱问讯，具审起居佳胜，感慰深矣。受性刚简，学迂材下，坐废累年，不敢复齿缙绅。自海还北，见平生亲旧，惘然如隔世人，与左右无一日之雅，而敢求交乎?数赐见临，倾盖如放，幸甚。过望不可言也。所示书教及杂文，视之熟矣。大略如行云流水，初无定质，但常行于所当行，常止于不可不止。文理自然，姿态横生。孔子曰:言之不文，行之不远。又曰:词达而已矣。夫词止于达意，则疑若不文，是大不然。”",[25,7,119,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895dee5b027d4fad9b0c1f3a56c8960f.jpg","27x96.5cm",[543],{"id":3341,"slug":3342,"title":3343,"dynasty":54,"author":55,"museum":227,"description":3344,"tags":3345,"thumbUrl":3346,"material":1050,"size":1051,"collection":217,"collections":3347,"showCount":3348,"zanCount":1106,"manualWeight":48,"mainColor":49},287927,"qing-ming-shang-he-tu-ju-bu-chou-ying-287927","清明上河图(局部)","《清明上河图》是明代画家仇英创作的一幅重彩风俗画作品，现收藏于辽宁省博物馆。 现存世作品《清明上河图》有多本传为仇英所作，除此卷外，另有青州市博物馆藏本 ，台北故宫博物院藏本 ，以及多本流落私人之手。而辽宁省博物馆藏的此卷《清明上河图》，流传有绪，现学术界一般认为其为仇英真迹。\n此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。\n此卷《清明上河图》代表了后世《清明上河图》题材创作的典型风格和最高水平。既是中国古代绘画史上承前启后的风俗巨作，也是研究明代中后期社会生活和文化史的有力图证。",[154,24,7,27,28,61,62,63,64,854,90,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286e97dc6c0f4fdbe8f31d7811db1c6.jpg",[],159,{"id":3350,"slug":3351,"title":3352,"dynasty":133,"author":534,"museum":20,"description":3353,"tags":3354,"thumbUrl":3355,"material":442,"size":3356,"collection":543,"collections":3357,"showCount":3348,"zanCount":978,"manualWeight":48,"mainColor":128},220841,"huang-ting-jing-zhao-meng-fu-220841","黄庭经","《黄庭经》有诸多名家临本传世，如智永、欧阳询、虞世南、褚遂良、赵孟頫等，他们均从中探究王书的路数，得到美的启示。然而也有人认为小楷《黄庭经》笔法不类王羲之，因此亦有真伪之辨。《黄庭经》引，王羲之书，小楷，一百行。原本为黄素绢本，在宋代曾摹刻上石，有拓本流传。此帖其法极严，其气亦逸，有秀美开朗之意态。关于黄庭经，有一段传说：山阴有一道士，欲得王羲之书法，因知其爱鹅成癖，所以特地准备了一笼又肥又大的白鹅，作为写经的报酬。王羲之见鹅欣然为道士写了半天的经文，高兴地“笼鹅而归”。原文载于南朝《论书表》，文中叙说王羲之所书为《道》、《德》之经，后因传之再三，就变成了《黄庭经》， 因此，又俗称《换鹅帖》，无款，末署“永和十二年（356）五月”，现今留传的只是后世的摹刻本了。",[23,119,540,537,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a6a4cd3ec1c6039daa34a804981861.jpg","26.5X485.4cm",[543],{"id":3359,"slug":3360,"title":3361,"dynasty":18,"author":716,"museum":227,"description":3362,"tags":3363,"thumbUrl":3364,"material":217,"size":217,"collection":217,"collections":3365,"showCount":3366,"zanCount":1106,"manualWeight":48,"mainColor":128},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。\n晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[23,24,154,7,25,27,118,61,29,1298,117,34,420,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],158,{"id":3368,"slug":3369,"title":3370,"dynasty":54,"author":495,"museum":380,"description":3371,"tags":3372,"thumbUrl":3373,"material":353,"size":3374,"collection":124,"collections":3375,"showCount":3366,"zanCount":914,"manualWeight":48,"mainColor":49},221994,"tao-yuan-wen-jin-tu-quan-juan-wen-zheng-ming-221994","桃源问津图全卷","全图画远山冈峦，叠翠连绵，溪水横流，树木葱郁，屋舍村字，掩映其间，有老者山道边策杖观瀑沉思，有妇人携幼拄杖于院篱门口问路，屋内四男子席地而坐，饮酒高谈。图中线条粗细旋转富于变化，墨色浓淡干湿，层次丰富。该图款识：“嘉靖甲寅二月既望。徵明识。时年八十有五。”嘉靖甲寅年为1556年。",[23,24,29,482,483,254,27,7,272,442,854],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be4d911f0f1c59073981b4c71b9d7db.jpg","纵23厘米，横578.3厘米",[124,45],{"id":3377,"slug":3378,"title":3379,"dynasty":133,"author":2701,"museum":56,"description":3380,"tags":3381,"thumbUrl":3382,"material":3383,"size":3384,"collection":124,"collections":3385,"showCount":3386,"zanCount":1106,"manualWeight":48,"mainColor":128},221735,"shan-shui-zhu-shi-tu-quan-juan-zhao-yuan-221735","山水竹石图全卷","赵原（约1325—1374），元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。莒城（今山东莒县人，一作东平(今属山东)人，寓居苏州(今江苏苏州)。善诗文书画，擅山水。明太祖洪武（1368-1398）间征至中书令。洪武五年（1372）在昆陵作听松图，此顷被征至京图往贤着功名者像，应对忤旨，被杀。明洪武初奉诏入宫，因所画不称旨而被杀。\n关于赵原的师承说法不一，最经常的说法是王维和董源。也有说他师法董源、王蒙或米芾、高克恭。善用枯笔浓墨，作品多作浅绛山水，笔墨圆劲秀逸。亦长于画竹，画法多变，有龙角、凤尾、金错刀之称。兼能竹石，当时在平江一带负盛誉。有《合溪草堂图》、《晴川送客图》、《溪亭送客图》、《陆羽烹茶图》等传世。",[23,24,25,7,114,118,29,275,255,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70809230f2fb9e519270ac51b851cbf5.jpg","纸本水墨","纵25.7厘米，横380厘米",[124,103],156,{"id":3388,"slug":3389,"title":3390,"dynasty":250,"author":1958,"museum":651,"description":3391,"tags":3392,"thumbUrl":3401,"material":285,"size":3402,"collection":124,"collections":3403,"showCount":3386,"zanCount":1106,"manualWeight":48,"mainColor":128},220092,"hu-shan-qing-yi-tu-juan-shou-juan-hong-ren-220092","湖山清逸图卷手卷","根据《中国画史馨香录》书中所记，此题画诗原出自郑旼康熙戊申（1668年）录“渐公题诗二十三首”手钞本，1934年，许承尧录寄黄宾虹。渐江和尚画笔师法云林，又得徽州山水特别是黄山松壑云泉的蒙养，加之性格刚硬，所以其画并不为云林所囿。磊磊落落，逋峭冷隽，笔底山川，或幽深邃密，或峻拔嵯峨，气象高华而趣味淡宕，人品画品皆为时称道，是新安派中首屈一指的领军人物。观此卷气象，以平远式构图表现，岩壑奇秀，奇松点缀其中，沿江景物，用笔瘦硬，皴染枯淡而墨韵清润。以刚劲凝练的笔线勾勒，折带皴、披麻皴交互为用，山峰之间，礁石垒叠，疏疏密密、大大小小，形成参差错落的“矾块”，山峰中的涧溪，曲折逶迤而下，形如盘龙出水，跳荡击石，泠然有声。清人杨翰曾评论其突出的风格：“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”当时本幅之写照。此卷诗题：“清秋凝目郁苍苍，百里嶙峋一草堂。世代频更人不到，未燔书尽此中藏。",[24,7,114,763,118,3393,889,3394,3395,3396,3397,3398,3399,3400,2530,119,120],"折带皴","岩壑","奇松","礁石","涧溪","草堂","清润","冷隽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689de6099893b4044c6746888a67279c.jpg","引首17.5×66.5cm；画心17.5×131cm；题跋17.5×83.5cm",[124,103],{"id":3405,"slug":3406,"title":3407,"dynasty":168,"author":430,"museum":20,"description":3408,"tags":3409,"thumbUrl":3410,"material":78,"size":3411,"collection":45,"collections":3412,"showCount":3386,"zanCount":791,"manualWeight":48,"mainColor":49},219760,"bai-ma-tu-yi-ming-219760","百马图","此图卷共描绘各种马95匹，牧马的奚官与圉人41人在一条河中及岸边洗马、戏马、驯马、饲马的场面。这幅图中所描绘的近百匹黑、白、红、花等各色马，有动有静，姿态各异，生动活泼。画家对马的描绘，极善抓住其动态和神情，运动中的马被表现得活泼顽皮，静立时的马又被表现得庄重威武。画中笔法清秀温雅，敷色清淡，可以看出唐法向宋元法变化的痕迹。",[23,154,24,25,7,27,28,90,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34693ea712a5b338887d9f2f6f7455af.jpg","纵68厘米、横1010厘米",[45],{"id":3414,"slug":3415,"title":3416,"dynasty":168,"author":1006,"museum":20,"description":3417,"tags":3418,"thumbUrl":3419,"material":122,"size":1570,"collection":45,"collections":3420,"showCount":3421,"zanCount":791,"manualWeight":48,"mainColor":128},219970,"wu-niu-tu-han-huang-219970","五牛图","《五牛图》中的五头牛从右至左一字排开，各具状貌，姿态互异。一俯首吃草荆棵蹭痒，一翘首前仰缓步前行，一纵峙而鸣，一回首舐舌，一络首而立。整幅画面除最后右侧有一小树外，没有其他的背景，因此每头牛可独立成章。",[23,24,25,7,27,28,193,119,120,91,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00eb300bc9aeab656f3c3031a5036af.jpg",[45],155,{"id":3423,"slug":3424,"title":3425,"dynasty":250,"author":3426,"museum":227,"description":3427,"tags":3428,"thumbUrl":3429,"material":217,"size":217,"collection":217,"collections":3430,"showCount":3431,"zanCount":48,"manualWeight":48,"mainColor":128},235225,"ju-hua-juan-wu-chang-shuo-235225","菊花卷","吴昌硕","此作以金石笔意入画，运笔苍厚朴拙。淡墨写就的白菊清雅疏朗，胭脂点染的红菊饱满明丽，浓淡对比间，尽显秋菊凌霜逸姿。水墨枝叶以篆籀笔法写出，顿挫老辣，墨色干湿浓淡富于层次，将菊枝柔韧与叶片舒展淋漓展现。\n\n右侧题字朴茂雄浑，与画作金石意趣浑然一体，诗画相映间，将东篱秋菊的野逸傲骨尽显，尽显文人画诗书画印的交融意韵，苍劲中暗含秀雅，勾勒出深秋篱边秋菊的盎然生机。",[24,25,7,114,27,272,209,283,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede1ca6c977a93b9dd98f70687fa6e3.jpg",[],154,{"id":3433,"slug":3434,"title":549,"dynasty":18,"author":430,"museum":20,"description":3435,"tags":3436,"thumbUrl":3438,"material":442,"size":3439,"collection":217,"collections":3440,"showCount":3441,"zanCount":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作者细腻入微的观察力，将草间花蝶相依的悠然灵趣定格长卷，温婉雅致，意韵盎然，是闺阁花鸟画里的精巧之作。",[23,154,24,25,7,27,28,209,337,281,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3906603e4a8bf2dc062465a3550f3584.jpg",[261],149,{"id":3501,"slug":3502,"title":3503,"dynasty":18,"author":3193,"museum":151,"description":3504,"tags":3505,"thumbUrl":3506,"material":3507,"size":3508,"collection":543,"collections":3509,"showCount":3499,"zanCount":1106,"manualWeight":48,"mainColor":49},221264,"lin-su-shi-hai-tang-shi-juan-huang-ting-jian-221264","临苏轼海棠诗卷","黄庭坚的行书雄强刚劲，沉着痛快，展现出独特的个人魅力。董其昌有这样的评语：“山谷老人得笔于《瘗鹤铭》，又参杨凝式骨力，其欹侧之势，正欲破俗书姿媚。昔人云：右军如凤翥鸾翔，迹似奇而反正，黄书宗旨近之，盖见事苏而弟蓄米，自负不小。”\n此帖为黄庭坚书《七言绝句册》，创作于宋神宗熙宁七年（1074年），中国台北故宫博物院藏。据款识黄庭坚是年仅二十九岁，作书内含清刚之气，端庄雅正，初露峥嵘。",[119,25,7,60,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbd196ba66c2f911d296063da35fda1.jpg","卷","34.5x263",[543],{"id":3511,"slug":3512,"title":3513,"dynasty":133,"author":534,"museum":20,"description":3514,"tags":3515,"thumbUrl":3518,"material":696,"size":3519,"collection":124,"collections":3520,"showCount":3499,"zanCount":914,"manualWeight":48,"mainColor":128},220852,"shui-cun-tu-juan-zhao-meng-fu-220852","水村图卷","此图卷作于元大德六年（1302年），赵孟頫时年49岁，这是他最后一幅可靠的纪年作品。赵孟頫以水墨写江南水乡平远开阔的景色，从用笔到构图都受到董源的影响，但董源的画法已完全融入赵孟頫的个人风格之中，于不经意间表现出来。山用披麻皴画出，景物以平远的形式展开。渴笔较多，用笔松秀含蓄，“写”的意味较浓，体现了书法的审美趣味。画家借景抒情，表现了一种静穆的心态和对“平淡天真”的追求。此图重要之处在于其对元画独特风格的形成产生了较大的影响，由此可见赵孟頫在开创元、明、清文人画潮流中所起的重要作用。",[23,24,25,7,114,29,120,193,118,482,483,3066,34,31,3516,3517],"山丘","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纵24.9厘米，横120.5厘米。",[124,103],{"id":3522,"slug":3523,"title":3524,"dynasty":18,"author":3525,"museum":227,"description":3526,"tags":3527,"thumbUrl":3530,"material":140,"size":3531,"collection":42,"collections":3532,"showCount":3533,"zanCount":791,"manualWeight":48,"mainColor":49},221303,"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,154,24,25,7,27,28,209,1009,3222,196,524,454,3528,486,117,3529],"浆果","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[42,261,45],148,{"id":3535,"slug":3536,"title":3537,"dynasty":18,"author":1439,"museum":227,"description":3538,"tags":3539,"thumbUrl":3540,"material":217,"size":217,"collection":217,"collections":3541,"showCount":3542,"zanCount":791,"manualWeight":48,"mainColor":49},227537,"chao-yuan-xian-zhang-tu-quan-tu-wu-zong-yuan-227537","朝元仙仗图全图","《朝元仙仗图》为北宋宗教画家武宗元所绘制的一幅绢本白描长卷，曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。",[23,24,173,174,7,61,62,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff20def5f9abc833a0d5a4c488f47d5ad.jpg",[],147,{"id":3544,"slug":3545,"title":2788,"dynasty":54,"author":430,"museum":151,"description":3546,"tags":3547,"thumbUrl":3548,"material":215,"size":217,"collection":217,"collections":3549,"showCount":3542,"zanCount":1106,"manualWeight":48,"mainColor":128},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,24,25,7,114,29,118,119,193,60,482,483,34,115,63,64,116,196,765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],{"id":3551,"slug":3552,"title":3553,"dynasty":168,"author":321,"museum":20,"description":3554,"tags":3555,"thumbUrl":3556,"material":140,"size":3557,"collection":44,"collections":3558,"showCount":3542,"zanCount":914,"manualWeight":48,"mainColor":128},221065,"kong-zi-di-zi-xiang-yan-li-ben-221065","孔子弟子像","《孔子弟子像》全图采取平列式构图，无背景，墨笔勾勒，着色，人物形象各异，须眉生动。绘孔子弟子立像五十九人，无名款。从体貌上对照，第三人即为孔子，以后诸人亦形态相仿，顺序一致，惟个别处有遗漏或增补，如子迟和子贡之间缺子夏，孔子前多出两人。但根据北京故宫博物院藏的宋无款《七十二贤相》卷进行对比，本幅画所绘为孔子及弟子像内容是确凿无疑的。",[23,24,154,25,7,28,27,174,61,193,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62b0109df8752c442e8801281dc33fb.jpg","纵32.3厘米，横870厘米",[44,45],{"id":3560,"slug":3561,"title":3562,"dynasty":250,"author":994,"museum":227,"description":3563,"tags":3564,"thumbUrl":3566,"material":217,"size":217,"collection":217,"collections":3567,"showCount":3568,"zanCount":1106,"manualWeight":48,"mainColor":128},234226,"hua-hui-tu-juan-zhu-da-234226","花卉图卷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[23,24,25,7,114,120,1892,193,209,278,194,3565,174],"绣球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9b90b90faf27fd07bc9d5bfdfb023.jpg",[],146,{"id":3570,"slug":3571,"title":3572,"dynasty":250,"author":3062,"museum":227,"description":3573,"tags":3574,"thumbUrl":3575,"material":217,"size":217,"collection":217,"collections":3576,"sho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Color":49},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[23,24,154,25,7,29,118,27,3641,690,34,117,37,3642,140,3643,3644,420,610],"茂林","淡墨","层峦","丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","纵45.4厘米，横141.8厘米",[42,124,103],{"id":3649,"slug":3650,"title":1460,"dynasty":18,"author":650,"museum":56,"description":3651,"tags":3652,"thumbUrl":3654,"material":1464,"size":1465,"collection":42,"collections":3655,"showCount":3623,"zanCount":914,"manualWeight":48,"mainColor":49},221291,"shu-se-ping-yuan-tu-guo-xi-221291","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,24,25,7,114,118,3653,29,116,2791,230,404,64,115,193],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[42,124,103],{"id":3657,"slug":3658,"title":3659,"dynasty":3660,"author":3661,"museum":227,"description":3662,"tags":3663,"thumbUrl":3667,"material":217,"size":217,"collection":217,"collections":3668,"showCount":3669,"zanCount":914,"manualWeight":48,"mainColor":128},226557,"bei-qi-xiao-shu-tu-yang-zi-hua-226557","北齐校书图","南北朝","杨子华","杨子华，北齐画家，生卒年不详。是北齐世祖高湛的爱臣，北齐世祖时（561年－565年）任直阁将军、员外散骑常侍。善画贵族人物、宫苑、车马，所画马尤其生动逼真，据传他在壁上所画马甚至引起观者夜间听到马索水草而嘶鸣的幻觉。时有“画圣”之称。北齐世祖使其供职宫廷，非有诏不得与外人画，成为专门的御用画家。他所画人物形象丰满圆润，有别于顾恺之的“秀滑清丽”，他的画风影响到唐代，具有承前启后的历史地位。\n\n现存《北齐校书图》（美国波士顿美术馆，系宋代摹本），纵29.3厘米，横122.7厘米，这图卷所画的是北齐天保七年（556年）文宣帝高洋命樊逊和文士高乾和等11人负责刊定国家收藏的《五经》诸史的情景。画中人物其神情均极生动。此图用笔细劲流动，细节描写神情精微。设色简易标美。",[23,154,24,25,7,28,27,61,90,3664,193,119,120,3665,626,627,3666,156],"书","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a01f2f22b879846072f997f9ed81611.jpg",[],143,{"id":3671,"slug":3672,"title":3673,"dynasty":18,"author":451,"museum":20,"description":3674,"tags":3675,"thumbUrl":3677,"material":140,"size":3678,"collection":42,"collections":3679,"showCount":3680,"zanCount":1106,"manualWeight":48,"mainColor":49},221373,"jin-hui-dui-tu-juan-zhao-chang-221373","锦灰堆图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。作者不愧有“写生赵昌”的美誉。\n此图流传有绪。通过图上所钤印文可知，它最早为南宋权相贾似道收藏，德祐年时，贾似道以卖国获罪，此卷遂被官府没收。入元后，它为元仁宗爱育黎拔力八达之姊鲁国大长公主所收藏。明初，被内府典礼纪察司收存。清代，它转入大收藏家梁清标之手，旋即又归入清内府，备受乾隆皇帝赏识。晚清宣统时又流入民间，为伪满“国兵”朱国恩抢得，存放于吉林长春的家中。1952年东北文化部组织的工作小组于长春获得此卷，交由原东北博物馆收藏，后博物馆将它与北宋崔白《寒雀图》卷、吴元瑜《荔枝图》卷一同送交国家文物局，文物局将它们转入故宫博物院庋藏。",[23,24,154,7,28,27,209,337,439,557,256,3676,909,338],"果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9b890e9249dec5b777dd3cfaf3145a.jpg","29.4x174.6cm",[42,261,45],142,{"id":3682,"slug":3683,"title":3684,"dynasty":133,"author":760,"museum":151,"description":3685,"tags":3686,"thumbUrl":3687,"material":470,"size":3688,"collection":124,"collections":3689,"showCount":3680,"zanCount":914,"manualWeight":48,"mainColor":49},220769,"zhong-shan-tu-juan-wu-zhen-220769","中山图卷","中山图卷，吴镇，元代，纸本，墨笔，纵26.4厘米，横90.7厘米，台北故宫博物院藏。高清作品全卷详见月雅书画高清数字博物馆。\n中山图，白纸本，高七寸九分，长二尺六寸六分，水墨。羣山叠嶂，杉木丛深，通幅无一杂树，全宗北苑，用粗麻披皴法，山头苔点，横竪相间，眾山之坳，突以浓墨晕二峰尖，低於四面，更為奇绝。\n图绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。自识「至元二年春二月，奉为可久戏作中山图，梅花道人书」。按至元二年即公元1336年，吴氏时年57岁。此图为元人集锦卷中之一段。",[23,24,25,7,114,118,29,30,34,405,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d37bf8402ad35b55e27d8d9eb9501b2.jpg","横90.7厘米，纵26.4厘米",[124,103],{"id":3691,"slug":3692,"title":3693,"dynasty":168,"author":1305,"museum":2353,"description":3694,"tags":3695,"thumbUrl":3696,"material":3697,"size":3698,"collection":543,"collections":3699,"showCount":3700,"zanCount":48,"manualWeight":48,"mainColor":49},221057,"zi-shu-gao-shen-tie-yan-zhen-qing-221057","自书告身帖","《自书告身》，楷书纸本， 凡三十三行，二百五十三字，结衔小字十三行，传为颜真卿所书的墨迹。今藏日本中村不折氏书道博物馆。\n该帖端庄朴厚，苍劲有力，用一种高古气象和庙堂之气，为其晚年风格成熟时期的代表作品。\n《自书告身》为内府旧藏之物，前有纯庙前有御书十余行，隔水绫上复嵌御书数小行，后有米友仁、蔡襄、董其昌三跋，又朱朗白一跋，颜书墨彩已脱。后为清宫石渠宝笈之物。",[23,119,537,7,114,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec64bbb5452235f254da554a2a394817.jpg","楷书纸本","386字",[543,1013],141,{"id":3702,"slug":3703,"title":3704,"dynasty":168,"author":3705,"museum":151,"description":3706,"tags":3707,"thumbUrl":3708,"material":285,"size":3709,"collection":261,"collections":3710,"showCount":3711,"zanCount":978,"manualWeight":48,"mainColor":128},218623,"dou-niu-tu-dai-song-218623","斗牛图","戴嵩","图绘两条硕壮的公牛相斗，一牛低头而以两角尖顶向对方的肚子，肌肉鼓胀，四蹄撒开，急奔而来，可以设想这一顶的力量之猛；而另一牛则掉头离去，目光惊恐，气喘吁吁，落荒而逃。全图纯用水墨，虽也勾线，但已渐渐淡去。牛身通体染墨色，而以墨色的深淡变化，体现出牛身的结构以及运动时肌肉的紧张。用浓墨勾画牛的角、蹄，点出眼睛、鬃毛。看似色彩单纯，但仍能感觉到墨生“五彩”，极其优雅。这样的画法，在戴嵩之前似无，但也正是唐代画家王维倡导的“水墨渲淡”的手法。两头牛的形象、动态，无论是头、身体和四肢，以及彼此间相互协调，都画得非常准确，神态生动，场景激烈。传说他曾画饮水中的牛，水中倒影，唇鼻相连，可以见得戴嵩在写生上下功夫之精微。重写生、重情景，这是唐、宋时期的中国画的一大特点，也是中国画的一大宝贵历史传统。",[154,24,25,7,114,27,91,1009,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf70d07ff8e284b799a06dedfd6f9ed4.jpg","纵44厘米，横40.8厘米",[261],140,{"id":3713,"slug":3714,"title":3715,"dynasty":54,"author":932,"museum":3716,"description":3717,"tags":3718,"thumbUrl":3719,"material":384,"size":3720,"collection":124,"collections":3721,"showCount":3722,"zanCount":48,"manualWeight":48,"mainColor":128},221882,"chu-chu-tu-juan-quan-juan-chen-hong-shou-221882","出处图卷全卷","张大千先生的旧藏","画卷前后隔水留下了他的墨宝。此卷是陈洪绶在去世前一年为周亮工所作，这一年陈洪绶相继为周亮工一共创作了42件作品，《出处图》则是其中的精品。展卷之后可见诸葛亮与陶渊明盘坐于树下正侃侃而谈，诸葛亮头戴“诸葛巾”，陶渊明则手抚无弦琴，形象格调高古，气韵不凡，人物衣袖由一根根行云流水般的线条绘就，每根线条都不另起笔，如若不加停顿似的一气呵成，而线条与线条的排列则构成了陈洪绶特有的韵味。",[23,24,25,7,28,27,61,29,34,64,404,119,120,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9517553124fbf7960f3c43dce25b9cc5.jpg","26×195cm",[124,45],139,{"id":3724,"slug":3725,"title":3726,"dynasty":18,"author":3727,"museum":190,"description":3728,"tags":3729,"thumbUrl":3733,"material":40,"size":3734,"collection":543,"collections":3735,"showCount":3722,"zanCount":1106,"manualWeight":48,"mainColor":128},221228,"hu-zhuang-qing-xia-tu-zhao-ling-rang-221228","湖庄清夏图","赵令穰","《湖庄清夏图》描绘了夏季湖的平远景色。开卷是湖庄临岸，垂柳拂溪；接接着一座小桥横跨水上，湖中莲叶田田，群鸭游;岸上绿树成的，远处烟水迷蒙；路转溪头，又见绿树环抱中，数间村舍，屋后一片林木，在烟雾笼罩下，横向舒展，时隐时显，更增加悠然的灵动气氛，充满幻梦般的诗意。卷末近景描绘三株形态各异的大树，与卷首树木相呼应，左下角有明代早期收藏印。",[23,154,24,25,7,29,114,27,118,3642,34,3730,33,3731,690,486,116,3732,2366],"湖水","岸堤","湖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6d42310b30e6d6aee565943dd6d4ff.jpg","纵19.1厘米，横161.3厘米",[543],{"id":3737,"slug":3738,"title":3739,"dynasty":250,"author":635,"museum":20,"description":3740,"tags":3741,"thumbUrl":3742,"material":40,"size":3743,"collection":261,"collections":3744,"showCount":3745,"zanCount":1106,"manualWeight":48,"mainColor":49},238125,"jiao-yuan-mu-ma-tu-juan-lang-shi-ning-238125","郊原牧马图卷","此画又称《八骏图》，画面上八匹骏马散放于郊外旷野之中，或卧，或立，或吃草，或嬉戏，自在悠闲，放牧者在树下休憩观望。放牧题材的画作不是对单匹马的写生，而是综合、融汇了各种马匹的形象，所以在创作过程中画家更能充分地发挥想象力，使马匹显得活泼自然、生动有趣。\n画家借助了西方追求如实表现物象体积感和立体感的绘画技巧，将马的各种姿态刻画得活灵活现，甚至连毛发的光泽也清晰地呈现在观者眼前，令人有呼之欲出之感，这是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态，由此判断该画应是郎氏在雍正年间所创作，因为到了乾隆时期，在郎世宁的绘画中往往自己仅画出人物、鞍马，背景则由中国画家补绘。\n骏马是郎世宁作品中常见的绘制对象，他笔下的马匹真实生动，更重要的是他领会了马在中国传统文化中的象征意义。自古以来，马是社会贤良的象征，封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“八骏”入画并非偶然，渊源有自。据传古代周穆王有八匹良骥，一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥（见《穆天子传》），另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼（见《拾遗记》），周穆王曾经驾驭这八匹骏马遨游西方。于是，图写八骏亦有为君主歌功颂德、彰显威仪的含义。",[7,28,27,90,2408,639,61,117,1009,483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb62906769fc51d887721bda8835ce.jpg","纵51.2厘米，横166厘米",[261],138,{"id":3747,"slug":3748,"title":3749,"dynasty":54,"author":3750,"museum":227,"description":3751,"tags":3752,"thumbUrl":3756,"material":217,"size":217,"collection":217,"collections":3757,"showCount":3758,"zanCount":1106,"manualWeight":48,"mainColor":128},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[23,24,25,7,28,27,209,274,282,278,279,194,280,434,3753,554,3754,1923,1924,3755,281,456,1949,193],"杜鹃","山茶","茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":3760,"slug":3761,"title":3762,"dynasty":168,"author":3763,"museum":380,"description":3764,"tags":3765,"thumbUrl":3766,"material":2842,"size":217,"collection":543,"collections":3767,"showCount":3758,"zanCount":914,"manualWeight":48,"mainColor":49},221080,"gu-shi-si-tie-quan-juan-zhang-xu-221080","古诗四帖全卷","张旭","《古诗四帖》是唐代张旭创作的书法作品。\n《宣和书谱》、《续书画题跋记》、《式古堂书画汇考》等著录。\n通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。” [2] 今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”",[23,119,1892,7,25,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece062efbfba0cc39a01803fca4cfb21.jpg",[543,1013],{"id":3769,"slug":3770,"title":3771,"dynasty":133,"author":534,"museum":151,"description":3772,"tags":3773,"thumbUrl":3774,"material":442,"size":3775,"collection":217,"collections":3776,"showCount":3777,"zanCount":914,"manualWeight":48,"mainColor":49},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[23,24,25,7,114,27,29,34,3066,31,35,120,119,193,118,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":3779,"slug":3780,"title":3781,"dynasty":54,"author":495,"museum":3782,"description":3783,"tags":3784,"thumbUrl":3785,"material":442,"size":3786,"collection":543,"collections":3787,"showCount":3777,"zanCount":914,"manualWeight":48,"mainColor":128},221999,"teng-wang-ge-xu-wen-zheng-ming-221999","滕王阁序","苏州博物馆","文徵明书法初师李应祯，后广泛学习前代名迹，篆、隶、楷、行、草各有造诣。尤擅长行书和小楷，温润秀劲，法度谨严而意态生动。虽无雄浑的气势，却具晋唐书法的风致，也有自己的一定风貌。小楷笔划婉转，节奏缓和，与他的绘画风格谐和，有“明朝第一”之称。",[23,7,1229,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2ada68a9278ee56f351e4bb9b6a147.jpg","23.5×211cm",[543],{"id":3789,"slug":3790,"title":3791,"dynasty":18,"author":3792,"museum":151,"description":3793,"tags":3794,"thumbUrl":3795,"material":215,"size":3796,"collection":44,"collections":3797,"showCount":3777,"zanCount":914,"manualWeight":48,"mainColor":128},221219,"liu-chao-qian-qin-su-hui-xuan-ji-tu-juan-zhu-shu-zhen-221219","六朝前秦苏蕙璇玑图卷","朱淑贞","（楷书璇玑图。文不录。又苏若兰织锦回文璇玑图序志一则。文不录）皇宋绍定三年（西元一二三０年）二月既望钱塘幽栖居士朱氏淑贞识。",[23,24,25,7,28,27,61,155,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b944c3884b1a33c0a64a2ef4c63382d.jpg","28.1×246.3",[44,45],{"id":3799,"slug":3800,"title":3801,"dynasty":54,"author":55,"museum":151,"description":3802,"tags":3803,"thumbUrl":3804,"material":285,"size":3805,"collection":44,"collections":3806,"showCount":3777,"zanCount":791,"manualWeight":48,"mainColor":128},219534,"qi-qiao-tu-chou-ying-219534","乞巧图","七夕又称为「乞巧节」、「女儿节」，最重要的习俗是妇女的乞巧活动。到七夕晚上，妇女们用彩线穿七孔针，在庭院中摆设香案，上有瓜果、鲜花、酒、针线等，向织女乞巧，在宋代还会摆上一种手捏的小泥人儿「磨喝乐」作为供奉神灵。这幅画的便是妇女乞巧的活动，星星高挂于天空，妇女群聚在庭院中，对着星空祭拜，衷心祈望自已能像织女般工巧，其中还有妇女对着星空穿针，\n全幅以白描为主，人物清雅，但用笔较为软弱无力，与仇英精致细腻的笔法大不相同，应非其所作。\n仇英（约一四九四－一五五二），江苏太仓人。字实父，号十洲。年轻时为漆工，后遇周臣赏识其才华，给予指导，而后成名。精工山水人物画，又善于临摹古画，几可乱真，作品具有院画之精丽而有士气。是明代四大画家之一。",[23,24,25,7,28,27,120,119,61,155,62,70,156,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd953712315a9e475c8de8c4fb11fdb.jpg","27.9x388.3厘米",[44],{"id":3808,"slug":3809,"title":3810,"dynasty":18,"author":415,"museum":151,"description":3811,"tags":3812,"thumbUrl":3813,"material":285,"size":3814,"collection":44,"collections":3815,"showCount":3777,"zanCount":1106,"manualWeight":48,"mainColor":128},216928,"mian-zhou-tu-li-gong-lin-216928","免胄图","卷轴的左侧是郭子仪，带领他的部队，平静地站在他身边。右侧是入侵关中的维吾尔族士兵，这是一个庞大而令人生畏的营地。这位身着军装的维吾尔族首领在其副手的陪同下，在向脱去盔甲、身着清凉的郭子仪致敬时，以敬佩的姿态跪下。郭德纲在俯身提供帮助时显得真诚而有礼貌，体现了一位名将的慷慨。",[23,154,24,25,7,174,28,61,90,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c419667adc75769d59561e46477a00.jpg","32.3x223.8",[44],{"id":3817,"slug":3818,"title":3819,"dynasty":250,"author":430,"museum":227,"description":3820,"tags":3821,"thumbUrl":3824,"material":1050,"size":1051,"collection":217,"collections":3825,"showCount":3826,"zanCount":48,"manualWeight":48,"mainColor":128},263687,"ke-si-chou-ying-hou-chi-bi-fu-tu-juan-yi-ming-263687","缂丝仇英后赤壁赋图卷","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”。",[23,7,3822,24,25,26,27,29,61,62,115,196,64,3823,1123,117,70,1794,193,119],"缂丝","亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":3828,"slug":3829,"title":3830,"dynasty":250,"author":3426,"museum":227,"description":3831,"tags":3832,"thumbUrl":3833,"material":217,"size":217,"collection":261,"collections":3834,"showCount":3826,"zanCount":1106,"manualWeight":48,"mainColor":128},239029,"hong-mei-juan-wu-chang-shuo-239029","红梅卷","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,7,114,27,274,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09767ee0d5b587971ce9dfadc909df1f.jpg",[261,45],{"id":3836,"slug":3837,"title":3838,"dynasty":250,"author":430,"museum":227,"description":3839,"tags":3840,"thumbUrl":3841,"material":217,"size":217,"collection":217,"collections":3842,"showCount":3843,"zanCount":914,"manualWeight":48,"mainColor":49},230304,"fang-lin-chun-cui-zhu-hua-niao-tu-shen-se-yi-ming-230304","仿林椿翠竹花鸟图（深色）","此作用色明丽雅致，以赭色绢底托举春日景致。艳红山茶缀于虬曲枝桠，青嫩新篁挺拔舒展，柔媚花枝与劲竹相映成趣。十余只禽鸟灵动错落，或栖于枝头理羽，或两两依偎低语，羽色晕染细腻柔和，将禽鸟绒羽的鲜活质感尽数呈现。\n\n画师以工细笔触勾勒花叶禽鸟，既承袭院体花鸟的精工写实，又暗合文人画的清幽意趣，将林泉春日里花木禽鸟的自在天趣铺展在尺幅间，生机盎然中尽显闲雅静谧的林下意韵。",[23,154,24,25,7,28,27,60,209,275,524,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae43cbb6fe15b0c90b72712f15b33f1.jpg",[],134,{"id":3845,"slug":3846,"title":3847,"dynasty":168,"author":1182,"museum":3848,"description":3849,"tags":3850,"thumbUrl":3855,"material":442,"size":217,"collection":217,"collections":3856,"showCount":3843,"zanCount":48,"manualWeight":48,"mainColor":49},221146,"wang-chuan-tu-juan-wang-wei-221146","辋川图卷","美国西雅图美术馆","《辋川图》是唐代王维所作的单幅壁画，原作已无存，现只有历代临摹本存世。\n《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[154,24,365,60,2917,7,763,2161,29,3851,64,73,61,922,3852,3853,195,3854],"亭台楼榭","弈棋","投壶","意态萧然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87ac5cea2dc5878a9ef466c907a570d5.jpg",[],{"id":3858,"slug":3859,"title":3860,"dynasty":250,"author":550,"museum":1514,"description":3861,"tags":3862,"thumbUrl":3864,"material":3865,"size":3866,"collection":124,"collections":3867,"showCount":3843,"zanCount":914,"manualWeight":48,"mainColor":128},221002,"hua-dao-xi-yang-tu-yun-shou-ping-221002","花岛夕阳图","恽寿平山水画初学元黄公望、王蒙，深得冷澹幽隽之致。又以没骨法画花卉、禽兽、草虫，自谓承徐崇嗣没骨花法。创作态度严谨，认为“惟能极似，才能传神。”“每画一花，必折是花插之瓶中，极力描摹，必得其生香活色而后已”。他画法不同一般，是“点染粉笔带脂，点后复以染笔足之”，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成为一代宗匠。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北，史载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派'之目”。",[23,24,27,114,7,29,2153,405,37,34,33,613,64,196,118,985,890,690,3863,2408,1298,2366,611],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2703852885af6a04ae01bf1fbdb64d9d.jpg","纸本 设色","26cmx111cm",[124,45],{"id":3869,"slug":3870,"title":3871,"dynasty":133,"author":534,"museum":151,"description":3872,"tags":3873,"thumbUrl":3876,"material":285,"size":3877,"collection":124,"collections":3878,"showCount":3879,"zanCount":914,"manualWeight":48,"mainColor":128},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[23,24,154,25,7,114,118,120,193,29,602,115,34,405,3874,3875],"岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[124],133,{"id":3881,"slug":3882,"title":3883,"dynasty":168,"author":2905,"museum":151,"description":3884,"tags":3885,"thumbUrl":3889,"material":470,"size":3890,"collection":543,"collections":3891,"showCount":82,"zanCount":978,"manualWeight":48,"mainColor":49},221096,"xiao-cao-qian-zi-wen-huai-su-221096","小草千字文","《小草千字文》纸本真迹是唐代书法家怀素创作的小草书法作品。共9页42行（为周兴嗣原文前段），计530字，盖有藏印数枚，是价值连城的唐代墨宝，被誉为“天下第一小草”名帖。现为著名学者黄锦祥所藏，是怀素唯一传世的小草书法真迹。此帖笔画瘦劲有力，灵动自然，毫无涣散衰颓之状。通幅笔墨奔放流畅，一气贯之蔚为壮观。是古代最珍贵、最标准的小草范本之一。",[23,119,1892,3886,7,3887,3888,193,1229],"小草","飞白","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64996c852b8cf3f704a5cc33bff5043.jpg","纵26.8厘米，横13.5厘米，共9页",[543,1013],{"id":3893,"slug":3894,"title":3895,"dynasty":168,"author":3896,"museum":56,"description":3897,"tags":3898,"thumbUrl":3899,"material":442,"size":217,"collection":543,"collections":3900,"showCount":82,"zanCount":791,"manualWeight":48,"mainColor":128},221074,"zhao-ye-bai-han-gan-221074","照夜白","韩干","这幅画是用水墨线描完成的，描绘的是唐玄宗 喜爱的坐骑“照夜白”的形象，它被系在一木桩上，鬃毛飞起，鼻孔张大，眼睛转视，昂首嘶鸣；四啼腾骧，似欲挣脱羁绊。\n此画不仅画出马的膘肥肌健的外形，更着力表现其桀骜不驯的雄骏神采。\n用笔简练，线条纤细而道劲，渲染不多而体积感、质感颇强。\n《照夜白图》描绘了一匹骏马“照夜白”的形象。\n为了在白绢上表现这匹白色的宝马，作者在描绘马时，通过工笔重彩手法，经过巧妙构思、对比手法，选取马鼻被拴的情形，不仅可以表现出“照夜白”的桀骜不驯，在色彩处理上还可以利用马桩的深色调衬托出马的矫健造型，在手法上做减法，达到美妙的画面平衡。\n”照夜白“是唐玄宗李隆基的坐骑，图中“照夜白”系一木桩上，昂首嘶鸣，四蹄腾骧，似欲挣脱缰索。\n全画只在画面略微偏右的位置描绘了一匹骏马的形象。\n这匹骏马被拴于一根马桩之上，明显可 以从画中感受到它不甘于束缚、怒目圆睁、昂首嘶鸣，飘逸的鬃毛、耸起的耳朵和抬起的前蹄，加强了画面所要透露的紧张感。\n据考证，马的头、颈、前身为真迹，而后半身为后人补笔，马尾巴已不存。",[23,114,28,442,7,25,90,1009,193,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[543,1013],{"id":3902,"slug":3903,"title":3904,"dynasty":133,"author":760,"museum":190,"description":3905,"tags":3906,"thumbUrl":3907,"material":3383,"size":3908,"collection":124,"collections":3909,"showCount":82,"zanCount":914,"manualWeight":48,"mainColor":185},220785,"cao-ting-shi-yi-tu-juan-wu-zhen-220785","草亭诗意图卷","诗塘董其昌题：“梅花道人画巨轴绝少，此幅气韻生动，布置古雅，大类巨然，非王蒙所能梦见也。董其昌藏并鉴定”。",[23,24,7,114,25,118,120,193,29,116,34,1857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eae55d370e8592275f4c843d79308fa.jpg","纵23.8厘米，横277.8厘米",[124,103],{"id":3911,"slug":3912,"title":3913,"dynasty":54,"author":3914,"museum":56,"description":3915,"tags":3916,"thumbUrl":3917,"material":442,"size":3918,"collection":124,"collections":3919,"showCount":82,"zanCount":1106,"manualWeight":48,"mainColor":128},220347,"fang-mi-fei-shan-shui-tu-tu-juan-dong-qi-chang-220347","仿米芾山水图-图卷","董其昌","此帧《仿米家云山图》是难得一见的较大尺幅的山水作品，堪称是启功山水画的代表作之一。",[24,25,7,114,118,60,29,63,64,116,34,690,3077,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b251912199235f04fa6b092ccdf07c0.jpg","25.9 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219.1厘米",[124],{"id":3921,"slug":3922,"title":3923,"dynasty":18,"author":1598,"museum":3924,"description":3925,"tags":3926,"thumbUrl":3928,"material":285,"size":3929,"collection":217,"collections":3930,"showCount":82,"zanCount":48,"manualWeight":48,"mainColor":128},219189,"xiao-xiang-ba-jing-ping-sha-luo-yan-mu-xi-219189","潇湘八景-平沙落雁","出光美术馆","烟霭轻笼的天地间，远山如黛晕染在薄纱般的雾色里，几抹淡影似云似烟，模糊了天与地的边界。近岸沙渚上，三两只雁影静立，羽翼的轮廓在朦胧中化开，仿佛刚落定的归客，与周遭的空寂融为一体。天际有雁阵掠过，纤细的墨线在虚白中牵起一缕灵动，不扰清宁，只添悠远禅意。\n\n极简笔墨勾勒出无尽空寂，淡墨晕染的层次藏着自然的呼吸，每一处留白都是心境的延伸。清旷之境里，喧嚣被滤去，唯有安宁漫上心尖，似与天地精神相往来，让人在静默中触摸到禅意的温度。",[23,24,154,114,29,196,37,3927,7,3642],"平沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192cedb0f91bed94851114d42cfc8076.jpg","33x109.9厘米",[],{"id":3932,"slug":3933,"title":3934,"dynasty":250,"author":3935,"museum":151,"description":3936,"tags":3937,"thumbUrl":3938,"material":1411,"size":3939,"collection":124,"collections":3940,"showCount":3941,"zanCount":1106,"manualWeight":48,"mainColor":128},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡残","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,24,7,114,27,118,29,419,276,116,63,64,690,37,34,117,119,193,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[124,45],131,{"id":3943,"slug":3944,"title":3945,"dynasty":18,"author":832,"museum":151,"description":3946,"tags":3947,"thumbUrl":3949,"material":27,"size":3950,"collection":42,"collections":3951,"showCount":3952,"zanCount":48,"manualWeight":48,"mainColor":49},221554,"xi-yuan-ya-ji-juan-liu-song-nian-221554","西园雅集卷","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。",[23,154,24,25,7,28,27,61,34,117,3948,625,211],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00b965e299d9c4feb3a56ffa3172034.jpg","34×191cm",[42,44,45],130,{"id":3954,"slug":3955,"title":3956,"dynasty":18,"author":3957,"museum":380,"description":3958,"tags":3959,"thumbUrl":3961,"material":384,"size":3962,"collection":42,"collections":3963,"showCount":3952,"zanCount":791,"manualWeight":48,"mainColor":49},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","马麟","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,154,24,25,7,27,28,118,29,2408,63,66,61,31,3960,73,71,34],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[42,124,45],{"id":3965,"slug":3966,"title":3967,"dynasty":54,"author":3968,"museum":20,"description":3969,"tags":3970,"thumbUrl":3972,"material":3973,"size":3974,"collection":261,"collections":3975,"showCount":3976,"zanCount":1106,"manualWeight":48,"mainColor":49},222447,"guan-mu-ji-qin-tu-juan-lin-liang-222447","灌木集禽图卷","林良","林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、锦鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。这幅长卷即为集禽图巨构。\n面画开道为三只麻雀，正展翅飞向丛林，迎面枝头有翠鸟、黄鹂啁啾，似示欢迎。步入林丛枝杈交错，白头翁在枝头成双鸣叫，山喜鹊与山鹧引颈对唱，小山雀则静歇枝上。密林深处展现阔叶灌木和粗劲竹丛，有寒鸦、鹡鸰、麻雀、白头翁、鹌鹑等，成双结对地和鸣、嬉玩，追逐其间。接着斜出几株老松，针叶茂密，成群斑鸠在此活动，一派家族欢聚气氛，然松林深处却有一只苍鹰在窥视，于平和中增添了一分杀气。结尾是荻岸水滨，一对鸬鹚在水面觅食，两只乌鸦涉水行进，另有翠鸟飞栖苇丛间，境界又变为空阔悠闲。\n作品布局采用平面散点的结构手法，移步换形，层层展开，疏密相间，动静结合。禽鸟动态逼真，情状各异，枝叶纵横交错，杂而不乱。古木老树、枯枝落叶已显现出萧索秋意，然群鸟骚动不拘的活泼天性，却使丛林依然充满蓬勃生机。\n此图画法以水墨为主，略施淡彩。禽鸟勾染相间，工写结合，洗练准确，笔简神完。灌木丛林用写意法，然也放而有度，不离规矩。全幅气势宏阔，景象万千，为林良存世的精品巨制。",[23,154,24,25,7,114,272,209,3971,1528,196,456],"灌木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba587401db7e2d99d630e876f2bb9c0b.jpg","纸本，淡设色","纵34厘米，横1211.2厘米",[261,103],129,{"id":3978,"slug":3979,"title":3980,"dynasty":149,"author":521,"museum":227,"description":3981,"tags":3982,"thumbUrl":3983,"material":217,"size":217,"collection":217,"collections":3984,"showCount":3985,"zanCount":791,"manualWeight":48,"mainColor":49},228764,"jin-hui-dui-tu-xu-xi-228764","锦灰堆图","此作以散落折枝、蔬果翎羽、虫草顽石攒合成卷，不假刻意经营却浑然谐和。笔底写生工致入微，设色清润古雅，将四时风物杂糅一堂，野卉柔叶、鲜菌佳果皆含生趣，蛱蝶蜻蜓穿梭其间，野逸灵动，尽显江南画派的淡冶生机。\n\n画间题跋盛赞其写生神妙，兼具宋人的写实工致与元人的简逸意趣，寻常野趣被点染成清雅可观的长卷，淡墨轻色间铺陈出闲散雅致的文人意韵，是草虫蔬果写生的绝佳范本。",[23,24,25,7,27,28,209,337,439,557,256,456,3676,1550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61754fc4a7f484e9027edfa11300a3.jpg",[],128,{"id":3987,"slug":3988,"title":3989,"dynasty":133,"author":534,"museum":151,"description":3990,"tags":3991,"thumbUrl":3992,"material":442,"size":3993,"collection":124,"collections":3994,"showCount":3985,"zanCount":48,"manualWeight":48,"mainColor":49},220861,"weng-you-tu-juan-zhao-meng-fu-220861","瓮牖图卷","本幅山石无皴，仅钩勒轮廓，后填以青绿，人物衣纹行笔柔畅有力，有唐人古风。画幅右下有千字文「索」字编号，卷后则有项元汴题识「明嘉靖卅年（1558）秋八月重装于天籁阁」，并有「原价五十两」之记述。",[23,154,24,7,26,27,29,117,34,63,69,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c265c6055d0d6827a4346a3f36f861.jpg","27.1×100.5cm",[124,45],{"id":3996,"slug":3997,"title":3998,"dynasty":54,"author":3999,"museum":1934,"description":4000,"tags":4001,"thumbUrl":4004,"material":78,"size":4005,"collection":124,"collections":4006,"showCount":3985,"zanCount":699,"manualWeight":48,"mainColor":128},219124,"jin-jiang-tu-juan-sun-zhi-219124","锦江图卷","孙枝","孙枝，明，字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人，生卒年不详。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳",[23,24,7,26,27,29,118,405,31,3874,66,34,610,38,4002,73,4003,2965],"水面","远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c919032926458bb7688a31b9f9ffdb.jpg","37X595cm",[124],{"id":4008,"slug":4009,"title":4010,"dynasty":54,"author":55,"museum":151,"description":4011,"tags":4012,"thumbUrl":4013,"material":78,"size":4014,"collection":44,"collections":4015,"showCount":3985,"zanCount":791,"manualWeight":48,"mainColor":49},218532,"guan-bang-tu-chou-ying-218532","观榜图","明清时代之考试主要分三级，初级为院试，及格者通称生员，亦称秀才。二级为乡试，中者为举人，榜首称解元。最高一级为会试，举人均可参加，中者称贡士，榜首称会元。贡士得入殿廷由皇帝面试，殿试成绩最高者为状元，次名称榜眼，三名称探花。画中观榜人潮汹涌，高中者兴奋地登马而去，落榜首，则满脸沮丧，由人搀扶，颓然而返。",[23,24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x 2178.4厘米，原迹内心为32.5 x 1822厘米，卷尾无书写纪年和史款。如有，会更加长。卷尾无书写纪年和史款，约书于绍圣二年（1095年）。卷内钤有“ 内府书印”“绍兴”连珠印、 “内省斋”“秋壑图书”“欧阳玄印”“项子京家珍藏”等印鉴，还有项元汴跋。此卷是传世黄书中的名迹，《式古堂书画会考》、安歧的《黑缘会观》等书均有著录。\n黄庭坚草书的巨大成就，在《廉颇蔺相如列传》长卷大放异彩。作为山谷51岁时的成熟代表作，此帖已走出了早期《花气诗帖》用笔生硬、少圆转的起步状态，更加完善了中期《杜甫寄贺兰铦诗帖》笔法圆劲、笔势连绵的特点。丰富多样的掠笔、带笔、蹲笔，尤其是独创的颤笔技法，让线条极富振荡感，洋溢着活跃跃的韵律之美，赋予了草书以崭新的境界。",[23,119,1892,7,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69389dffdd14a5bc5b44aab4f492bbcf.jpg","纵32.5厘米，横1822厘米",[543],127,{"id":4027,"slug":4028,"title":3352,"dynasty":225,"author":1472,"museum":227,"description":4029,"tags":4030,"thumbUrl":4031,"material":4032,"size":217,"collection":543,"collections":4033,"showCount":4025,"zanCount":914,"manualWeight":48,"mainColor":128},221040,"huang-ting-jing-wang-xi-zhi-221040","《黄庭经》，王羲之书，小楷，一百行。原本为黄素绢本，在宋代曾摹刻上石，有拓本流传。此帖其法极严，其气亦逸，有秀美开郎之意态。关于黄庭经，有一段传说：山阴有一道士，欲得王羲之书法，因知其爱鹅成癖，所以特地准备了一笼又肥又大的白鹅，作为写经的报酬。王羲之见鹅欣然为道士写了半天的经文，高兴地“笼鹅而归”。原文载于南朝《论书表》，文中叙说王羲之所书为《道》、《德》之经，后因传之再三，就变成了《黄庭经》了。\n因此，《黄庭经》又俗称《换鹅帖》，无款，末署“永和十二年(356)五月”，现在留传的只是后世的摹刻本了。\n《黄庭经》是道教上清派的重要经典，也被内丹家奉为内丹修炼的主要经典，属于洞玄部。现传《黄庭经》有《黄庭内景玉经》、《黄庭外景玉经》、《黄庭中景玉经》三种，因中经出黄庭经赏析(5张)现较晚，可以暂置不论书中认为人体各处都有神仙，首次提出了三丹田的理论。介绍了许多存思观想的方法。关于内外经的作者、成书年代及其相互关系，向来有多种说法。\n《黄庭经》有诸多名家临本传世，如智永、欧阳询、虞世南、褚遂良、赵孟頫等，他们均从中探究王书的路数，得到美的启示。然而也有人认为小楷《黄庭经》笔法不类王羲之，因此亦有真伪之辨。",[23,119,537,1229,7,193,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303d3c3bce951777b8528e37c006a802.jpg","黄素绢本",[543,1013],{"id":4035,"slug":4036,"title":4037,"dynasty":18,"author":796,"museum":20,"description":4038,"tags":4039,"thumbUrl":4041,"material":442,"size":4042,"collection":543,"collections":4043,"showCount":4025,"zanCount":791,"manualWeight":48,"mainColor":49},219145,"xing-kai-shu-po-qiang-tie-ba-zan-juan-mi-fei-219145","行楷书·破羌帖跋赞卷","此帖乃米芾为王羲之《破羌帖》所作题赞，属于米芾晚年绘画代表之作。小楷书笔力秀劲，体势健拔，欹侧纵逸，潇洒奔放又不失法度，整体色调率真自然、意趣盎然。根据款署“癸未岁”，可知其书于北宋崇宁二年（1103）。\n\n赵孟頫早年学书，广益多师，对颜真卿、米芾等墨迹多有临习，在其书作中也能展现受这种名家风格的影响，这从《行书二赞二诗》中便可看到端倪。但是，他最后放弃纵肆放逸的抒写方式，选择了追寻“二王”平和雅静的书风，进而取得卓尔不群的艺术面目。",[23,119,120,537,7,193,4040,1229,2917],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be5a5a72c93f1b4b721df242bc15f84.jpg","纵22.9厘米，横48.2厘米",[543],{"id":4045,"slug":4046,"title":4047,"dynasty":133,"author":534,"museum":20,"description":4048,"tags":4049,"thumbUrl":4054,"material":78,"size":4055,"collection":44,"collections":4056,"showCount":4025,"zanCount":978,"manualWeight":48,"mainColor":128},218772,"tian-ma-tu-bing-shu-ge-juan-zhao-meng-fu-218772","天马图并书歌卷","《天马图》中奚官控辔于前，马匹静立在后。人物面部刻画粗疏，衣纹绘制单薄板滞，马匹线条迟涩乏力，均与赵孟頫《人骑图》等真迹相去甚远。图后篆书杜甫《天育骠骑歌》，行笔无赵书出入李斯、李阳冰小篆的婉转轻灵，笔力尤欠圆劲，加之松雪并无署款所称延祐四年（1317）“奉使开平日久”之事，故为伪作。",[23,4050,25,7,27,28,61,90,4051,120,4052,119,1044,4053],"元代","鞍马","墨笔","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a51b24ca51e47b9ac121ccd854e27b.jpg","纵32.2厘米，横62.5厘米",[44,543],{"id":4058,"slug":4059,"title":4060,"dynasty":149,"author":1844,"museum":227,"description":4061,"tags":4062,"thumbUrl":4063,"material":217,"size":217,"collection":217,"collections":4064,"showCount":4065,"zanCount":791,"manualWeight":48,"mainColor":128},227269,"he-le-shi-nv-tu-juan-zhou-wen-ju-227269","合乐仕女图卷","周文矩，善于深入观察和体会现实生活中的各色人物，把握他们的思想感情和性格特征，因此塑造出来的人物各不相同，达到形神兼备的艺术境界。他的仕女画从题材内容到表现形式，都继承了唐代周昉的传统。",[23,154,24,25,7,28,27,61,155,157,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a4a4fc246817c7f82bed9a7d2c919.jpg",[],126,{"id":4067,"slug":4068,"title":4069,"dynasty":18,"author":1761,"museum":56,"description":4070,"tags":4071,"thumbUrl":4072,"material":384,"size":4073,"collection":42,"collections":4074,"showCount":4065,"zanCount":914,"manualWeight":48,"mainColor":49},221391,"yan-lan-qiu-xiao-tu-fan-kuan-221391","烟岚秋晓图","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[23,24,25,7,29,118,27,117,34,37,2520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4500b9eb4cfa21cb904ea04c412212b.jpg","40x603.3cm",[42,124,103],{"id":4076,"slug":4077,"title":4078,"dynasty":250,"author":635,"museum":227,"description":4079,"tags":4080,"thumbUrl":4082,"material":217,"size":217,"collection":217,"collections":4083,"showCount":4084,"zanCount":914,"manualWeight":48,"mainColor":49},230202,"qian-long-di-hou-fei-xiang-juan-lang-shi-ning-230202","乾隆帝后妃像卷","郎世宁绘制的《乾隆肖像》是圆明园 珍品，是乾隆皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n原属圆明园收藏 【名称】：乾隆肖像 【类别】：字画 【年代】：清 【文物原属】：原属 收藏 【文物现状】： 【简介】： 绘制的《乾隆肖像》是 艺术品珍品，是 皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n乾隆皇帝主政的六十年中，甚为重视学术文化的整理和弘扬。\n其中以乾隆叁十八年（177）开始的 编纂工作最为令人称道。\n他聚集 、 、 、 等著名学者，将中国历代重要典籍整理并钞录下来，分隶于四部四十四类之下。\n全书卷帙浩繁、包罗万千，可谓中国传统学术文化的一次总整理，也是十八世纪当时学风的充分呈现。\n郎世宁（Giuseppe Castiglione‎,1688—1766）是意大利人，生于米兰，清康熙帝五十四年（1715）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙帝、雍正帝、乾隆帝的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾隆帝时 的代表人物。\n他的代表作品有《聚瑞图》、《嵩献英芝图》、《百骏图》（见插图）、《弘历及后妃像》、《 》等。",[23,24,25,4081,28,27,7,61,156,193],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d20cbf88f26d2d9ea6382115ba01bed.jpg",[],125,{"id":4086,"slug":4087,"title":4088,"dynasty":18,"author":832,"museum":151,"description":4089,"tags":4090,"thumbUrl":4091,"material":384,"size":4092,"collection":42,"collections":4093,"showCount":4084,"zanCount":48,"manualWeight":48,"mainColor":49},221544,"shi-ba-xue-shi-tu-juan-liu-song-nian-221544","十八学士图卷","作品描绘十八学士们的雅集生活。唐初十八学士这一历史，传到两宋，已经成为了典故。这些雅集活动大多不可缺少琴、棋、书、画四样东西。此外，歌舞曲艺、古玩彝器、诗词歌赋酒美食也都成为宋人文人雅集时候所常见的内容。",[23,24,25,7,28,27,61,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292859c44e3f3bde81de6bbfbd870ca.jpg","44.5x182.3",[42,44,45],{"id":4095,"slug":4096,"title":1681,"dynasty":18,"author":415,"museum":227,"description":4097,"tags":4098,"thumbUrl":4099,"material":1050,"size":1051,"collection":217,"collections":4100,"showCount":4101,"zanCount":914,"manualWeight":48,"mainColor":128},289751,"xi-yuan-ya-ji-tu-li-gong-lin-289751","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,154,24,7,174,114,61,275,3948,117,1794,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed8d9f7cb34c0f070daee4971c5f00e.jpg",[],124,{"id":4103,"slug":4104,"title":4105,"dynasty":54,"author":110,"museum":227,"description":4106,"tags":4107,"thumbUrl":4108,"material":1050,"size":1051,"collection":217,"collections":4109,"showCount":4101,"zanCount":914,"manualWeight":48,"mainColor":128},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,154,24,1408,7,29,2161,118,119,120,193,117,34,35,64,115,116,690,3077,2520,196,63,2791,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],{"id":4111,"slug":4112,"title":4113,"dynasty":18,"author":4114,"museum":20,"description":4115,"tags":4116,"thumbUrl":4119,"material":40,"size":4120,"collection":217,"collections":4121,"showCount":4101,"zanCount":1106,"manualWeight":48,"mainColor":128},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","王诜","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,25,7,114,27,118,28,29,606,4117,117,34,64,115,764,4118,63,196,37,119,120,193],"小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":4123,"slug":4124,"title":4125,"dynasty":18,"author":4126,"museum":416,"description":4127,"tags":4128,"thumbUrl":4129,"material":442,"size":4130,"collection":44,"collections":4131,"showCount":4101,"zanCount":699,"manualWeight":48,"mainColor":128},219113,"ming-fei-chu-sai-tu-zhao-jun-chu-sai-tu-gong-su-ran-219113","明妃出塞图(昭君出塞图)","宫素然","全幅气势开合起伏，将艰难行进在寒风凛列的朔野之中的和亲队伍的情境绘制出来，非常真切地再现了昭君出塞的动人场面。",[23,24,154,7,174,114,61,90,3487,155,193,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3db2cf109c619db1fdd8f9878077f27.jpg","30.2cm，横160.2cm",[44],{"id":4133,"slug":4134,"title":4135,"dynasty":250,"author":4136,"museum":20,"description":4137,"tags":4138,"thumbUrl":4141,"material":78,"size":4142,"collection":44,"collections":4143,"showCount":4101,"zanCount":978,"manualWeight":48,"mainColor":49},215859,"chong-qing-huang-tai-hou-wan-shou-qing-dian-tu-zhang-ting-yan-215859","崇庆皇太后万寿庆典图","张廷彦","弘历皇帝的生母崇庆皇后的60岁生日，举行了盛大的庆祝活动。文武百官齐聚北京，从西华门到西直门的高梁桥下，十几里路的灯光，戏曲、杂技、舞蹈等各类文艺节目，让人目不暇接。这幅四卷画真实地再现了当时的生日庆典和戏剧表演的场景，是清代戏曲的重要图像资料。",[23,154,24,25,7,28,27,61,62,1699,177,4139,4140,34],"旗帜","城池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb231085edcd0f7668e9adde95214bce.jpg","64.5x2994",[44],{"id":4145,"slug":4146,"title":4147,"dynasty":133,"author":534,"museum":20,"description":4148,"tags":4149,"thumbUrl":4150,"material":4151,"size":4152,"collection":543,"collections":4153,"showCount":4154,"zanCount":1106,"manualWeight":48,"mainColor":49},239648,"lin-lan-ting-xu-juan-zhao-meng-fu-239648","临兰亭序卷","此卷原在赵孟頫“定武兰亭”十六跋后，之后被人分割，另装在南宋翻刻兰亭拓本后面。赵孟頫一生对《兰亭序》极为推重，曾反复临写，此件是其晚年所临，笔法精良。加之此卷前面有南宋翻刻定武《兰亭序》拓本，以及前后尤袤、王厚之、张翥、王蒙等宋元名家题跋，更为珍贵。本幅另有清代庆锡题跋一段。\n释文（略）。本幅款署“子昂”\n鉴藏印“伯谦精鉴”、“伯谦审定真迹”、“绍庭审定”、“蛰蛰公书画”“龙友过眼”等。",[23,60,120,7,119,25,1229,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ea3e89479876fe37bc518a1e7ae087.jpg","绢本，行书","纵27.4厘米，横102厘米，28行，324字",[543],123,{"id":4156,"slug":4157,"title":4158,"dynasty":225,"author":226,"museum":227,"description":4159,"tags":4160,"thumbUrl":4161,"material":217,"size":217,"collection":217,"collections":4162,"showCount":4154,"zanCount":48,"manualWeight":48,"mainColor":49},227043,"nv-shi-zhen-tu-juan-tang-mo-ben-gu-kai-zhi-227043","女史箴图卷（唐摹本）","《女史箴图》卷（宋摹），东晋，顾恺之绘，纸本，墨笔，横601厘米，纵27.9厘米。\n《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。\n引首为乾隆帝御书“王化之始”四字，后有包希鲁、谢询、张美和、赵谦等题记。本幅钤乾隆、嘉庆、宣统、梁清标等印22方。《石渠宝笈初编》卷32、35著录。",[23,154,24,25,7,174,27,61,1009,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca625f9e64012baaba56c85b5e980dc2.jpg",[],{"id":4164,"slug":4165,"title":4166,"dynasty":133,"author":534,"museum":4167,"description":4168,"tags":4169,"thumbUrl":4171,"material":442,"size":4172,"collection":543,"collections":4173,"showCount":4154,"zanCount":978,"manualWeight":48,"mainColor":128},220843,"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","湖州博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[23,119,120,7,25,114,193,115,196,64,4170,283,1071],"孤松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[543],{"id":4175,"slug":4176,"title":4177,"dynasty":54,"author":567,"museum":56,"description":4178,"tags":4179,"thumbUrl":4180,"material":78,"size":217,"collection":44,"collections":4181,"showCount":4154,"zanCount":699,"manualWeight":48,"mainColor":128},219451,"xing-yuan-ya-ji-tu-xie-huan-219451","杏园雅集图","描绘了明正统二年（1437年）三月初一，时值阁臣们的沐休假期，杨士奇、杨荣、王直、杨溥、王英、钱习礼、周述、李时勉、陈循9位朝中大臣以及画家谢环雅集于杨荣在京师城东的府邸——杏园聚会之情景。其中，杨士奇、杨荣、杨溥时人合称“三杨”，三人均历事永乐、洪熙、宣德、正统四朝，先后位至台阁重臣，正统时以大学士辅政，权倾一时。“三杨”还是当时“台阁体”诗文的代表人物。时人称杨士奇有学行，杨荣有才识，杨溥有雅操。又以居第所处，称杨士奇为西杨，杨荣为东杨，杨溥为南杨。按照当时《翰林记》的记载，当时谢环作画，与会者人手一画，也就是说至少有九幅（画家不算）《杏园雅集图》存世（现存世两幅）。",[23,24,25,7,27,28,120,537,193,119,61,34,116,2097,157,3458,156,1550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff366cd140ea847bfbf260d622bdcd92a.jpg",[44,543],{"id":4183,"slug":4184,"title":4185,"dynasty":250,"author":4186,"museum":227,"description":4187,"tags":4188,"thumbUrl":4199,"material":217,"size":217,"collection":217,"collections":4200,"showCount":4201,"zanCount":1106,"manualWeight":48,"mainColor":128},228930,"shu-guo-tu-gu-luo-228930","蔬果图","顾洛","此作用长卷铺陈出满幅鲜活意趣，以工笔淡彩晕染描摹，设色清妍雅致。枝蔓果蔬次第绵延，宛如将乡野生机尽数铺展于素纸之上。石榴裂瓣露籽，饱满鲜活；水蜜桃色泽娇嫩，肌理宛然，各类蔬果皆刻画入微，菜叶舒展自然，浆果晶莹饱满，连蒜叶、菜根都写实生动，将日常烟火里的瓜果蔬蔬，赋予了文人画的隽雅格调，把清蔬佳果的鲜活生命力淋漓尽致地呈现，于平实间尽显雅致意韵。",[23,24,28,27,7,1819,1330,4189,4190,4191,4192,4193,4194,4195,1821,1822,4196,4197,4198,909,1948],"草莓","桃子","梨","辣椒","茄子","玉米","豆角","梅子","桑葚","栗子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf3cd4ae119b84b1a3922ca91fd46c7.jpg",[],122,{"id":4203,"slug":4204,"title":4205,"dynasty":18,"author":507,"museum":227,"description":3109,"tags":4206,"thumbUrl":4207,"material":217,"size":217,"collection":217,"collections":4208,"showCount":4201,"zanCount":48,"manualWeight":48,"mainColor":49},227688,"shi-yi-long-tu-chen-rong-227688","十一龙图",[23,154,24,25,7,114,118,511,29,37,117,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd37fa557531a1ee46077055962506d.jpg",[],{"id":4210,"slug":4211,"title":4212,"dynasty":133,"author":1206,"museum":4213,"description":4214,"tags":4215,"thumbUrl":4216,"material":353,"size":4217,"collection":44,"collections":4218,"showCount":4201,"zanCount":914,"manualWeight":48,"mainColor":128},221769,"wu-wang-zui-gui-tu-juan-ren-ren-fa-221769","五王醉归图卷","苏宁艺术馆","《五王醉归图》刻画了唐玄宗五兄弟的故事，唐玄宗年少时与四位兄弟感情和睦，经常相从宴饮，斗鸡击球，外出打猎。这张画描绘了兄弟五人一起骑马游玩的场景， 余下四人为随从仆役，九人九骑，神态各异，呼之欲出\n2020年10月8日，在香港苏富比古代书画拍卖中，《五王醉归图》最终以3.065亿港币（折合约2.7亿元人民币）成交。\n《五王醉归图》描绘了唐代临淄王李隆基（即唐玄宗，712-756年在位）与他的四个兄弟宋王李成器、申王李成礼和岐王李范、薛王李业出游饮酒，醉后骑马回家的情景。据唐郑处诲《明皇杂录》中记载，五王少时感情和睦，常一同宴饮，或喝酒、下棋，或斗鸡、击球，或打猎、游赏。此卷画中共有五王，四个侍从，九骑九乘。其中，穿深红色衣服，由两个侍从搀扶者为李隆基，坐骑为“照夜白”；在李隆基后面的是身着淡黄衣、骑乌骓马、面部醉红的宋王李宪；接着是顾前盼后、骑玉花骢的岐王李范和骑黄骢骠的薛王李业；需要侍从侧骑服侍、伏鞍欲吐者为申王李撝，坐骑为九花虬。伺从挽着袖子，一边照料身旁醉得快坐不住的王，一边还要回头问后边那位能否撑得住，好不生动。",[23,24,7,27,28,61,90,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb754a83b3cca8f419f2c984d519f85bc.jpg","35.5x212.5厘米",[44,45],{"id":4220,"slug":4221,"title":1740,"dynasty":168,"author":1741,"museum":20,"description":4222,"tags":4223,"thumbUrl":4224,"material":442,"size":1745,"collection":543,"collections":4225,"showCount":4201,"zanCount":48,"manualWeight":48,"mainColor":49},221139,"shang-yang-tai-tie-li-bai-221139","《上阳台帖》是李白所书自咏四言诗。释文：\n“山高水長，物象千萬，非有老筆，清壯可窮。十八日，上陽臺書，太白。”\n引首清高宗弘历楷书题“青蓮逸翰”四字，正文右上宋徽宗赵佶瘦金书题签：“ 唐李太白上陽臺”一行。\n后纸有宋徽宗赵佶，元张晏、杜本、欧阳玄、王馀庆、危素、驺鲁，清乾隆皇帝题跋和观款。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彜齋”、贾似道“秋壑圖書”，元“張晏私印”、“歐陽玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n这是李白传世的唯一书迹。其落笔天纵，收笔处一放开锋，宋黄庭坚评李白：“及观其稿书，大类其诗，弥使人远想慨然。白在开元、至德间，不以能书传，今其行、草殊不减古人。”(《山谷题跋》)\n此帖曾入宣和内府，后归贾似道，元代曾经张晏处，明藏项元汴天籁阁。清代先为安岐所得，再入内府，清末流出宫外。民国时入张伯驹手，新中国成立后献给国家。1958年此帖转交故宫博物院收藏。",[23,154,25,7,120,119,1229,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddf2bf1d39afff56bc9da86e3bbf57.jpg",[543],{"id":4227,"slug":4228,"title":4229,"dynasty":250,"author":4230,"museum":349,"description":4231,"tags":4232,"thumbUrl":4233,"material":27,"size":4234,"collection":124,"collections":4235,"showCount":4201,"zanCount":1106,"manualWeight":48,"mainColor":4236},214176,"xie-qin-you-ju-tu-tu-xiang-zeng-qiang-cha-shi-biao-214176","携琴幽居图(图像增强)","查士标","查士标（1691年-1765年），字叔标，号槃湖，清代著名山水画家。他是清代著名的四王之一，与石涛、郎世宁、唐伯虎合称“四王”。查士标擅长山水画，尤其以山水风景和人物画闻名。",[24,27,118,7,29,116,63,64,34,117,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6e5f238a3606b6d1cab864e69f3c2f.jpg","135.8*25.5",[124],"aaa79f",{"id":4238,"slug":4239,"title":4240,"dynasty":250,"author":4241,"museum":227,"description":4242,"tags":4243,"thumbUrl":4244,"material":1411,"size":4245,"collection":261,"collections":4246,"showCount":4247,"zanCount":1037,"manualWeight":48,"mainColor":128},223158,"qun-xian-zhu-shou-tu-fu-dao-ren-xiong-223158","群仙祝寿图佛道","任熊","此幅图画场面宏大，共绘神仙达22位之多，八仙中的七仙，寒山、拾得等包括佛教、道教及民间信仰的各路神仙。",[23,24,154,25,7,173,28,27,61,62,29,34,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea49554b72b9cdd2c017d8d51d64b0c0.jpg","86X170cm",[261],121,{"id":4249,"slug":4250,"title":4251,"dynasty":54,"author":110,"museum":20,"description":4252,"tags":4253,"thumbUrl":4254,"material":752,"size":4255,"collection":124,"collections":4256,"showCount":4247,"zanCount":1106,"manualWeight":48,"mainColor":128},222128,"xi-shan-yu-guan-tu-juan-shen-zhou-222128","西山雨观图卷","画心无款识，钤“沈”（朱方）、“石田”（朱方）、“启南”（朱方）印。引首文徵明书“西山雨观”隶书四字。后有陈沂、顾璘、文徵明、汤珍、蔡羽、徐充、文彭、盛时泰、文嘉九家题跋。鉴藏印钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“子孙永保其用”、“修竹馆”、“石渠宝笈”、“石渠宝鉴”、“宝笈重编”、“乐寿堂鉴藏宝”、“宁寿宫续人后渠宝笈”、“嘉庆御览之宝”、“无逸斋精鉴玺”、“宣统鉴赏”、“盛仲交”、“商丘宋犖审定真迹”等。\n画面描绘苏州西山烟云变化、雨霁烟消的景色。沈周仿南宋书画家米友仁的笔法，描绘峰峦连绵起伏，山间云雾出没，林木层叠，村庄、湖泊、小桥被笼罩在烟霭之中。山石和草木均用水墨点成，浑然一体，不见线条及皴擦的痕迹，显示出画家高超的绘画水平和独到的审美韵味。卷后题跋者都是苏州地区的文人墨客，他们常互邀相聚，饮酒赋诗，切磋画艺，探究学问，他们在诗跋中表达了对《西山雨观图》的赞美，可见该图在明代中后期文人中产生了颇为重要的艺术影响和审美共鸣。",[23,24,25,7,114,29,118,119,193,37,34,690,799,1662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[124,103],{"id":4258,"slug":4259,"title":4260,"dynasty":18,"author":294,"museum":227,"description":1621,"tags":4261,"thumbUrl":4264,"material":1050,"size":1051,"collection":217,"collections":4265,"showCount":4266,"zanCount":914,"manualWeight":48,"mainColor":49},287892,"xie-sheng-ling-mao-tu-zhao-ji-287892","写生翎毛图",[23,154,24,7,27,28,209,196,337,4262,281,456,4263],"荔枝","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991c70342fcdd1f954ce69e99322aad5.jpg",[],120,{"id":4268,"slug":4269,"title":4270,"dynasty":54,"author":110,"museum":227,"description":4271,"tags":4272,"thumbUrl":4273,"material":217,"size":217,"collection":217,"collections":4274,"showCount":4266,"zanCount":791,"manualWeight":48,"mainColor":128},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[23,154,24,7,114,27,29,765,63,64,115,764,3066,34,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],{"id":4276,"slug":4277,"title":4278,"dynasty":54,"author":430,"museum":4279,"description":4280,"tags":4281,"thumbUrl":4284,"material":384,"size":4285,"collection":217,"collections":4286,"showCount":4266,"zanCount":1037,"manualWeight":48,"mainColor":49},223381,"qian-qiu-jue-yan-tu-yi-ming-223381","千秋绝艳图","中国国家博物馆","此卷在六米多长的画面上，绘写了近七十位古代仕女形象，画中女子采用工笔重彩，多用铁线描钩勒衣纹。服饰敷彩妍丽鲜明。每个人物都手持或配有最能代表和体现她们身份的配物，并在右上方，各题有七言绝句一首。",[23,24,25,7,28,27,61,155,157,3458,4282,156,1798,281,4283],"饰品","珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca25007acf93fb2441506aa6e02095e.jpg","29.5x667.5厘米",[],{"id":4288,"slug":4289,"title":4290,"dynasty":133,"author":534,"museum":4291,"description":4292,"tags":4293,"thumbUrl":4294,"material":442,"size":4295,"collection":543,"collections":4296,"showCount":4266,"zanCount":978,"manualWeight":48,"mainColor":128},220853,"han-ji-an-chuan-zhao-meng-fu-220853","汉汲黯传","日本东京·永青文库","《汲黯传》被认为是传世赵孟頫的小楷名篇。不过学者一般认为这是俞和仿赵之作。俞和也多临晋人小楷如《乐毅论》等。其精工扎实、功力深厚处，是其他学赵者难以达到的。但赵的虚和婉丽，俞和却没有能学到，以此辨俞和作伪赵书，可谓洞若观火。《汲黯传》同他自临的《乐毅沦》、《临定武兰亭序》款书小楷一样，也是只见方峻刚利，而没有赵的虚婉遒媚。《汲黯传》 - 原文\n汲黯字长孺，濮阳人也。其先有宠于古之卫君。至黯七世，世为卿大夫。黯以父任，孝景时为太子洗马，以庄见惮。孝景帝崩，太子即位，黯为谒者。东越相攻，上使黯往视之。不至，至吴而还，报曰：“越人相攻，固其俗然，不足以辱天子之使。”河内失火，延烧千余家，上使黯往视之。还报曰：“家人失火，屋比延烧，不足忧也。\n臣过河南，河南贫人伤水旱万余家，或父子相食，臣谨以便宜，持节发河南仓粟以振贫民。\n臣请归节，伏矫制之罪。“上贤而释之，迁为荥阳令。黯耻为令，病归田里。上闻，乃召拜为中大夫。以数切诛，不得久留内，迁为东海太守。黯学黄老之言，治官理民，好清静，择丞史而任之。其治，责大指而已，不苛小。黯多病，卧闺阁内不出。岁余，东海大治。称之。上闻，召以为主爵都尉，列于九卿。治务在无为而已，弘大体，不拘文法。\n当是时，太后弟武安侯蚡为丞相，中二千石来拜谒，蚡不为礼。然黯见蛉未尝拜，常揖之。天子方招文学儒者，上曰吾欲云云，黯对曰：“陛下内多欲而外施仁义，奈何欲效唐虞之治乎！”上默然，怒，变色而罢朝。公卿皆为黯惧。上退，谓左右曰：“甚矣，汲黯之戆也！”群臣或数黯，黯曰：“天子置公卿辅弼之臣，宁令从谀承意，陷主于不义乎？且已在其位，纵爱身，奈辱朝廷何！”（《史记·汲郑列传》）\n译文:汲黯，字长孺，是濮阳人。他的先人被古时的卫君宠幸。到汲黯是第七代，代代做卿大夫。汲黯因为父亲而袭任官位。在孝景帝时做了太子洗马，因为严肃使人畏惧。孝素帝驾崩，太子即位，汲黯做谒者。东越人互相攻打，皇上派汲黯去观察。汲黯还没到达那里，到了吴郡就回来了，报告说：“越人互相争斗本来是他们的风俗，不足以劳顿天子的使臣前往。”黄河以北地区失火，连着烧及千余家，皇上派汲黯前往视察情况乙汲黯回来报告说：“家里人弄着了火，房子并排，所以连带烧了，不值得担忧？臣经过黄河南面。黄河南面的穷人有万余家受到水灾、旱灾的侵害，有的父子互相残食，臣以职务之便，拿令牌分发了黄河以南仓库的粟米来赈济贫民，臣还回令牌，请皇上治我假传圣旨的罪过。”皇上认为他贤能就放了他，改任荥阳县令。汲黯耻于做县令（这么小的官职），就托病回家乡了。皇上听说，就把他召回来任为中大夫。因为汲黯多次急谏，不能久留宫内，改任东海郡太守。汲黯学习黄老学说，领导官吏，治理百姓，喜好清静，选择郡丞和书吏来任用他们。他治理政事，只管大的方面，不苛求细节。汲黯多病，躺在内室里不出来，一年多，东海郡大治（治理得非常好），人们称赞他。皇上听说了，召见他，任命为主爵都尉，地位在九卿之列。汲黯做官，务求无为而治，宏扬大体，不拘泥文书法令。\n这个时候，太后的弟弟武安侯田蚡为丞相，职位在中二千石以上的官吏来拜见，田蚡都不答礼。但是汲黯见田蚡不首行跪拜礼，只是常常拱拱手。天子正招求会做文章和有学问的人，皇上说我想如何如何，汲黯应答说：“陛下内心多欲望却表面上行仁义，怎么能效法唐虞之治呢！”皇上不说话，怒气冲冲，变了脸色下了朝。公卿都为汲黯害怕。皇上退下后，对左右的人说：“太过分了，汲黯真是卤莽！”群臣中有人责备汲黯，汲藉说：“天子任命公卿等辅佐的大臣，难道让我们讨好奉承，把主上置于不义的境地吗？况且我已身在其位，纵使爱惜自己，那又怎能辱没朝廷呢！”",[23,25,119,537,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87a676feff0af7b7c4b954d4ed6ab0a.jpg","每页纵17.6cm，横17.4cm",[543],{"id":4298,"slug":4299,"title":4300,"dynasty":54,"author":110,"museum":111,"description":4301,"tags":4302,"thumbUrl":4305,"material":285,"size":4306,"collection":124,"collections":4307,"showCount":4266,"zanCount":1106,"manualWeight":48,"mainColor":128},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,24,25,7,114,118,29,4303,4304,117,34,116,64,115,35,1123,63],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[124],{"id":4309,"slug":4310,"title":4311,"dynasty":18,"author":2556,"museum":4312,"description":4313,"tags":4314,"thumbUrl":4316,"material":78,"size":4317,"collection":124,"collections":4318,"showCount":4266,"zanCount":914,"manualWeight":48,"mainColor":49},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","圣路易斯艺术博物馆","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,4315,154,24,25,7,29,114,118,27,62,63,64,117,34,61,119,120],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[124],{"id":4320,"slug":4321,"title":4322,"dynasty":133,"author":4323,"museum":111,"description":4324,"tags":4325,"thumbUrl":4326,"material":122,"size":4327,"collection":124,"collections":4328,"showCount":4329,"zanCount":48,"manualWeight":48,"mainColor":128},219742,"dan-shan-ying-hai-tu-wang-meng-219742","丹山瀛海图","王蒙","此图描绘东海蓬瀛诸岛壮阔奇伟的景色。水面上洲岛参差涌列，岛上岗峦层叠重深，长松挺立，树木稠密。岛有木桥通向对岸，山隈深处楼屋掩映。海水浩淼无际，点点舟樯扬帆风行。笔墨师承董源，缜密的披麻皴屈曲律动，峰顶密赞苔点。树木交织使用各种夹叶、勾叶、点叶法，极得荣茂之意。是王蒙笔意繁缛灵活的别体之作。",[24,25,7,114,118,29,30,34,63,115,37,193,117,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73e4abea682397150fdd3d71415104f.jpg","纵28.5厘米 横80厘米",[124],119,{"id":4331,"slug":4332,"title":4333,"dynasty":18,"author":4334,"museum":111,"description":4335,"tags":4336,"thumbUrl":4338,"material":217,"size":217,"collection":42,"collections":4339,"showCount":4329,"zanCount":1106,"manualWeight":48,"mainColor":4340},203436,"bai-miao-dao-jun-xiang-tu-juan-song-ren-203436","白描道君像图卷","宋人","以白描技法绘就的画面，道君居于核心，神光笼罩下仪态端凝。侍从仙官列队环侍，衣纹线条细劲流畅，尽显飘逸之姿；虎、龙等神兽悄然伏立，为场景注入神圣威严。背景楼阁依界画之法构建，飞檐翘角细节毕现；林木扶疏，亭桥掩映，景致层层铺展却井然有序。整卷线条刚柔相济，或如铁线勾勒轮廓，或似游丝描绘衣袂，将宗教的肃穆与自然的清幽完美融合，尽显南宋书画的典雅韵致与精湛技艺。",[23,24,25,7,174,59,173,61,62,34,4337,29,175,511],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c346d69351d49d24311e155794dd04a.jpg",[42],"988264",{"id":4342,"slug":4343,"title":4344,"dynasty":250,"author":819,"museum":20,"description":4345,"tags":4346,"thumbUrl":4348,"material":752,"size":4349,"collection":217,"collections":4350,"showCount":4351,"zanCount":1106,"manualWeight":48,"mainColor":128},233122,"sou-jin-qi-feng-tu-juan-shi-tao-233122","搜尽奇峰图卷","画卷迎首处，石涛自题：“搜尽奇峰打草稿”，钤“老涛”。画尾的空白处，有石涛于画兴之余所题写的长篇画论：“郭河阳论画，山有可望者、可游者、可居者。余曰：江南江北，水陆平川，新沙古岸，是可居者。浅则赤壁苍横，湖桥断岸，深则林峦翠滴，瀑水悬争，是可游者。峰峰入云，飞岩堕日，山无凡土，石长无根，木不妄有，是可望者。今之游于笔墨者，总是名山大川未览，幽岩独屋何居？出郭何曾百里入室，那容半年交泛滥之酒杯，货簇新之古董，道眼未明，纵横习气安可辩焉？自之曰：此某家笔墨，此某家法派，犹盲人之示盲人、丑妇之评丑妇尔，赏鉴云乎哉。不立一法，是吾宗也，不舍一法，是吾旨也，学者知之乎。时辛未二月，余将南还客且憨斋，宫纸余案，主人慎庵先生索画并识请教，清湘枝下人石涛元济。”钤“苦瓜和尚”、“冰雪悟前身”、“石涛”。\n后隔水及尾纸，有墨香堂、陈奕禧、徐云、叶河音布等家题诗和题记。全幅钤鉴藏印数十方。\n此图是他50岁云游京师所作。图中有一段对长城的描绘，这不仅是长城图像首次在山水画中出现，同时，也印证了此画的写实性以及作者所提倡的师法造化“搜尽奇峰打草稿”的美学观。该画在表现上，于奇险中见雄浑，严谨处寓虚空。虽看似笔墨豪放，皴擦点染尽在无意，而在整体上却把握了峰峦层次，云气走向及林木隐现的神韵。特别是，它的构图虽然充塞满纸，却丝毫不失疏朗空灵，这的确是只有搜尽奇峰才能炼就出的本领。",[24,25,7,114,29,118,119,193,120,4347,405,31,34,117,37,73,2038],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纵42.8厘米，横285.5厘米",[],118,{"id":4353,"slug":4354,"title":4355,"dynasty":18,"author":4356,"museum":227,"description":4357,"tags":4358,"thumbUrl":4360,"material":140,"size":4361,"collection":217,"collections":4362,"showCount":4351,"zanCount":791,"manualWeight":48,"mainColor":49},232879,"li-nu-xian-qu-tu-juan-liang-kai-232879","狸奴闲趣图卷","梁楷","宋代画坛，因为有皇家画院的支持和倡导，各类题材的国画大多崇尚描摹精微、细致逼真的画风。这种风格将我国古代工笔画推向了顶峰，也长久以来占据主流地位。但物极必反，严整的工笔画到达极致，必定会走向散乱的写意。这一方面，梁楷可谓是我国古代写意画的开山祖师。\n梁楷是南宋著名画家，师从贾师古。贾师古以师法吴道子的写实工笔著称，而梁楷能在其基础上更胜一筹，青出于蓝。梁楷曾在宁宗朝的画院供职，他继承吴道子写实技法的画风，无疑是非常受皇帝青睐的。他常常奉皇帝诏令，画了许多细腻严整的工笔画。\n这一时期的梁楷已经享有盛名，人们见到他精妙的画作，“无不敬服”。比如《狸奴闲趣图卷》里面的猫，形态各异细腻活泼，通体的毛都纤毫毕现。更不必说周围逼真的山石、花草、蝴蝶，刻画之精细，给人如在目前之感。",[23,24,154,7,27,28,997,275,454,4359,255,962,1009],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F980cc771075692f3c9ed45d7b13dcd33.jpg","33.2x185.4厘米",[],{"id":4364,"slug":4365,"title":4366,"dynasty":250,"author":251,"museum":651,"description":3230,"tags":4367,"thumbUrl":4373,"material":384,"size":4374,"collection":261,"collections":4375,"showCount":4351,"zanCount":1106,"manualWeight":48,"mainColor":128},223163,"bai-niao-chao-feng-qian-bu-fen-shen-quan-223163","百鸟朝凤（前部分）",[23,24,7,28,27,209,4368,258,571,210,196,34,1926,278,4369,2408,117,64,4370,4371,4372],"百鸟","翠竹","繁花","祥和","四季景色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6000dd4bebda5da888f414ac55bd6c91.jpg","纵40厘米，横1600厘米",[261,45],{"id":4377,"slug":4378,"title":4379,"dynasty":18,"author":3159,"museum":151,"description":4380,"tags":4381,"thumbUrl":4383,"material":27,"size":4384,"collection":42,"collections":4385,"showCount":4351,"zanCount":1106,"manualWeight":48,"mainColor":49},221456,"qie-zi-tu-juan-chen-ju-zhong-221456","茄子图卷","陈居中（生卒年不详），南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年（1207年）为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。 虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[23,154,24,25,7,28,27,4193,456,1949,557,4382],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a2515db414029768f29a0bf0dd13bc.jpg","35.8x 191.2",[42,261,45],{"id":4387,"slug":4388,"title":4389,"dynasty":133,"author":534,"museum":20,"description":4390,"tags":4391,"thumbUrl":4393,"material":442,"size":4394,"collection":543,"collections":4395,"showCount":4351,"zanCount":791,"manualWeight":48,"mainColor":128},220864,"zhen-cao-qian-zi-wen-zhao-meng-fu-220864","真草千字文","赵孟頫临写智永千字文最勤，他自称二十年来写千文以数百。赵孟頫临智永真草千字文现留存于世有两件，一卷藏于上海博物馆，另外便是这件藏于故宫博物院的册页，两件墨迹均无书写年月。这件册页未署书的年代，观其书用笔极其温润圆劲，点画精到细腻，结字妍美简静。无疑是一本初学者入门的极佳范本。本帖字迹匀称，笔势圆劲流丽，结构布局端庄秀美。不仅具有极高的艺术欣赏价值和收藏价值，也让广大书法爱好者领略到中国古典书法的一种理想境界，以柔寓刚、外柔内刚。初学者可根据每个字的用笔、结构、布势等去临摹。《赵孟頫真草千字文》这本字帖当为罕世珍品，可以说是初学者的最佳范本。",[23,119,4392,1892,7,442,3196,1229,193],"真书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd596427226b7898ee2dbf52d1143a72c.jpg","纵:24.7厘米,横:25厘米",[543],{"id":4397,"slug":4398,"title":4399,"dynasty":54,"author":3914,"museum":227,"description":4400,"tags":4401,"thumbUrl":4402,"material":140,"size":4403,"collection":543,"collections":4404,"showCount":4351,"zanCount":48,"manualWeight":48,"mainColor":49},219984,"lin-mi-fei-fang-yuan-an-ji-dong-qi-chang-219984","临米芾方圆庵记","全文共计七百六十八字，董其昌首题“方圆庵记”四大字，末署四十一小字。与米芾宋拓原文对照，第十八行阙“然而”二字；第六直三行“佛”字前阙“至于吾”三字；第六十六行中“以”原文为“其”，第七十二行中“圣”原文为“先”，第八十五行“异”后少“观”字；第九十四行则多一“庵”字。",[23,119,120,60,7,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F163332a7ddae4aba4d6a8c5694000721.jpg","高26厘米，长200厘米",[543],{"id":4406,"slug":4407,"title":4408,"dynasty":149,"author":1844,"museum":651,"description":4409,"tags":4410,"thumbUrl":4412,"material":78,"size":217,"collection":44,"collections":4413,"showCount":4351,"zanCount":914,"manualWeight":48,"mainColor":49},219495,"ming-huang-hui-qi-tu-zhou-wen-ju-219495","明皇会棋图","南唐画家周文矩的《明皇会棋图》。 画面上有八个人物，明皇坐位前置一棋局，官员一人、和尚二人、道士二人、 优人一人、侍从内官一人。关于画面上的八个人物有各种不同说法，至今未 有定论。有人认为，跟唐明皇下棋的是日本留学僧辨正；有人说，在是棋待 诏郑观音。不论画中的人物是谁，这幅作品都真实地反映了唐代宫廷中的围棋活动",[28,27,7,61,4411,156,193,119],"棋盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F004c58d3b635335bb0e20419635d93d8.jpg",[44],{"id":4415,"slug":4416,"title":4417,"dynasty":18,"author":430,"museum":56,"description":4418,"tags":4419,"thumbUrl":4425,"material":78,"size":217,"collection":124,"collections":4426,"showCount":4351,"zanCount":914,"manualWeight":48,"mainColor":49},219171,"si-ji-shan-shui-tu-yi-ming-219171","四季山水图","长卷铺展，四季流转于笔墨间。山石以斧劈皴勾勒，棱角分明如剑戟森立；树木或葱郁或萧疏，枯荣交替藏时序更迭。江波浩渺，帆影点点，山间屋舍隐现，行人穿梭林泉，尽显天人合一之趣。墨色浓淡相宜，虚实相生：远处山峦笼薄雾，近处景物纤毫毕现，层次深远如临其境。整幅画作兼具北派雄健风骨与南派秀逸雅致，于咫尺间纳千里江山，既见宋代山水画的精湛技法，更藏文人对自然时序的细腻感知与哲思。",[23,24,7,763,114,4420,117,34,602,4421,2038,71,4422,4423,4424],"斧劈皴","帆船","四季","天人合一","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9610bad6f53abc741aa292bb661c52c4.jpg",[124],{"id":4428,"slug":4429,"title":4430,"dynasty":54,"author":55,"museum":227,"description":4431,"tags":4432,"thumbUrl":4435,"material":1050,"size":1051,"collection":217,"collections":4436,"showCount":4437,"zanCount":791,"manualWeight":48,"mainColor":49},287560,"gong-nv-you-yuan-tu-juan-chou-ying-287560","宫女游园图卷","此图中的女子涵盖量是真的不少了，有围坐对弈的，有团团坐斗草的，更有乐器演奏的，梳妆熏香烫衣一样不少，慢慢均是仪式感的古代慢生活",[23,24,7,28,27,677,62,70,4433,4434],"湖石","游园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed9f08f4878403d82d79b31123c8e1d.jpg",[],117,{"id":4439,"slug":4440,"title":4441,"dynasty":18,"author":430,"museum":4442,"description":4443,"tags":4444,"thumbUrl":4445,"material":285,"size":217,"collection":44,"collections":4446,"showCount":4437,"zanCount":914,"manualWeight":48,"mainColor":49},219578,"fang-zhou-wen-ju-gong-zhong-tu-yi-ming-219578","仿周文矩宫中图","哈佛艺术博物馆","纯以铁线白描写就，线条细劲如春蚕吐丝，将仕女丰腴温婉的体态、罗衣垂坠的柔滑质感尽数勾勒。\n画面分作两段，左畔是闺阁梳妆日常：仕女对镜理鬓、净面匀妆，侍女捧具随侍，慵懒柔媚的深闺情态呼之欲出；右畔是宴乐场景，乐伎拨弹箜篌、吹奏丝竹，凝神专注的姿影静中藏动，恍若有清乐绕梁。\n素笔无彩却形神兼备，精准复刻出唐风仕女的雍容韵致，将深宫闲雅日常铺陈开来，尽显古典白描人物画的线条表现力与叙事意趣。",[23,24,25,7,174,61,155,157,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0e9606ed2bb57682b7a0e21098e2c3.jpg",[44],{"id":4448,"slug":4449,"title":4450,"dynasty":250,"author":3062,"museum":20,"description":4451,"tags":4452,"thumbUrl":4454,"material":78,"size":4455,"collection":124,"collections":4456,"showCount":4437,"zanCount":48,"manualWeight":48,"mainColor":49},218366,"lu-shan-bai-yun-tu-wang-hui-218366","庐山白云图","此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。据王翚自题，因30年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。”这幅作品恰恰印证了王时敏对王翚的评价。\u2028　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。",[23,24,25,7,114,27,29,4453,30,34,419,116,37,117,35,118],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fdd2ef1404824446ef2999ef18a75.jpg","纵35厘米，横323.5厘米",[124],{"id":4458,"slug":4459,"title":4460,"dynasty":18,"author":832,"museum":227,"description":4461,"tags":4462,"thumbUrl":4465,"material":78,"size":4466,"collection":44,"collections":4467,"showCount":4437,"zanCount":1037,"manualWeight":48,"mainColor":49},216738,"ren-wu-gu-shi-tu-juan-liu-song-nian-216738","人物故事图卷","人物故事图卷是宋朝时期的一部传统文学作品，由刘松年编撰。这部作品记录了中国历史上许多杰出人物的生平故事，内容涵盖了从周朝到宋朝的历史时期。人物故事图卷以简要的文字和生动的图画讲述了各个人物的故事，并通过对比和描述来展示他们的性格、品质和道德。这部作品对了解中国历史和文化具有重要意义，并且今天仍然是中国传统文学研究的重要参考资料。",[23,28,27,7,120,119,59,61,62,70,34,117,211,731,4463,116,68,4464,2408,1298],"衣冠","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[44],{"id":4469,"slug":4470,"title":4471,"dynasty":149,"author":4472,"museum":227,"description":4473,"tags":4474,"thumbUrl":4475,"material":1050,"size":1051,"collection":217,"collections":4476,"showCount":4477,"zanCount":1106,"manualWeight":48,"mainColor":49},290143,"yao-miao-san-tu-tu-huang-ju-cai-290143","药苗三兔图","黄居寀","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[24,154,7,28,27,209,3222,196,281,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb438f57aef3d2f318cc466e59d223e48.jpg",[],116,{"id":4479,"slug":4480,"title":2937,"dynasty":18,"author":86,"museum":227,"description":4481,"tags":4482,"thumbUrl":4492,"material":217,"size":217,"collection":217,"collections":4493,"showCount":4477,"zanCount":48,"manualWeight":48,"mainColor":49},227394,"qing-ming-shang-he-tu-juan-zhang-ze-duan-227394","《清明上河图》卷，北宋，张择端作，绢本，淡设色，纵24.8厘米，横528厘米。\n《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。\n后幅有金张著、明吴宽等13家题记，钤96方印。\n《清河书画舫》、《庚子销夏记》、《式古堂书画记》等书著录。",[154,24,25,7,4483,4484,4485,4486,4487,3165,67,92,4488,68,91,4489,4490,72,4491,71,97],"淡设色","兼工带写","散点透视","汴河","虹桥","漕船","骆驼","市井人物","城市生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6d5b509133b871c36ef9d9b4df3ba5.jpg",[],{"id":4495,"slug":4496,"title":4497,"dynasty":18,"author":650,"museum":227,"description":4498,"tags":4499,"thumbUrl":4500,"material":217,"size":217,"collection":217,"collections":4501,"showCount":4502,"zanCount":1106,"manualWeight":48,"mainColor":49},227600,"xi-shan-qiu-ji-tu-ju-bu-yi-guo-xi-227600","溪山秋霁图（局部一）","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[23,154,24,7,114,118,29,34,37,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d640d86977ce4b9c75fce90e0ebd9d.jpg",[],115,{"id":4504,"slug":4505,"title":4506,"dynasty":18,"author":4507,"museum":227,"description":4508,"tags":4509,"thumbUrl":4510,"material":217,"size":217,"collection":217,"collections":4511,"showCount":4502,"zanCount":1106,"manualWeight":48,"mainColor":128},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[23,154,24,25,7,174,114,118,29,61,115,116,196,34,468,62,64,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],{"id":4513,"slug":4514,"title":4515,"dynasty":133,"author":4516,"museum":111,"description":4517,"tags":4518,"thumbUrl":4519,"material":752,"size":4520,"collection":103,"collections":4521,"showCount":4502,"zanCount":914,"manualWeight":48,"mainColor":128},221832,"mo-zhu-tu-juan-ke-jiu-si-221832","墨竹图卷","柯九思","元代伯颜不花题记：予旧藏东坡枯木丛竹一小卷，每闲暇，于明窗净几间，时复展玩，不觉尘虑顿消，颇得佳趣耳。 一日，友人赠我文湖州墨竹一枝，与坡仙画枯木图高下一般，不差分毫， 喜曰：此天成配偶也！如张华之雄剑遇雷焕之雌剑， 遂合于延平之津，神物有对，终必合也，此卷亦然。遂粘为一卷， 名曰：二妙事岂偶然哉？至正十五年岁在乙未十月上浣，高昌伯颜不花苍岩谨识。济南邢侗子愿鉴定。",[23,24,25,7,114,275,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc715dfe5b99d815d10e9ee48591023.jpg","纵23.4厘米，横87厘米",[103,1873],{"id":4523,"slug":4524,"title":4525,"dynasty":18,"author":3727,"museum":151,"description":4526,"tags":4527,"thumbUrl":4529,"material":27,"size":4530,"collection":42,"collections":4531,"showCount":4502,"zanCount":48,"manualWeight":48,"mainColor":128},221227,"hu-xiang-xue-bu-tu-juan-zhao-ling-rang-221227","湖乡雪捕图卷","此作用淡墨晕染出江南雪后的萧寒清寂，以留白衬出遍野积雪，坡岸沙洲覆着薄雪，汀渚逶迤向远，尽显平远小景的幽旷淡荡。\n枯木虬枝错落，竹丛清劲挺拔，林间茅舍隐现，不见村人渔事，只留空寂的雪色天地。笔法温婉秀雅，淡墨轻勾慢染，不着浓艳重彩，将冬日湖乡的静谧空濛晕染开来，不取雄奇壮阔之景，只以细碎小景铺就幽寂诗意，把江南雪后的雅致清寒娓娓铺展，尽显淡远萧散的文人逸趣，是小景山水里的绝佳逸品。",[23,154,24,7,114,27,29,973,1123,1857,117,1186,118,4528,69],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a702fe2585679e8059dde2bea057470.jpg","25.9x161.7",[42,124,103],{"id":4533,"slug":4534,"title":4535,"dynasty":18,"author":832,"museum":151,"description":4536,"tags":4537,"thumbUrl":4538,"material":78,"size":4539,"collection":124,"collections":4540,"showCount":4502,"zanCount":791,"manualWeight":48,"mainColor":49},218530,"tian-bao-jiu-ru-tu-liu-song-nian-218530","天保九如图","此卷是刘松年所作，画风精细，似乎是在文征明之后，卷首有宋高宗的题词，但不是真迹。",[23,24,25,7,26,27,28,118,29,62,116,230,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4c2a25e8fe1441ec33f5a675e61a18.jpg","53.8x302.2cm",[124],{"id":4542,"slug":4543,"title":4544,"dynasty":54,"author":269,"museum":227,"description":4545,"tags":4546,"thumbUrl":4547,"material":217,"size":217,"collection":217,"collections":4548,"showCount":4549,"zanCount":1106,"manualWeight":48,"mainColor":128},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,24,25,7,114,272,193,120,274,282,275,283,277,278,280,279,434,404,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":4551,"slug":4552,"title":4553,"dynasty":54,"author":4554,"museum":4555,"description":4556,"tags":4557,"thumbUrl":4558,"material":40,"size":4559,"collection":261,"collections":4560,"showCount":4549,"zanCount":914,"manualWeight":48,"mainColor":49},221940,"bai-he-tu-juan-bian-wen-jin-221940","百鹤图卷","边文进","四川省博物馆","此图笔墨精炼，色调明快，绘白鹤近百只，皆丹顶白毛黑尾长腿，或空中盘旋、或水中嬉戏、或伏地栖息、或飞鸣啄食、或舒翼理毛……神态各异，莫不栩栩如生，各臻其妙。鹤群栖息之处鲜花绽放、松树遒劲、水流奔腾、湖石耸立，群鹤和睦，情景融融。",[23,24,7,28,27,209,257,1298,194,117,34,196,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94bd1c5f39208d59af0aa9219a8508f.jpg","25.4*241.33cm",[261,45],{"id":4562,"slug":4563,"title":4564,"dynasty":54,"author":3914,"museum":1270,"description":4565,"tags":4566,"thumbUrl":4567,"material":122,"size":4568,"collection":124,"collections":4569,"showCount":4549,"zanCount":914,"manualWeight":48,"mainColor":49},220429,"hua-fa-mi-jue-tu-dong-qi-chang-220429","画法秘诀图","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，今上海市人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。",[23,24,25,7,114,27,29,34,117,35,119,120,193,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F335b0d30fc47e443891fea49553c18fa.jpg","31x276.5",[124,45],{"id":4571,"slug":4572,"title":4573,"dynasty":168,"author":674,"museum":227,"description":4574,"tags":4575,"thumbUrl":4577,"material":1050,"size":1051,"collection":217,"collections":4578,"showCount":4579,"zanCount":914,"manualWeight":48,"mainColor":49},290156,"liu-li-tang-ren-wu-tu-zhou-fang-290156","琉璃堂人物图","《琉璃堂人物图》上一共画有11人，其中有僧1人，文士7人，侍者3人。该画作描绘唐朝诗人王昌龄与其诗友在江宁县丞任所琉璃堂厅前聚会吟唱的故事。该画作色彩淡雅，格调清逸，衣纹线描顿挫转折，做服“战笔”描，与今传《重屏会棋图》用笔一致。",[23,154,24,7,61,27,28,1794,1796,4576,119,193],"文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12046a5b0dcd14509fbc2516cadb18b.jpg",[],113,{"id":4581,"slug":4582,"title":4583,"dynasty":54,"author":1982,"museum":227,"description":2436,"tags":4584,"thumbUrl":4585,"material":1050,"size":1051,"collection":217,"collections":4586,"showCount":4579,"zanCount":914,"manualWeight":48,"mainColor":128},287867,"qun-ying-tu-xiu-tu-juan-quan-juan-zhou-zhi-mian-287867","群英吐秀图卷全卷",[23,154,24,7,27,28,209,274,277,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9376170452f4611e36c408f82f4d059d.jpg",[],{"id":4588,"slug":4589,"title":3934,"dynasty":250,"author":819,"museum":227,"description":1772,"tags":4590,"thumbUrl":4591,"material":1050,"size":1051,"collection":217,"collections":4592,"showCount":4593,"zanCount":1106,"manualWeight":48,"mainColor":128},288091,"shan-shui-tu-juan-shi-tao-288091",[23,24,7,25,114,118,29,62,117,605,64,2038,116,664,120,119,193,2520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6af245446b0e5843dd2cd8f5b76edc.jpg",[],112,{"id":4595,"slug":4596,"title":4597,"dynasty":250,"author":430,"museum":227,"description":4598,"tags":4599,"thumbUrl":4600,"material":217,"size":217,"collection":217,"collections":4601,"showCount":4593,"zanCount":791,"manualWeight":48,"mainColor":4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“画家类能具其相貌，但吾辈胸次。\n自应有一种风规，俾神气悠然，韵味清远，不为物态所拘，便有佳处。 况吾所存，无媚于世而能合于众情者，要在悟此。\n”所以，这是一位皇族画家在受到皇帝恩典后发自内心的无限感激和祈祝之后创作的绘画。\n不过，也有学者认为，《万松金阙图》主要描绘了平江府天庆观及其周围的景致，图中金阙（楼阁）是天庆观内三清殿等为皇家祈福的道教圣殿，是一幅粉饰太平、歌颂孝宗赵昚的绘画作品。\n全图的笔法清细随意，并参用了一些意笔，格调柔丽雅洁，毫无匠气，意味着南宋青绿山水画的崛起。\n这件山水长卷的超越前人之处在于摆脱了自六朝以来青绿山水以钩廓填色的艺匠手法，有机地融进了一些文人意笔。\n使两者巧妙地糅合为一体，画家大量地运用了墨点，横点联树成片，竖点作青苔，手法较为自由随意，这在当时是极富有创意的笔墨技巧。\n山间布置几处“金阙”建筑，用没骨法涂金敷色而成，突出于万松之表。\n几处建筑虽只露顶部，仍可见其造型的准确。\n近景的山石用皴笔为之，浑厚凝重，透视感强。\n此图同时还吸收了马和之等文人画家的笔墨新形式、新趣味，形成了笔法清细繁复、格调清新秀雅的新风格。\n此图开卷作海天杳渺，月明霞青，高松数株挺拔而立，群鹤翔集。\n海岸延伸至海中的礁石嶙峋黝黑，海浪平静起伏。\n坡岸上绿草成茵，围绕松树有一片桃林，红花点点相映其间，仅此开卷一段便有无穷景致。\n起伏层叠的峰岗构成了画面主体，或远或近，或平或伏，皆郁郁葱葱。\n《万松金阙图》显示了赵伯骕在继承传统和改革创新的成功尝试：构图和设色继承唐代李思训《江帆楼阁图》的绘画传统，但又有所突破。\n因此，《万松金阙图》可以视为宋代青绿山水从追求北方的雄浑之美向江南水乡清雅之美转变的一件典型作品，为其后元代文人山水画的发展开创了新局面。\n从该图钤印可知，该图历经清梁清标、安岐、乾隆帝、宣统帝收藏，民国初年被溥仪盗出宫外，新中国成立后被国家收购，195年由文化部文物局（今国家文物局）拨交北京故宫博物院。\n该图曾经《墨缘汇观》、《大观录》著录。\n217年9月15日至12月14日，《万松金阙图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯骕（1124～1182） ，南宋宗室，寄居平江府（治今江苏苏州），字希远。\n燕懿王赵德昭后裔。\n绍兴初，荫补入仕，为承节郎、监绍兴府馀姚县酒税。\n历任侍卫马军司干办公事、浙西安抚司干办官。\n隆兴二年（1164），擢浙西兵马副部监兼职德寿宫。\n进浙西兵马钤辖。\n乾道七年（1171），副中书舍人赵雄出使金朝，贺金主生日。\n还朝，自武翼郎超转武翼大夫，俄升浙西副总管。\n淳熙中，累迁浙西提点刑狱，官终武功大夫、和州防御使。\n善画山水花木，傅染轻盈，颇有生意。\n作品有《万松金阙图》、《仙峤白雪图》等。",[23,24,154,7,26,27,28,118,29,1298,62,117,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1377606a06e9e5e04495fcfb385c4f1.jpg","绢本青绿设色","纵27.7厘米，横136厘米",[],{"id":4614,"slug":4615,"title":4616,"dynasty":225,"author":1472,"museum":227,"description":4617,"tags":4618,"thumbUrl":4619,"material":217,"size":4620,"collection":543,"collections":4621,"showCount":4593,"zanCount":48,"manualWeight":48,"mainColor":49},221030,"ding-wu-ben-lan-juan-wang-xi-zhi-221030","定武本兰卷","笔势洞精，笔法严谨遒劲",[23,119,120,2917,1229,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5e671a68d12677bedaa825f200d12c.jpg","35x270cm",[543],{"id":4623,"slug":4624,"title":2517,"dynasty":133,"author":534,"museum":20,"description":2518,"tags":4625,"thumbUrl":4628,"material":40,"size":217,"collection":261,"collections":4629,"showCount":4593,"zanCount":791,"manualWeight":48,"mainColor":128},220868,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220868",[23,27,28,7,119,193,90,34,31,61,4626,29,4627],"秋天","牧放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c122896a7022800e9082ba42a60e43f.jpg",[261,45],{"id":4631,"slug":4632,"title":4166,"dynasty":18,"author":415,"museum":151,"description":4633,"tags":4634,"thumbUrl":4635,"material":285,"size":4636,"collection":44,"collections":4637,"showCount":4593,"zanCount":1106,"manualWeight":48,"mainColor":128},218504,"gui-qu-lai-ci-juan-li-gong-lin-218504","画面以白描入笔，线条如清风拂柳，婉转间藏骨力。主角策杖徐行，衣袂飘举若流云，眉宇间漾着归隐的释然；仆从负笈紧随，姿态恭谨，似与主人共享归乡的轻悦。笔墨极简却意韵丰沛，无浓彩重墨，却以墨线的缓急粗细，勾勒出辞官归田的恬淡心境。每一笔都浸着文人对田园的向往，墨痕淡处是远离尘嚣的澄澈，线条动处是奔向本心的轻快。观者仿佛随画中人踏过青山，步入炊烟故园，感受那份不恋官场、归向自然的自在安宁。",[24,25,7,174,61,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6acdec1b46ff1f1232f15cdb6ca0b1c9.jpg","34x898.8",[44],{"id":4639,"slug":4640,"title":4641,"dynasty":133,"author":4642,"museum":20,"description":4643,"tags":4644,"thumbUrl":4647,"material":752,"size":4648,"collection":124,"collections":4649,"showCount":4650,"zanCount":791,"manualWeight":48,"mainColor":128},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,25,7,114,118,193,29,254,230,115,274,117,4002,2274,61,4003,4645,613,1948,454,1298,1123,1642,66,4646,486,456],"岸","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[124,103],111,{"id":4652,"slug":4653,"title":4654,"dynasty":133,"author":1344,"museum":1934,"description":4655,"tags":4656,"thumbUrl":4657,"material":3865,"size":4658,"collection":261,"collections":4659,"showCount":4650,"zanCount":48,"manualWeight":48,"mainColor":128},221715,"hua-niao-tu-juan-qian-xuan-221715","花鸟图卷","第一段桃花翠鸟，画一枝春桃花繁叶茂，枝头站立一只通体羽毛幽蓝的翠鸟，小鸟身体直立，极目远眺，正是鸟儿振翅起飞前的瞬间写照。第二段牡丹，画一束绿叶中，盛开着两朵淡粉的牡丹，叶子向左下微垂，似有阵阵清风掠过。第三段干枝梅，画一棵梅枝垂挂而下，错节的大小梅枝上许多梅花盛开。钱选画花鸟善于捕捉实景中最生动自然的情形，形态逼真富有情趣，此卷正是钱选这一画风的充分体现。图画设色淡雅清丽，精巧传神，洋溢着隽秀清高之美，构图虽简，但更显画家的技法精湛。\n如此形象准确，神态生动，笔力遒劲的得意之作，钱选自然要赋诗题上。在每段画的后面，都有钱选自题的七言诗一首。第一段和第三段的题诗已漫漶不能全识，第二段题诗如下：头白相看春又残，折花聊助一时欢。东君命驾归何连，犹有余情在牡丹。题诗以行楷书写，含蓄内敛、平淡天真，严谨而朴拙，颇有钟繇遗风。画卷诗情画意相得益彰，为钱选花鸟画的至精之作。卷尾署“至元甲午画于太湖之滨并题，习懒翁钱选舜举”。可知这是钱选晚年所作，正值钱选诗书画印诸艺炉火纯青之时。",[23,24,25,7,27,28,209,194,278,524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ccc0a162c10a33940263f3fc4a9708.jpg","纵38厘米 横316.7厘米",[261,103],{"id":4661,"slug":4662,"title":4663,"dynasty":18,"author":294,"museum":151,"description":4664,"tags":4665,"thumbUrl":4667,"material":40,"size":4668,"collection":42,"collections":4669,"showCount":4650,"zanCount":48,"manualWeight":48,"mainColor":49},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 五字，左下角钤“宣和殿制”印并“天下一人”画押。\n这是一幅描绘冬日雪景的山水画。画面起首远山平缓，进入中段以后，山势渐渐高耸，转而趋于平缓，整幅画面富有高低错落的节奏感，使观者仿佛身临其境，坐于舟船中，沿江眺望窗外时时变换的景色，充分展示了长卷绘画的特点和魅力。全卷用笔细劲，笔法流畅，意境肃穆凝重，代表了宋徽宗时期画院的艺术水平。",[23,7,28,118,114,27,120,537,193,29,115,4666,34,117,73],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1036396b87433672d8f6f1cab8e3a99f.jpg","纵30.3厘米，横190.8厘米",[42,124,103],{"id":4671,"slug":4672,"title":4673,"dynasty":18,"author":4674,"museum":20,"description":4675,"tags":4676,"thumbUrl":4683,"material":442,"size":4684,"collection":217,"collections":4685,"showCount":4686,"zanCount":914,"manualWeight":48,"mainColor":128},231422,"xie-sheng-tu-fa-chang-231422","写生图","法常","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。\n这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。",[23,24,25,7,114,1818,272,209,1528,4677,4678,1820,4679,4190,1330,281,278,555,435,275,985,962,4680,1824,4681,4682,1823,117],"野鸡","麻雀","水果","蔬菜","藕","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c560c5bf16abfce7333669f1d842b1.jpg","纵47.3厘米，横814．1厘米",[],110,{"id":4688,"slug":4689,"title":4690,"dynasty":250,"author":4691,"museum":227,"description":4692,"tags":4693,"thumbUrl":4694,"material":1050,"size":1051,"collection":217,"collections":4695,"showCount":4686,"zanCount":48,"manualWeight":48,"mainColor":49},224201,"lin-yan-zhen-qing-qian-zi-wen-liang-guo-zhi-224201","临颜真卿千字文","梁国治","梁国治（1723-1786），清代书法家，乾隆十三年（1748年）进士，殿试头名状元。由修撰累官东阁大学士兼户部尚书，充任过《四库全书》副总裁。平生治事缜密，廉政清俭，好学爱才。工书法，著有《敬思堂文集》。《颜真卿千字文》。",[119,60,537,7,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0643af22586246a4af13474b8d9d6cb.jpg",[],{"id":4697,"slug":4698,"title":4699,"dynasty":18,"author":4700,"museum":380,"description":4701,"tags":4702,"thumbUrl":4703,"material":1319,"size":4704,"collection":543,"collections":4705,"showCount":4686,"zanCount":1106,"manualWeight":48,"mainColor":185},221196,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221196","自作诗卷（全卷）第一段","陆游","陆游《自作诗卷》全卷长达7.01米，共写诗八首，题为《记东村父老言》、《访隐者不遇》、《游近村》、《癸亥初冬作》、《美睡》、《渡头》和《杂书》二首。这些诗都是陆游自己创作的，而且每首诗都反映了作者怡然自得的田园生活，再配以飘逸、潇洒的书法表现出来，可以说将诗人的情感和诗的意境都体现得淋漓尽致。",[23,119,7,120,539,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c86b3e25aa12cb4cbb30509110916e8.jpg","31*7017cm",[543],{"id":4707,"slug":4708,"title":4709,"dynasty":18,"author":430,"museum":151,"description":4710,"tags":4711,"thumbUrl":4715,"material":78,"size":4716,"collection":44,"collections":4717,"showCount":4686,"zanCount":914,"manualWeight":48,"mainColor":49},219215,"qi-xi-qi-qiao-tu-yi-ming-219215","七夕乞巧图","该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷",[24,25,7,28,27,59,61,116,62,34,117,70,211,625,4712,4713,4714,1857],"坐具","石阶","古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58d9388e985a9f6a1f3b8c8fc737cb.jpg","29.6x149.2厘米",[44],{"id":4719,"slug":4720,"title":4721,"dynasty":54,"author":3914,"museum":20,"description":4722,"tags":4723,"thumbUrl":4724,"material":285,"size":4725,"collection":124,"collections":4726,"showCount":4686,"zanCount":48,"manualWeight":48,"mainColor":128},218348,"fang-mi-fei-shu-hua-he-juan-dong-qi-chang-218348","仿米芾书画合卷","董其昌（1555—1636年），字玄宰，号思白，又号香光居士，华亭（今上海松江）人。明万历十六年（1588年）进士，官至礼部尚书，卒谥文敏。精于书画鉴赏，收藏很多名家作品，在书画理论方面论著颇多，其“南北宗”的画论对晚明以后的画坛影响深远。工书法，自谓于率易中得之，对后世书法影响很大。其书画创作讲求追摹古人，但并不泥古不化，在笔墨的运用上追求先熟后生的效果，拙中带秀，体现出文人创作中平淡天真的个性。加之他当时显赫的政治地位，其书画风格名重当世，并成为清代艺坛的主流。著有《画禅室随笔》、《容台集》、《画旨》等文集。",[23,24,25,7,114,60,120,119,118,193,29,405,34,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[124,103,543],{"id":4728,"slug":4729,"title":4730,"dynasty":54,"author":430,"museum":227,"description":4731,"tags":4732,"thumbUrl":4733,"material":1050,"size":1051,"collection":217,"collections":4734,"showCount":4735,"zanCount":48,"manualWeight":48,"mainColor":128},287980,"fang-chou-ying-shui-mo-ren-wu-hua-yi-ming-287980","仿仇英水墨人物画","整卷以水墨铺展平远丘林，清劲线条勾勒层叠山峦与苍古林木，皴染兼具，带着雅致工秀的笔墨意趣。坡田间细笔描摹田垄肌理，尽显乡野质朴生机，留白虚实相生，将郊野旷远意境缓缓铺陈。\n\n林泉田垄间淡墨点染人物，身形简括却情态悠然，藏着村居野逸的松弛意态。画作兼得院体精工与文人山水的萧散淡远，将江南郊野的日常烟火与林泉雅韵相融，笔墨温润秀雅，把幽远恬和的隐逸之思藏进山野林峦之中，尽显隽永悠然的山水意境。",[23,24,7,154,114,29,34,61,118,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bc9b7470cb387f6925d37307008f0c.jpg",[],109,{"id":4737,"slug":4738,"title":4739,"dynasty":54,"author":1030,"museum":151,"description":4740,"tags":4741,"thumbUrl":4742,"material":470,"size":4743,"collection":44,"collections":4744,"showCount":4735,"zanCount":914,"manualWeight":48,"mainColor":128},222366,"yin-he-tu-tang-yin-222366","饮鹤图","《六如居士饮鹤图》画中主人公山中给鹤饮水一事。右侧，有唐寅的题字，为唐寅传世不多的精品之作。历史上的唐伯虎尽管才华出众，有理想抱负，是位天才的画家，但他那愤世嫉俗的狂傲性格不容于这个社会。他一生坎坷，最后潦倒而死，年仅54岁。他临终时写的绝笔诗就表露了他刻骨铭心的留恋人间而又愤恨厌世的复杂心情：“生在阳间有散场，死归地府又何妨。阳间地府俱相似，只当飘流在异乡。”",[23,24,7,114,118,119,193,29,1298,61,257,419,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec58d2f5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脚蹬皮靴，骑在马上，手扶鞍桥，双目凝视前方。文姬身后，是骑在马上护送的马夫和侍从， 前面汉胡两官员并骑，左侧汉朝官员，头戴帻巾，左手持一把用毛皮镶边的团扇遮面， 以避风沙。右侧胡人官员，头戴皮帽。身穿紧袖长袍，腰系佩饰， 面现愁容，正在勒马， 马亦踢蹄踟蹰。其后有侍从五骑相随， 有的怀抱包裹，有的身背行囊，有的手架猎鹰，有的马上驮着毡毯。画面最后，是一头戴皮帽、身潸窄袖长袍、腰携箭饩、右手架鹰、左手执缰，骑于马上的武士，正驱马追赶行进的队伍，马旁还紧跟一猎犬。",[23,154,24,7,174,28,61,90,2214,156,193,2119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3649796ffeb0f1854f87bb5103aa850a.jpg","纵29cm，横129cm",[42,44,45],{"id":4755,"slug":4756,"title":4757,"dynasty":133,"author":534,"museum":4758,"description":4759,"tags":4760,"thumbUrl":4761,"material":4762,"size":4763,"collection":261,"collections":4764,"showCount":4735,"zanCount":48,"manualWeight":48,"mainColor":128},220827,"er-yang-tu-zhao-meng-fu-220827","二羊图","美国弗瑞尔美术馆","图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。右面的山羊张口睁目，尾巴上翘，身子向右而头部朝左，背部线条自然弯曲，羊毛轻软直长，描绘工细。左面的绵羊昂首而立，身躯朝左，头部右车毛卷而短。全图纯用水墨画出，却显色斑斓之状。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n右边是一只瘦劲的黑山羊，身躯朝右，头部向左，身上又长又直的羊毛画得非常工细，两旁的毛轻软地垂下来。背部线条自然弯曲，描绘工细。黑山羊尾巴上翘，低首蓄势，显得浑身是劲。\n左侧是一只肥硕的绵羊，身躯朝左，头部右转。身上覆着卷毛，以不同色调的墨画出。四条瘦小的腿支撑着身躯，其中三条腿直立，一条则微弯。绵羊昂首而立，从容自若地注视着旁边山羊。\n从画面来看，两羊体表特征差异最明显的是羊毛，山羊毛长而浓密，绵羊毛则短而稀疏。两羊站立的姿势相对，身躯相反。头部的回转呼应，使二者产生密切联系。山羊俯视，绵羊昂首，形成上下对应。山羊蓄势待发，有动感；绵羊神态安详，显得静穆，一动一静，意趣横生。\n此画所绘两羊特点突出、个性鲜明。山羊的毛质通过笔墨的干湿和浓淡加以区分，羊身体各部，如头、耳、眼、双角和四足，都用不同的笔法来强调。两羊的绘画手法，显示出画家熟练的传统画技巧。\n画中除两只羊外，没有任何背景衬托，构图与唐代韩滉《五牛图》颇为类似。赵孟頫或摄取《五牛图》的艺术手法，巧妙吸取了唐画的精致之处。",[23,24,25,7,114,1009,193,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ee4f1fd52c8bf9bf5e327740aaa14.jpg","纸本 水墨","纵25．2厘米，横48．4厘米",[261,103],{"id":4766,"slug":4767,"title":4768,"dynasty":250,"author":635,"museum":4769,"description":4770,"tags":4771,"thumbUrl":4772,"material":78,"size":4773,"collection":261,"collections":4774,"showCount":4735,"zanCount":1106,"manualWeight":48,"mainColor":128},220370,"ba-jun-tu-juan-lang-shi-ning-220370","八骏图卷","江西省博物馆","是为康熙第二十一子慎郡王允禧所作。八匹骏马神情、姿态各异，是其晚年的精品之作",[23,154,24,25,7,28,27,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d5c37a9d55cc287a2651cfb1a099453.jpg","52.7厘米* 92厘米",[261,45],{"id":4776,"slug":4777,"title":4778,"dynasty":250,"author":4779,"museum":20,"description":4780,"tags":4781,"thumbUrl":4782,"material":78,"size":4783,"collection":124,"collections":4784,"showCount":4735,"zanCount":1106,"manualWeight":48,"mainColor":128},218435,"qing-lv-shan-shui-juan-wang-jian-218435","青绿山水卷","王鉴","图中青峰翠岭，连绵起伏，敷色浓艳，皴染分明。色彩富丽的画面散溢出清雅灵秀的气息，令人眼目一新。\n本幅卷尾处，王鉴自题：“余向在董思翁齋頭見趙文敏《鵲華秋色》卷及余家所藏子久《浮嵐遠岫圖》，皆設青綠色，無畫苑習氣。今二卷不知流落何處，時形之夢寐，閑窗息紛，追師兩家筆法而成此圖，雖不敢望古人萬一，庶免近時蹊逕耳。戊戌長夏王鑒。”王鉴曾观赏元代大画家赵孟頫和黄公望的作品，对图画的青绿设色醉心不已。此图卷便是王鉴在61岁时（清顺治十五年，1658年）以青绿设色法绘制而成。\n王鉴的艺术天赋很高，不只专擅水墨山水，对设色画亦驾轻就熟，其中又分青绿、浅绛两种风格。王鉴的青绿山水多题“仿赵令穰”、“仿赵伯驹”、“仿赵孟頫”，因为“三赵”的青绿设色法别有特色，他们在宫廷院体青绿画法中融入了文人画的书卷之气。董其昌对“三赵”的创作手法推崇备至，王鉴早年曾得到董氏亲自指点，耳濡目染，深受启发，后精心习练青绿山水，终有大成。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在体味“三赵”去以往青绿山水之俗艳，使之另具雅淡气质的创作思想，然后施之于画幅上，令其画独存灵逸之趣。王时敏尝称他“以穠丽为宗，然高华秀逸兼而有之”，确是的论。",[23,24,25,7,26,27,29,118,405,34,420,3066,37,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ef4b7b44ba02a41f2afeb11c6d116f.jpg","纵23厘米，横198.7厘米",[124],{"id":4786,"slug":4787,"title":549,"dynasty":133,"author":4788,"museum":56,"description":4789,"tags":4790,"thumbUrl":4791,"material":140,"size":4792,"collection":217,"collections":4793,"showCount":4794,"zanCount":1037,"manualWeight":48,"mainColor":49},232772,"bai-hua-tu-juan-wang-yuan-232772","王渊","王渊，生卒年不详，元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。\n幼习丹青，赵孟頫多指教之，故所画皆师古人，无一笔院体。山水师郭熙，花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，得写生之妙，时称“绝艺”。\n人物师唐人吴道子，一一精妙，注重线条勾勒，不讲究墨彩渲染，史称“有笔而无墨”，自成风韵。尤精墨花鸟竹石，当代绝艺。天机溢发，肖古而不泥古。",[23,154,24,7,27,28,209,278,279,554,1926,280,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c480c150ed6fe88a7f552eddcaa50d.jpg","32.1x 247.7cm",[],108,{"id":4796,"slug":4797,"title":4798,"dynasty":133,"author":430,"museum":227,"description":4799,"tags":4800,"thumbUrl":4805,"material":1050,"size":1051,"collection":217,"collections":4806,"showCount":4794,"zanCount":914,"manualWeight":48,"mainColor":49},228242,"long-zhou-duo-biao-tu-juan-yi-ming-228242","龙舟夺标图卷","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[23,24,25,7,59,174,28,511,62,4801,89,61,4139,483,4802,73,4803,4804],"桥","宫殿式建筑","龙舟","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba612b814b21c0a85e81089eda6238d.jpg",[],{"id":4808,"slug":4809,"title":4515,"dynasty":54,"author":1030,"museum":56,"description":4810,"tags":4811,"thumbUrl":4812,"material":4813,"size":4814,"collection":217,"collections":4815,"showCount":4794,"zanCount":914,"manualWeight":48,"mainColor":128},222336,"mo-zhu-tu-juan-tang-yin-222336","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,24,25,7,114,275,193,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109eda6bf170676477b998002e80e269.jpg","水墨纸本","29.1x150.2cm",[],{"id":4817,"slug":4818,"title":4819,"dynasty":168,"author":4820,"museum":151,"description":4821,"tags":4822,"thumbUrl":4823,"material":470,"size":4824,"collection":543,"collections":4825,"showCount":4794,"zanCount":1106,"manualWeight":48,"mainColor":128},221081,"shu-pu-quan-juan-sun-guo-ting-221081","书谱全卷","孙过庭","《书谱》为唐代书法家孙过庭所著的书法理论著作。成书于武后垂拱三年，他亲自以草书书写全书。《书谱》共分两卷，内容主要为书学体验、书谱撰写要旨及学习书法的一些基本原则。一般认为本（上）卷为 “序”，宋元明时分为两卷，入严嵩之手时，装为一卷。下卷为 “谱”，作者生前未能完成，现仅存第一卷。《书谱》对中国书法的影响是非常巨大的，奠定了书法理论的基本框架。其中提到反对写字如同绘画“巧涉丹青功亏翰墨”，认为书法审美观念要“趋变适时”，所谓“质文三变，驰骛沿革，物理常然”，反对把书法当作秘诀，择人而授的保守态度。孙过庭认为习书法应要篆、隶、楷、草四书融合交汇，否则想谈书法，是不可能的。“草不兼真，殆于专谨；真不通草，殊非翰札，真以点画为形质，使转为情性；草以点画为情性，使转为形质。草乖使转，不能成字；真亏点画，犹可记文。回互虽殊，大体相涉。故亦傍通二篆，俯贯八分，包括篇章，涵泳飞自。若毫厘不察，则胡越殊风者焉。”",[23,154,24,25,7,1892,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81244536434fcb124a9a91d41523c4a8.jpg","纵26.5厘米，横900.8厘米",[543,1013],{"id":4827,"slug":4828,"title":4829,"dynasty":250,"author":4830,"museum":1100,"description":4831,"tags":4832,"thumbUrl":4835,"material":122,"size":4836,"collection":44,"collections":4837,"showCount":4794,"zanCount":1106,"manualWeight":48,"mainColor":128},220140,"shi-nv-xi-ying-tu-juan-ding-guan-peng-220140","仕女戏婴图卷","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年（1770年）以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[23,28,27,7,193,61,155,4833,1590,4834,639],"婴孩","羽扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff310295ea2961dee759cc9fec13486b2.jpg","24.64*167.48厘米",[44],{"id":4839,"slug":4840,"title":4841,"dynasty":18,"author":4842,"museum":20,"description":4843,"tags":4844,"thumbUrl":4845,"material":442,"size":4846,"collection":543,"collections":4847,"showCount":4794,"zanCount":914,"manualWeight":48,"mainColor":128},219143,"xiao-kai-ba-wang-xian-zhi-bao-mu-tie-jiang-kui-219143","小楷·跋王献之保母帖","姜夔","姜夔传世墨迹不多。从小楷《跋王献之保母帖》中可以看出他用笔精到，典雅俊润，且受初唐诸家书风影响，不随时俗，清新脱俗。",[23,7,119,537,538,193,2917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d86690fd5236097ac85f5440054f5e7.jpg","纵31.6厘米，横708.3厘米",[543],{"id":4849,"slug":4850,"title":4851,"dynasty":18,"author":294,"museum":56,"description":4852,"tags":4853,"thumbUrl":4854,"material":384,"size":4855,"collection":42,"collections":4856,"showCount":4857,"zanCount":48,"manualWeight":48,"mainColor":128},221343,"zhu-qin-tu-quan-juan-zhao-ji-221343","竹禽图全卷","这幅《竹禽图》横55.4厘米，纵33.8厘米。宋人花鸟画都是以小品画见长，又以精细而见功。此画也不例外。在粗略的崖石间伸出两枝翠竹，一上一下形成一个侧着的“V”字。竹枝和竹叶都没有勾勒，此画法与赵佶的《芙蓉锦鸡图》等以往的画作有所不同。翠竹下面的还有一丛荆棘。一上一下的竹枝上停着两只小鸟。下面的那只鸟侧对着人们，它仰着头在看上面的那只鸟。上面的那只鸟腹部正对着人们，头向右侧着，它回望着下面的那只鸟。两小鸟目光相对，互相顾盼，仿佛就差嘴巴一张一合鸣叫的瞬间了。这两只小鸟是画面的主角。看着它们就使人想起杜甫的那句“两个黄鹂鸣翠柳”。不妨换一下，“两只小鸟鸣翠竹”。\n全画竹草崖石用写意画的方法处理，两小鸟用工笔画的方法绘制。粗细方法互助也显示了徽宗的绘画技艺的高妙。画卷后面有皇室后裔赵孟頫的题跋：“道君聪明，天纵其于绘事，尤极神妙。动植物无不曲尽其性，殆若天地生成，非人力所能及。此卷不用描墨，粉彩自然，宜为世宝。然丛尔小禽蒙圣人所录，抑何幸耶。”",[23,24,25,7,28,27,119,193,209,275,404,1528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942d16befcc838e9850d9ab89e536a94.jpg","画心纵33.8厘米，横55.5厘米",[42,1873],107,{"id":4859,"slug":4860,"title":4861,"dynasty":18,"author":650,"museum":151,"description":4862,"tags":4863,"thumbUrl":4866,"material":140,"size":4867,"collection":42,"collections":4868,"showCount":4857,"zanCount":1106,"manualWeight":48,"mainColor":49},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,25,7,29,118,114,405,34,1123,63,64,115,4864,74,690,4865,35],"行旅","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[42,124,103],{"id":4870,"slug":4871,"title":4872,"dynasty":133,"author":1206,"museum":568,"description":4873,"tags":4874,"thumbUrl":4875,"material":78,"size":217,"collection":44,"collections":4876,"showCount":4857,"zanCount":791,"manualWeight":48,"mainColor":128},220368,"ren-ma-tu-juan-ren-ren-fa-220368","人马图卷","图绘四名奚官牵三匹骏马出圉的情景，人马神态各异。人物衣冠皆着唐代服饰，神情姿态写实生动，最前一位奚官双手自然置于体前，手里拿着刷马身的平口鬃刷和整理鬃毛的小耙子，回头看马队是否跟随，第二位坐骑棕色骏马略有警惕，奚官怕马受惊抓紧缰绳，最后面一位加快步幅紧跟队伍。三马雄壮矫健，皮鬃致密纤细，造型生动，尤以第二匹马最显俊伟驯顺，颈系红缨闲庭信步，很是惬意。",[23,154,24,25,7,28,27,120,119,193,61,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0dfb37038038db76139bdd3b1af6847.jpg",[44,45],{"id":4878,"slug":4879,"title":3638,"dynasty":18,"author":1482,"museum":227,"description":4880,"tags":4881,"thumbUrl":4882,"material":1050,"size":1051,"collection":217,"collections":4883,"showCount":105,"zanCount":914,"manualWeight":48,"mainColor":49},288290,"mao-lin-yuan-xiu-tu-li-cheng-288290","《茂林远岫图》描绘的是夏日山水景色，其中峰峦叠翠，奇峰矗立，远山奇峰崛立，空远清旷；近处轻舟泊渡，行人车马往来；中景山谷之间殿阁林立，塔影隐没其中，飞泉水口，如闻其声，如临其境，整幅作品呈现了一派寓闹于静的景致。\n《茂林远岫图》就绘画技法而论，刻画细腻，神形有致；画面构图“三远”法的并用，构景主次疏密的安排等，无不透露出北宋山水画风貌的典型气息。",[23,154,24,25,7,114,118,29,3641,405,34,1662,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ba5f640d5b6339147fba4ccbde437.jpg",[],{"id":4885,"slug":4886,"title":4887,"dynasty":18,"author":4888,"museum":4758,"description":4889,"tags":4890,"thumbUrl":4891,"material":442,"size":4892,"collection":217,"collections":4893,"showCount":105,"zanCount":914,"manualWeight":48,"mainColor":49},232874,"pan-tao-qing-niao-tu-juan-li-di-232874","蟠桃青鸟图卷","李迪","此幅重色画蟠桃青鸟，用笔应物象形，禽鸟造形精确，蟠桃用没骨画法，枝叶安排妥帖，整体观之，明代宫廷画家所作的可能性大一些。 李迪，生卒年不详。",[23,154,24,25,7,28,27,209,4190,196,34,3676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9c8c8a18311cb4fc28befe1cd47b8a.jpg","38.3x193.2cm",[],{"id":4895,"slug":4896,"title":4897,"dynasty":18,"author":1598,"museum":20,"description":4898,"tags":4899,"thumbUrl":4903,"material":442,"size":4684,"collection":42,"collections":4904,"showCount":105,"zanCount":914,"manualWeight":48,"mainColor":128},221500,"shui-mo-xie-sheng-tu-mu-xi-221500","水墨写生图","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。\n沈周卷后题识称：“不施色彩，任意潑墨，儼然若生。回視黃筌、舜舉之流，風斯下矣。”本幅无作者款印，沈周定为“真宋物也”。徐邦达先生认为，沈周题跋中“牧”字有挖改痕迹，是“似牧非牧之画”。",[23,24,154,25,7,114,1818,272,209,1819,4900,1820,4901,2928,524,4902,4678,1822,1821,555,281,1550,2929,909],"水族","虾","燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf031a51ea46b7afc61efea8475b520.jpg",[42,261,103],{"id":4906,"slug":4907,"title":4908,"dynasty":149,"author":4909,"museum":151,"description":4910,"tags":4911,"thumbUrl":4912,"material":2842,"size":4913,"collection":543,"collections":4914,"showCount":4915,"zanCount":48,"manualWeight":48,"mainColor":128},221142,"jiu-hua-tie-yang-ning-shi-221142","韭花帖","杨凝式","《韭花帖》是唐末五代书法家杨凝式创作的墨迹本行书作品，有“天下第五行书”之称，现存3个藏本，分别藏于无锡博物院和台北故宫博物院，罗振玉藏本不知去向。\n《韭花帖》是杨凝式醒后饥饿无比，得韭花珍馐而食，心中惬意故灵感大发写下。字体点画生动，结构端稳，风神简静，全帖表现出入规入矩的端庄与温雅，结体妍丽，并以精严的技巧表达出含蓄内在的文人之气。用笔一丝不苟，却不显得古板呆滞，巧妙地将内擫和外拓的笔法融为一体",[23,119,120,193,1229,25,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187304b1c9b023f2dbfc8a55ebeee4c0.jpg","高26厘米，宽28厘米",[543],105,{"id":4917,"slug":4918,"title":4919,"dynasty":250,"author":4920,"museum":20,"description":4921,"tags":4922,"thumbUrl":4925,"material":4926,"size":4927,"collection":44,"collections":4928,"showCount":4929,"zanCount":978,"manualWeight":48,"mainColor":49},222874,"bai-zi-tu-leng-mei-222874","百子图","冷枚","百子的典故最早出于《诗经》，是歌颂周文王子孙众多的。画面常用谐音谐意，寓意多福多寿，多子多孙，子孙昌盛，万代延续。《百子图》描绘了一百个天真烂漫的孩子在亭台楼阁间互相追逐嬉戏，他们有的手执彩旗，好像在站岗放哨，还有的在捉迷藏、打秋千、下棋、乘船、玩木偶、放鞭炮…每个孩子神态各异，无一雷同，惟妙惟肖，栩栩如生。孩童服饰色泽艳丽，线条流畅，刻画精致形像都各不相同，表情天真可爱，十分有趣，将小孩的调皮可爱之处都表现得淋漓尽致。背景配以湖水荡漾，荷花盛开，岸柳垂荫，芭蕉葱郁，古木森天景色；将亭台、楼阁、水榭、宫室，因地制宜，聚散错落，一应纳入，园林界画，景色秀丽，令人应接不暇。\n笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔法极精细。绘画用料为内廷专供，尤其色料多为专用的矿物制品，色泽鲜艳明丽，特征明显，是典型的宫廷题材珍品。\n通篇气度雍容典雅，构图疏密有致，其用笔细腻、精工，设色妍丽清秀而注意质感，不乏对光影明暗的追求与立体透视的体现，显然受到西洋绘画技巧的影响",[23,28,27,7,61,116,62,4923,555,1070,34,211,70,4682,4924,69,4801],"池塘","儿童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80e3fe3947e693b07fbefa84c8d0fd0.jpg","设色，绫本，手卷","纵40厘米，横200厘米",[44],104,{"id":4931,"slug":4932,"title":4933,"dynasty":168,"author":2186,"museum":151,"description":4934,"tags":4935,"thumbUrl":4936,"material":470,"size":4937,"collection":543,"collections":4938,"showCount":4929,"zanCount":791,"manualWeight":48,"mainColor":128},221147,"ni-kuan-zan-chu-sui-liang-221147","倪宽赞","历代多认为本帖是褚遂良晚年作品。近代学者则以其文中之避讳用字习惯，与唐代情况不类，且用笔亦与褚书有所出入，结构较似欧体，认为是宋代临写。\n本帖笔划疏瘦，顿挫生姿，笔意翩翩自得，秀丽美妙。《石渠宝笈》载：帖高七寸七分，横五尺二寸七分，字共五十行，满行七字。卷后有赵孟坚、邓文原、柳贯、杨士奇、钱溥等人跋记。\n这件墨迹与褚书碑版相比，风格是一致的。其用笔富于变化，气均力匀；在处处表现运锋着实的同时，也往往参用轻盈飘洒、灵活自然的笔墨。起笔轻捷，收笔沉着，主要笔画适当地伸展，给人以笔势翩翩、萧洒大方、平和闲雅、神爽超迈的感觉。\n王世贞评褚书曰：“一勾一捺有千钧之力，虽外拓取姿，而中擪有法。”由墨迹观之，尤为明显。书风或学钟繇之体而古雅，或师逸少之法而瘦劲。无怪苏轼说：“清远萧洒，微杂隶体。”",[23,119,537,7,193,25,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f90fcb1316afed9d8ea9f3a74f5b414.jpg","纵24.6cm，横170.1cm",[543],{"id":4940,"slug":4941,"title":4942,"dynasty":225,"author":4943,"museum":20,"description":4944,"tags":4945,"thumbUrl":4946,"material":442,"size":4947,"collection":1013,"collections":4948,"showCount":4929,"zanCount":1106,"manualWeight":48,"mainColor":128},221026,"bo-yuan-tie-wang-xun-221026","伯远帖","王珣","《伯远帖》是晋王珣(350—401年)写的一封信。原文：“珣頓首頓首，伯遠勝業情期群從之寶。自以羸患, 志在優遊。始獲此出意不剋申。分別如昨永爲疇古。遠隔嶺嶠，不相瞻臨。”\n卷前引首有乾隆御书：“江左風華”四大字，上有“乾隆御笔”一玺。并御题：“唐人真迹已不可多得，況晉人耶！內府所藏右軍快雪帖、大令中秋帖，皆希世之珍。今又得王珣此幅，繭紙家风，信堪並美！幾余清赏，亦臨池一助也。御識。”钤“乾隆宸翰”、“涵虛朗鑒”二玺。\n前隔水御书：“家學世範，草聖有傳。宣和書譜”12字。下有：“乾隆宸翰”、“幾暇臨池”、“耽書是宿缘”三玺。\n又御识：“乾隆丙寅春月，獲王珣此帖，遂與快雪中秋二迹並藏養心殿溫室中，顔曰三希堂，御筆。又識”，钤“乾”、“隆”二玺。\n后隔水上有明董其昌跋，后有乾隆御笔绘枯枝文石，并识：“王珣帖與其昌跋皆可寶玩，即裝池側理亦光潤堪愛，漫制枯枝文石以配之。乾隆丙寅春正，長春書屋御識”，钤“几暇怡情”一玺。后有“墨云”一玺。\n卷尾敕董邦达绘图，邦达有记，又有沈德潜书“三希堂歌”。\n卷后有董其昌、王肯堂题记。\n此帖与陆机《平复帖》为现今仅存的两件晋代名人法书。\n王羲之作为“书圣”，垂范百代。但他的书作只以临本、摹本和刻本的形式流传，没有一件真迹传世。王氏家族世代擅书，名家辈出，然其作品命运亦大抵相同。唯羲之族侄王珣有此短笺留在人间，实在是不幸中的大幸。我们可以从中窥见“二王”行草书使转用笔的精微之处，这是刻帖和双勾填墨摹本所无法传达的。\n王珣本人有书名，此帖风神俊朗，潇洒流利，在王氏家族书风的基础上自具面目，在中国书法史上具有崇高的地位。\n王珣《伯远帖》自乾隆十一年（1746年）进入内府，经乾隆品题，与王羲之《快雪时晴帖》、王献之《中秋帖》并藏在养心殿西暖阁内的尽间，乾隆御书匾额“三希堂”。 乾隆十二年又精选内府所藏魏晋唐宋元明书家134家真迹，包括三希在内，摹勒上石，命名《三希堂法帖》。在西苑的北海建“阅古楼”，把上述刻石嵌在楼内墙上，拓本流传以示临池之模范。三希原件仍藏在养心殿三希堂。\n1911年以后至1924年溥仪出宫以前，《伯远帖》、《中秋帖》曾藏在敬懿皇贵妃所居的寿康宫，溥仪出宫之时，敬懿皇贵妃将此帖带出宫，后流散在外。1951 年周恩来总理指示将《伯远帖》、《中秋帖》从香港购回，交故宫博物院收藏。\n《宣和书谱》、《画禅室随笔》、《书画记》、《平生壮观》、《墨缘汇观》、《式古堂书画汇考》、《佩文斋书画谱》、《石渠宝笈·初编》、《古书画过眼要录》等书著录。",[23,154,24,25,7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246f88fa2111a0004e79f669a9b961c0.jpg","纵25.1cm，横17.2cm",[1013],{"id":4950,"slug":4951,"title":4952,"dynasty":133,"author":4953,"museum":568,"description":4954,"tags":4955,"thumbUrl":4956,"material":720,"size":4957,"collection":44,"collections":4958,"showCount":4929,"zanCount":1106,"manualWeight":48,"mainColor":49},220366,"zhong-kui-yue-ye-chu-you-tu-yan-hui-220366","钟馗月夜出游图","颜辉","颜辉，字秋月，庐陵(今江西吉安)人；—作江山(今浙江)人。擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣。大德(1297-1307)间尝画辅I，匝宫壁。所作《李仙像》，绢本着色，衣纹粗笔勾染，鬓发细笔勾描，主线粗，副线细，笔势转折富于变化，开明初吴伟画法之先河。传世作品有《中山出猎图》轴，图录于《故宫书画集》，《钟馗月夜出游图》现藏美国克利夫兰美术馆。\n关于元代画家颜辉的生平，画史上记载很少，仅《图绘宝鉴》中略有提及他擅画道释人物。明代吴宽《匏翁家藏集》中谓其“画鬼尤工，笔法奇崛，有八面生动之意”。颜辉还兼擅山水，画风有李成、郭熙的遗韵。",[23,154,24,25,7,174,114,61,921,3488,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb1ea86b91ff3415a751ad1b0b59ac4.jpg","24.8X240.3",[44,103],{"id":4960,"slug":4961,"title":4962,"dynasty":18,"author":1133,"museum":151,"description":4963,"tags":4964,"thumbUrl":4965,"material":78,"size":4966,"collection":124,"collections":4967,"showCount":4929,"zanCount":978,"manualWeight":48,"mainColor":49},218527,"yu-wang-zhi-shui-tu-zhao-bo-ju-218527","禹王治水图","大禹治水（鲧禹治水）是中国上古时期大禹治理大洪水的传说。此《禹王治水图》卷传为南宋画家赵伯驹绘。画卷为青绿描金，其主题内容为大禹治水采用凿岭开山、决江济川，疏导方式治理水患的故事。卷末附元代文学家虞集书《禹贡》。此卷现藏于台北故宫博物院。",[23,154,24,25,7,26,27,61,29,28,117,31,34,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1730ee5c62d100c4fdf05af2481cfa4b.jpg","30.5x373cm",[124],{"id":4969,"slug":4970,"title":4971,"dynasty":18,"author":4972,"museum":1683,"description":4973,"tags":4974,"thumbUrl":4975,"material":78,"size":4976,"collection":44,"collections":4977,"showCount":4929,"zanCount":978,"manualWeight":48,"mainColor":128},215008,"xie-shen-lao-jun-bian-hua-shi-shi-tu-wang-li-yong-215008","写神老君变化十式图","王利用","道教以老子为祖先，赋予这位先秦哲人以神秘而神圣的光芒，赋予他自己神奇的力量。在这幅画中，老子被分段描绘在横幅上，从天地初开到殷商时期，老子化身为顾主、金阙皇帝、玉华子、大成子、广寿子、广成子、镇星子、解颐子、牟成子、川桓子等真实人格。宋朝皇帝提倡道教，所以这类题材的绘画很受欢迎。",[23,154,24,25,7,28,27,173,61,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474edbfbed198eb48c688584feee12ec.jpg","44.8x188.4",[44],{"id":4979,"slug":4980,"title":4981,"dynasty":54,"author":3914,"museum":56,"description":4982,"tags":4983,"thumbUrl":4984,"material":442,"size":3918,"collection":124,"collections":4985,"showCount":4986,"zanCount":48,"manualWeight":48,"mainColor":128},220344,"fang-mi-fei-shan-shui-tu-juan-dong-qi-chang-220344","仿米芾山水图卷","“画家初以古人为师，后以造化为师”——先古人、后造化，作为学习中国画的基本程序，这并非董其昌的发明，而是由来已久的传统。这一程序的合理与否姑且不论，我们所要讨论的是，在古人与造化面前，董其昌是如何认识到并揭示出审美关系中“我”的主体性的。",[154,24,25,7,114,29,118,117,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9110a3b8272916474ce78d43f4cf6a08.jpg",[124,543],103,{"id":4988,"slug":4989,"title":4990,"dynasty":18,"author":4991,"museum":151,"description":4992,"tags":4993,"thumbUrl":4995,"material":78,"size":4996,"collection":42,"collections":4997,"showCount":4986,"zanCount":48,"manualWeight":48,"mainColor":49},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,154,24,25,7,27,28,29,63,64,91,34,2562,4994,196,116],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[42,124],{"id":4999,"slug":5000,"title":5001,"dynasty":18,"author":5002,"museum":322,"description":5003,"tags":5004,"thumbUrl":5006,"material":78,"size":5007,"collection":42,"collections":5008,"showCount":4986,"zanCount":914,"manualWeight":48,"mainColor":128},218561,"chi-bi-tu-yang-shi-xian-218561","赤壁图","杨士贤","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[23,24,25,7,114,27,118,29,115,921,923,5005,34,119,120,193],"风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","30.9x128.8cm",[42,124],{"id":5010,"slug":5011,"title":5012,"dynasty":18,"author":5013,"museum":322,"description":5014,"tags":5015,"thumbUrl":5017,"material":78,"size":5018,"collection":44,"collections":5019,"showCount":4986,"zanCount":1106,"manualWeight":48,"mainColor":128},214920,"jiu-ge-tu-zhang-dun-li-214920","九歌图","张敦礼","由屈原创作的九歌具有很强的宗教性，是献给当时楚国存在的九种自然神的，由11首歌曲和韵文组成。本卷中缺少的是第二首《云中君》和第三首《湘君》。据说它是由张敦礼创作的，但张敦礼的作品没有现存的例子，所以无法确认它是由他创作的。",[23,154,24,25,7,27,28,118,61,29,34,2460,5016,119,664,537,156,193],"神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147d00ca234fc4e4d8490dbae4e29906.jpg","24.7x608.5",[44],{"id":5021,"slug":5022,"title":5023,"dynasty":250,"author":5024,"museum":227,"description":5025,"tags":5026,"thumbUrl":5027,"material":217,"size":217,"collection":217,"collections":5028,"showCount":5029,"zanCount":1106,"manualWeight":48,"mainColor":128},230156,"chun-quan-xi-yao-tu-juan-chang-juan-yu-zhi-ding-230156","春泉洗药图卷（长卷）","禹之鼎","画作以青绿设色绘就江南春景，溪岸桃杏如云，山舍隐于繁枝茂叶之间，幽泉蜿蜒穿绕药圃。松下隐士凭坐观览，僮仆在溪桥边劳作，一派清寂雅静的林下幽居之景，尽显洗药林泉的隐逸意趣。\n\n整卷书画合璧，后续题跋行书笔致秀逸舒展，与工致明丽的设色画面相得益彰，将文人寄迹丘山、疗心养性的高怀雅韵融于卷中，笔墨温婉雅致，意境淡远出尘，尽显传统文人画的书卷意趣与审美追求。",[23,154,24,25,7,27,28,29,61,63,64,116,194,120,193,34,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d01b255a94c4d9b31be5c7ce3228f0.jpg",[],102,{"id":5031,"slug":5032,"title":5033,"dynasty":18,"author":861,"museum":227,"description":5034,"tags":5035,"thumbUrl":5036,"material":217,"size":217,"collection":217,"collections":5037,"showCount":5029,"zanCount":48,"manualWeight":48,"mainColor":185},227497,"ren-lai-de-shu-tie-su-shi-227497","人来得书帖","《人来得书帖》是在季常之兄伯诚死后苏轼写给季常的慰问信，故有‘伏惟深照死生聚散之常理。悟忧哀之无益，释然自勉’之句。帖上钤有“吴土谔”、“御府宝绘、“仪周赏”等。帖后有董其昌跋:“东坡真迹，余所见无虑数十卷，皆宋人双勾廓填。坡书本浓，既经填墨，盖不免墨猪之论，唯此二帖(新岁、人来)则杜老所谓须臾九重真龙出，一洗万古凡马空也。”\n此帖曾经明项元汴，清安岐等递藏，后入清内府。安岐将此帖与《新岁展庆帖》合成一帖，并称坡公杰作。《人来得书帖》凝重，笔法流畅，为书牍杰作。",[25,119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd3a1a36cd114e147a74358e047d6eb.jpg",[],{"id":5039,"slug":5040,"title":5041,"dynasty":18,"author":294,"museum":111,"description":5042,"tags":5043,"thumbUrl":5045,"material":442,"size":5046,"collection":543,"collections":5047,"showCount":5029,"zanCount":914,"manualWeight":48,"mainColor":128},221346,"qian-zi-wen-zhao-ji-221346","千字文","宋徽宗是一位极不称职的皇帝，然而却是一位风流的才子。他才世杰出，于琴棋书画皆精，尤其在书法与绘画方面，颇有成就。他自创的[瘦金书]与兼工带写的画作至今为人所推崇。他的书法早年学习唐初四家之一的薛稷，明《书史会要》说徽宗[行昔日、正书笔势劲逸，初学薛稷，变其法度，自号瘦金书。要是意度天成，非可以陈迹求也]。薛稷书法，用笔纤细，结体疏瘦。虽[瘦金书]生发于唐人薛稷已成为共识，但徽宗在此基础上，聪　慧创意成为定型的瘦金体。此书体被后世誉为第一奇书，长横例作鱼头状，中截细若游丝，收笔重顿，竖笔很少作悬针，大多呈一右向倒钩，横与竖过渡折笔侧锋明显，运笔步骤展露无遗，的确不同于任何书体。徽宗还能狂草，笔意纯学怀素，并临怀素《千字文》洋洋洒洒。本法书长达十一米，用的是珍贵的描金云龙签，平添了富丽堂皇的皇家气象。他随意书写的[掠水燕翎寒自转，随泥花片湿相重]团扇，令后世书家赞叹不已。",[119,1892,7,442,193,5044],"瘦金体风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e764baf1059bcff75f3e36431346a8d.jpg","纵31.2cm，横323.2cm",[543],{"id":5049,"slug":5050,"title":5051,"dynasty":54,"author":3914,"museum":1514,"description":5052,"tags":5053,"thumbUrl":5054,"material":442,"size":5055,"collection":543,"collections":5056,"showCount":5029,"zanCount":48,"manualWeight":48,"mainColor":128},220964,"shu-luo-han-zan-shu-juan-dong-qi-chang-220964","书罗汉赞书卷","包括：《罗汉赞》二首、《初祖赞》、《送僧游五台》、《送僧之牛山鸡足》。一如董氏清秀平和的书风，前半部分行中带草，结体森然，运笔精到，不争不躁，布局闲适，自然天成。与《菩萨藏经后序》相较，折笔较多，显得更挺拔硬朗。后半部分草书，运笔飞动流畅，挥洒自如，如龙蛇云物。然而，又不颠不狂，始终保持正锋，不失圆劲之妙。",[23,119,1892,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26ffe99ce6fd3374ae447318421bed5.jpg","纵31.1厘米，横631.3 厘米",[543],{"id":5058,"slug":5059,"title":5060,"dynasty":18,"author":2035,"museum":151,"description":5061,"tags":5062,"thumbUrl":5063,"material":285,"size":5064,"collection":42,"collections":5065,"showCount":5029,"zanCount":914,"manualWeight":48,"mainColor":128},218641,"yun-shan-de-yi-tu-mi-you-ren-218641","云山得意图","米友仁（公元1086—1165年），南宋书画家。字元晖，米芾长子。徽宗宣和四年应选入掌画学, 南渡后官兵部侍郎、敷文阁直学上。米友仁受家庭的熏陶，能书善画，长于山水。他受文人画主张的影响，所作山水“点滴烟云，草草而成，而不失天真”，与当时流行的山水画风迥异其趣。其画法被后世称为“米点山水”，予元明以来的山水画创作以相当的影响。传世作品有《潇湘奇观图》卷、 《云山得意图》卷。",[23,24,25,7,114,118,119,193,29,1071,482,483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米",[42,543],{"id":5067,"slug":5068,"title":1681,"dynasty":18,"author":832,"museum":151,"description":5069,"tags":5070,"thumbUrl":5071,"material":442,"size":3950,"collection":217,"collections":5072,"showCount":5073,"zanCount":1106,"manualWeight":48,"mainColor":49},231401,"xi-yuan-ya-ji-tu-liu-song-nian-231401","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。\n西园为北宋驸马都尉王诜之第，当代文人墨客多雅集于此。元丰初，王诜曾邀同苏轼、苏辙、黄庭坚、米芾、蔡肇、李之仪、李公麟、晁补之、张耒、秦观、刘泾、陈景元、王钦臣、郑嘉会、圆通大师（日本渡宋僧大江定基）十六人游园。苏轼是宋代著名诗人、文学家、书画家。京中文人学士围绕在苏轼周围，拥戴他为文坛盟主。史称“西园雅集”，众人认为可与晋代王羲之“兰亭集会”相比。",[23,24,25,7,28,27,118,61,29,63,64,254,1857,1298,338,116,157,922,3458,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec0fd785b62b366399fa57e2029f4f.jpg",[],101,{"id":5075,"slug":5076,"title":5077,"dynasty":3242,"author":5078,"museum":227,"description":3244,"tags":5079,"thumbUrl":5080,"material":1050,"size":1051,"collection":217,"collections":5081,"showCount":5073,"zanCount":1106,"manualWeight":48,"mainColor":49},231039,"tai-hang-shan-ji-wei-dan-231039","太行山记","韦诞",[154,24,25,119,7,120,114,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bfe89ff080cb08ac0a64e22cd3a4985.jpg",[],{"id":5083,"slug":5084,"title":5085,"dynasty":250,"author":5086,"museum":568,"description":5087,"tags":5088,"thumbUrl":5089,"material":696,"size":5090,"collection":217,"collections":5091,"showCount":5073,"zanCount":1106,"manualWeight":48,"mainColor":128},222641,"mei-hua-mu-dan-tu-juan-gao-feng-han-222641","梅花牡丹图卷","高凤翰","此幅长卷有《梅花》和《牡丹》两幅合并而成，左侧《梅花》图绘梅枝从画上端斜入，细枝颇多，寒冬中梅花绽放出铮铮傲骨；《牡丹》图中二朵牡丹开放，花瓣层层叠叠，还有一朵藏于石后，含羞露出一半，一枝花枝从牡丹花后露出，姿态优美。",[23,24,25,7,114,274,278,404,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018ad4bbb383c682e4f97451d7834b0c.jpg","20×317cm",[],{"id":5093,"slug":5094,"title":5095,"dynasty":168,"author":3763,"museum":227,"description":5096,"tags":5097,"thumbUrl":5098,"material":2109,"size":5099,"collection":543,"collections":5100,"showCount":5073,"zanCount":48,"manualWeight":48,"mainColor":185},221078,"li-qing-lian-xu-xuan-zhang-xu-221078","李清莲序玄","張旭（675-750），唐代書法家，字伯高，與李白、賀知章等人共列飲中八仙之一。唐文宗曾下詔，以李白詩歌、裴旻劍舞、張旭草書為「三絕」。又工詩，與賀知章、張若虛、包融號稱「吳中四士」。傳世書跡有《肚痛帖》、《古詩四帖》等。\n張旭初仕為常熟尉，後官至金吾長史，人稱「張長史」。其母陸氏為初唐書家陸柬之的侄女，即虞世南的外孫女。陸氏世代以書傳業，有稱於史。張旭為人灑脫不羈，豁達大度，卓爾不群，才華橫溢，學識淵博。與李白、賀知章相友善，杜甫將他三人列入「飲中八仙」。是一位極有個性的草書大家，因他常喝得大醉，就呼叫狂走，然後落筆成書，甚至以頭髮蘸墨書寫，故又有「張顛」的雅稱。後懷素繼承和發展了其筆法，也以草書得名，並稱「顛張醉素」。",[23,1892,119,25,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1adb03d83cb0354f5c5624a9db4f837.jpg","27*541",[543,1013],{"id":5102,"slug":5103,"title":5104,"dynasty":18,"author":430,"museum":322,"description":5105,"tags":5106,"thumbUrl":5107,"material":78,"size":5108,"collection":42,"collections":5109,"showCount":5073,"zanCount":914,"manualWeight":48,"mainColor":49},218506,"gui-qu-lai-ci-shu-hua-tu-yi-ming-218506","归去来辞书画图","在画卷中，最后两部分的文字和图画已经消失了，每幅画的顶部和底部都被切掉了几厘米。在1920年从日本收购之前，这幅画一直被认为是后来的复制品，启功、傅斯年等专家也证实，这幅画的书法是南宋孝宗所写，画风也与孝宗的风格一致。这两个缺失的部分可以从弗里尔收藏的陶渊明的早期画作中重现，归功于李公麟，但两者在手法上有很大不同，前者更古朴，没有作者气质，而后者则更精致，更漂亮。",[23,24,25,7,27,28,119,61,29,116,63,64,115,34,62,3665,626,627,3666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04eb7a69d7e3b717e4e2e268521f93a7.jpg","30x438.6",[42],{"id":5111,"slug":5112,"title":5113,"dynasty":18,"author":650,"museum":227,"description":5114,"tags":5115,"thumbUrl":5116,"material":217,"size":217,"collection":217,"collections":5117,"showCount":5118,"zanCount":1106,"manualWeight":48,"mainColor":49},228262,"shu-shan-xing-lv-tu-guo-xi-228262","蜀山行旅图","此作铺展千里秋江蜀景，峰峦盘曲连绵，矾头苍润皴擦间尽显丘壑雄秀。林木染秋，红黄错落，点染出清寂萧疏的暮秋意韵。江畔村舍错落板桥通幽，山径旅人徐行，水面渔舟泛波，将山野居旅之趣融于烟水间。\n\n水墨设色晕染山峦，淡墨轻笼烟岚，晕开空蒙悠远的江上暮色，尽显山水可观可游可居的幽趣。题咏诗文与画面呼应，将秋日迟暮的怅然与林泉野趣相融，把蜀中山川的浑厚灵秀与文人幽怀合而为一，是山水诗意交织的秋日山居长卷。",[23,24,154,25,7,27,118,29,61,63,64,117,34,115,116,654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cd4d9080725c78fd57d390dac3500b.jpg",[],98,{"id":5120,"slug":5121,"title":5122,"dynasty":18,"author":2084,"museum":151,"description":5123,"tags":5124,"thumbUrl":5126,"material":217,"size":217,"collection":217,"collections":5127,"showCount":5118,"zanCount":1106,"manualWeight":48,"mainColor":49},227693,"song-gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-shang-juan-zhao-gou-227693","宋高宗书女孝经马和之补图上卷","宋高宗书女孝经马和之补图上卷，台北故宫博物院藏。\n\n旧题为高宗书马和之绘，所谓高宗题字，较近于理宗（1225-1264在位），故宜易名为〈宋人书画女孝经〉",[23,1602,5125,7,174,27,61,70,34,69,119,4464,193],"书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdad394b67f242e6a179c502e1ccdc7b.jpg",[],{"id":5129,"slug":5130,"title":5131,"dynasty":18,"author":3193,"museum":20,"description":5132,"tags":5133,"thumbUrl":5134,"material":5135,"size":5136,"collection":543,"collections":5137,"showCount":5118,"zanCount":1106,"manualWeight":48,"mainColor":128},221281,"zhu-shang-zuo-tie-juan-di-yi-duan-huang-ting-jian-221281","诸上座帖卷第一段","《诸上座帖》是宋黄庭坚为友人李任道所录写的五代金陵僧人文益的《语录》，全文系佛家禅语。\n《诸上座帖》释文：\n“諸上座爲複只要弄唇嘴，爲復別有所圖，恐伊執著，且執著甚麽，爲復執著理，執著事，執著色，執著空，若是理，理且作麽生執，若是事，事且作麽生執，著色，著空亦然，山僧所以尋嘗向諸上座道，十方諸佛，十方善知識時嘗垂手，諸上座時嘗接手(以下點去十六字)，十方諸佛諸善知識垂手處合委悉也，甚麽處是諸上座接手處，還有會處會取好，莫未會得，莫道揔是都來圓取，諸上座傍家行腳，也須審諦著些子精神，莫只藉少智慧，過卻時光，山僧在衆見此多矣，古聖所見諸境，唯見自心，祖師道，不是風動幡動，風動幡動者心動，但且恁麽會好，別無親於親處也，僧問，如何是不生滅底心，向伊道，那個是生滅底心，僧云，爭奈學人不見，向伊道，汝若不見，不生不滅底也不是，又問，承教有言，佛以一音演說法。衆生隨類各得解，學人如何解，向伊道，汝甚解前問已是不會古人語也，因甚，卻向伊道，汝甚解，何處是伊解處。莫是于伊分中，便點與伊，莫是爲伊不會問，卻反射伊麽，決定非此道理，慎莫錯會，除此兩會，別又如何商量，諸上座若會得此語也，即會得諸聖揔持門，且作麽生會，若會得一音演說，不會得隨類各解，恁麽道莫是有過無過，說麽莫錯會好，既不恁麽會說一音演說，隨類得解，有個下落，始得每日空上來下去，又不當得人事，且究道眼始得，古人道，一切聲是佛聲，一切色是佛色，何不且恁麽會取。\n此是大丈夫出生死事，不可草草便會。拍盲小鬼子往往見便下口，如瞎驢吃草樣，故草此一篇，遺吾友李任道，明窗淨几，它日親見古人，乃是相見時節，山谷老人書。”（《古书画过眼要录》）\n署款：“山谷老人書。”“书”字上钤“山谷道人”朱文方玺。后纸有明吴宽，清梁清标题跋各一段。\n卷前后及隔水上钤宋“内府书印”、“绍兴”、“悦生”，元“危素私印”及明李应祯、华夏、周亮工，清孙承泽、王鸿绪，近代张伯驹等诸家鉴藏印。此帖初藏南宋高宗内府，后归贾似道，明代递藏于李应祯、华夏、周亮工处，清初藏孙承泽砚山斋，后归王鸿绪，乾隆时收入内府，民国初流出宫外，为张伯驹先生所得，后捐献给国家，现藏北京故宫博物院。\n此书师法怀素狂草体，笔意纵横，气势苍浑雄伟，字法奇宕，如马脱缰，无所拘束，尤其能显示出书者悬腕摄锋运笔的高超书艺。黄庭坚《山谷自论》云：“余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱，晚得苏才翁、子美书观之，乃得古人笔意。其后又得张长史、僧怀素、高闲墨迹，乃窥笔法之妙。”在《语录》后黄氏又作大字行楷书自识一则，结字内紧外松，出笔长而遒劲有力，一波三折，气势开张，一卷书法兼备二体，相互映衬，尤为罕见，是其晚年杰作。\n明都穆《寓意编》、华夏《真赏斋赋注》、文嘉《钤山堂书画记》、张丑《清河书画舫》、《清河见闻表》、卞永誉《式古堂书画汇考》，清孙承泽《庚子消夏记》、清内府《石渠宝笈·初编》等书著录。",[23,119,1892,120,7,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7641fa332e60c6c852d5ad2afb6918.jpg","纸本，手卷，草书","纵33cm，横729.5cm",[543],{"id":5139,"slug":5140,"title":5141,"dynasty":54,"author":1295,"museum":1934,"description":5142,"tags":5143,"thumbUrl":5144,"material":285,"size":217,"collection":543,"collections":5145,"showCount":5118,"zanCount":791,"manualWeight":48,"mainColor":128},219983,"song-li-yuan-gui-pan-gu-xu-wen-zheng-ming-219983","送李愿归盘谷序","此作为书画合璧的精品，八十四岁高龄所作小楷清劲秀丽，笔力沉实端雅，尽显晋唐小楷隽雅遗韵，文辞古朴高逸。\n\n山水取全景式构图铺展盘谷幽境，山峦层叠起伏，林木蓊郁苍秀，村居错落排布于河畔幽谷之间，笔墨温润雅致，将文中林泉隐逸的恬淡幽寂意境具象还原，尽显吴门画派清雅风神。书画相得益彰，将文章里的隐逸雅趣与文人林下襟怀尽数铺陈。",[23,24,25,7,537,119,114,118,29,34,35,31,405,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47372cf13dcfe47c86dc4aa3bbc2f0d0.jpg",[543,103],{"id":5147,"slug":5148,"title":5149,"dynasty":149,"author":5150,"museum":151,"description":5151,"tags":5152,"thumbUrl":5154,"material":285,"size":5155,"collection":124,"collections":5156,"showCount":5118,"zanCount":48,"manualWeight":48,"mainColor":128},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,24,154,25,7,114,118,120,119,193,29,117,34,419,5153,115,37,405,692],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[124],{"id":5158,"slug":5159,"title":5160,"dynasty":54,"author":5161,"museum":1270,"description":5162,"tags":5163,"thumbUrl":5164,"material":285,"size":5165,"collection":44,"collections":5166,"showCount":5118,"zanCount":48,"manualWeight":48,"mainColor":49},219507,"liu-min-tu-wu-wei-219507","流民图","吴伟","“流民图”这个概念，可以追溯至文献中记载的北宋郑侠《流民图》，也即一种讽喻社会阴暗面的政治寓言。",[23,154,24,25,7,114,174,61,29,34,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ee54b264cb8fd4942f81dde5e61dca.jpg","纵38.5横546.5厘米",[44,103],{"id":5168,"slug":5169,"title":5170,"dynasty":168,"author":1305,"museum":227,"description":5171,"tags":5172,"thumbUrl":5173,"material":1050,"size":1051,"collection":217,"collections":5174,"showCount":5175,"zanCount":1106,"manualWeight":48,"mainColor":49},232273,"ji-zhi-wen-gao-yan-zhen-qing-232273","祭侄文稿","颜真卿（709年－784年8月23日 ），字清臣，小名羡门子，别号应方，京兆万年（今陕西省西安市）人 ，祖籍琅玡临沂（今山东省临沂市）。唐朝名臣、书法家，秘书监颜师古五世从孙 、司徒颜杲卿从弟。\n颜真卿出身琅琊颜氏，于唐玄宗开元二十二年（734年）登进士第，历任监察御史、殿中侍御史。后因得罪权臣杨国忠，被贬为平原太守，世称“颜平原”。安史之乱时，颜真卿率义军对抗叛军，一度光复河北。后至凤翔，被授为宪部尚书。唐代宗时官至吏部尚书、太子太师，封鲁郡公，人称“颜鲁公”。兴元元年（784年），被派遣晓谕叛将李希烈，凛然拒贼，终被缢杀。他遇害后，嗣曹王李皋及三军将士皆为之痛哭。追赠司徒，谥号“文忠”。\n颜真卿书法精妙，擅长行、楷。初学褚遂良，后师从张旭，得其笔法。其正楷端庄雄伟，行书气势遒劲，创“颜体”楷书，对后世影响很大。与赵孟頫、柳公权、欧阳询并称为“楷书四大家”。又与柳公权并称“颜柳”，被称为“颜筋柳骨”。又善诗文，有《韵海镜源》《礼乐集》《吴兴集》《庐陵集》《临川集》，均佚。宋人辑有《颜鲁公集》。",[120,119,7,2917,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1db0d22aedae6c817acab49b41c36.jpg",[],97,{"id":5177,"slug":5178,"title":5179,"dynasty":2618,"author":430,"museum":1242,"description":5180,"tags":5181,"thumbUrl":5182,"material":1050,"size":1051,"collection":217,"collections":5183,"showCount":5175,"zanCount":1106,"manualWeight":48,"mainColor":128},226513,"bi-hua-p-3954-fo-jiao-ren-wu-zhi-miao-tu-juan-yi-ming-226513","壁画P.3954佛教人物纸描图卷","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[7,174,173,61,365,1242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a37865f3e6ca5288860305981bd0326.jpg",[],{"id":5185,"slug":5186,"title":5187,"dynasty":18,"author":5188,"museum":380,"description":5189,"tags":5190,"thumbUrl":5191,"material":3383,"size":5192,"collection":217,"collections":5193,"showCount":5175,"zanCount":914,"manualWeight":48,"mainColor":128},221396,"bai-lian-she-tu-quan-juan-zhang-ji-221396","白莲社图全卷","张激","该画运用连环画的形式，描绘了东晋元兴年间，高僧惠远在庐山东林寺同18位贤士建白莲社专修净土法门，并与陆修静、陶渊明、谢灵运相善故事。\n全卷主要描绘了经筵会讲、金像赞佛、笺经校义三个情节，全图共分八段，绘高僧名士19人，僮仆12，采用的是李公麟开创的白描手法，树和山石的线条极富质感，枝叶多用尖笔鹰爪法，苍劲挺秀。人物淡墨须眉，浓墨点睛，神采毕现。图中还画了虎、豹、驯鹿等动物，并表现了驯服怡悦的神态，突出了高僧文士们的神秘生活状态，画作整体表现出清淡、高洁、幽雅的风格。",[23,24,7,174,114,173,61,29,254,255,64,116,4801,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedeaf58a1fb7e1565730651e19bdb961.jpg","纵34.9厘米，横848.8厘米",[],{"id":5195,"slug":5196,"title":5197,"dynasty":18,"author":3193,"museum":151,"description":5198,"tags":5199,"thumbUrl":5200,"material":470,"size":5201,"collection":543,"collections":5202,"showCount":5175,"zanCount":1106,"manualWeight":48,"mainColor":128},221269,"han-shan-zi-pang-ju-shi-shi-tie-quan-juan-huang-ting-jian-221269","寒山子庞居士诗帖全卷","黄庭坚《寒山子、庞居士诗卷》，它是北宋书法家黄庭坚的一幅行书代表作，内容是唐代隐士寒山子《劝戒诗》与居士庞蕴的诗偈，现藏于台北故宫博物院。这一诗卷是黄庭坚晚年的杰作，有着鲜明的黄庭坚行书的风格特征，尤其在字的结体上，吸收了《瘗鹤铭》和颜真卿楷书的结字方法，加以夸张和变化，创造出一种俊挺豪迈的新面目。\n这幅作品中字都有这样的特点，一波数折；中宫收敛的地方，笔画排列紧密，显得雄强茂美，而有些笔画，如帖中“水、人、本”等字的撇捺，“黄、箭、世、苹、业”等字的横笔，都是尽情地纵向伸展，横向逸出，显得痛快淋漓，具有豪爽飘逸之气。字形结构上突破了方正规矩的外形，在冲破均衡的同时，又能使字保持住重心，笔画的伸展并不是完全没有方向，疏密处理得很巧妙，笔画之间也是左顾右盼、互相呼应，有放也有收。这幅字的结构上还有“攲侧”的特点，不但横画倾斜，竖画也蛇曲不正，然而这些歪斜的字笔画遒劲，结体开张，很有气派。",[23,119,120,7,1229,193,114,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca27a7894bdb3fa8554156431e57f83.jpg","纵29.1，横213.8厘米",[543],{"id":5204,"slug":5205,"title":5206,"dynasty":225,"author":1472,"museum":227,"description":5207,"tags":5208,"thumbUrl":5209,"material":217,"size":217,"collection":543,"collections":5210,"showCount":5175,"zanCount":914,"manualWeight":48,"mainColor":128},221036,"cao-jue-bai-yun-ge-quan-juan-wang-xi-zhi-221036","草诀百韵歌全卷","《草诀百歌韵》是中国古代一本重要的草书歌诀，学草书的重要门径，作者署名王羲之，但据相关资料显示，此书未见于北宋，伪托王羲之之名，如明代杨慎的《升》 庵外集》卷88云：「《草秘韵百歌》乃宋人编成，以示初级，托名王羲之。",[23,119,1892,7,60,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc393e8005cbb450b2bb396c178509c.jpg",[543,1013],{"id":5212,"slug":5213,"title":5214,"dynasty":54,"author":5215,"museum":1100,"description":5216,"tags":5217,"thumbUrl":5219,"material":122,"size":5220,"collection":124,"collections":5221,"showCount":5175,"zanCount":48,"manualWeight":48,"mainColor":128},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","戴进","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,24,25,7,114,27,29,118,765,115,196,230,64,117,5218,764,116,34],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[124,45],{"id":5223,"slug":5224,"title":5225,"dynasty":149,"author":1844,"museum":227,"description":5226,"tags":5227,"thumbUrl":5230,"material":1050,"size":1051,"collection":217,"collections":5231,"showCount":5232,"zanCount":791,"manualWeight":48,"mainColor":128},289987,"gong-zhong-tu-zhou-wen-ju-289987","宫中图","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”。",[23,154,24,7,174,61,155,5228,1795,3487,157,5229,120,119],"宫女","宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd82c5d2ffc57e3999164c6f4a0c240dd.jpg",[],96,{"id":5234,"slug":5235,"title":5236,"dynasty":168,"author":1182,"museum":227,"description":5237,"tags":5238,"thumbUrl":5240,"material":1050,"size":1051,"collection":217,"collections":5241,"showCount":5232,"zanCount":48,"manualWeight":48,"mainColor":2653},288455,"jiang-shan-xue-ji-tu-wang-wei-288455","江山雪霁图","图绘峰峦层叠，长松杂树，瀑布由山腰奔腾而下，隐入林中。中景山脚平陂，古木耸立，房舍寺院；左侧白雪覆山，小径曲折通向远处，农夫相间往来，石岩之前溪流潺缓，注入冬湖，近岸又有板桥一座。近景高树参天，坡石伏岸，竹篱房舍隐见。此图构思成熟，笔法谨严认真，多以细秀圆润笔作皴画石，一丝不苟，再加以平衬染渲，点缀勾提。显示出一种清静、纯洁、寒意袭人的气氛。细微处，可见篱栅圈地，旅人穿山而行，更是增添了一种盎然生机。",[24,7,763,114,973,1123,2994,196,5239],"萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec14c9886abbd9d04a89c8b10683b62.jpg",[],{"id":5243,"slug":5244,"title":5245,"dynasty":54,"author":5246,"museum":227,"description":5247,"tags":5248,"thumbUrl":5251,"material":1050,"size":1051,"collection":217,"collections":5252,"showCount":5232,"zanCount":1106,"manualWeight":48,"mainColor":49},288002,"tang-yuan-xi-chun-tu-juan-zhu-zhan-ji-288002","唐苑嬉春图卷","朱瞻基","画面上画了五只猫，其动作神情都不一样。颜色趋于白花的猫。这种动物类的绘画里，无非就是两种要注意的。\n其一是造型。照猫画虎也行，照虎画猫也行，一定要把它的型抓住，神另说。这五只猫，每一只猫的形态还是很生动的。这只叼着鸟的猫，其回身的动作和眼神，都是一致的。",[23,24,154,7,28,27,997,275,281,5249,5250],"走兽","嬉春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0eac807c246b76d65c027745f5ba9a.jpg",[],{"id":5254,"slug":5255,"title":5256,"dynasty":54,"author":430,"museum":568,"description":5257,"tags":5258,"thumbUrl":5259,"material":217,"size":217,"collection":217,"collections":5260,"showCount":5232,"zanCount":914,"manualWeight":48,"mainColor":49},232911,"fang-qian-xuan-hua-niao-tu-yi-ming-232911","仿钱选花鸟图","钱选以花鸟画成就最高。他的成熟花鸟画，在院画基础上吸取 扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[23,24,25,7,28,27,60,209,275,279,454,524,337,1550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],{"id":5262,"slug":5263,"title":5264,"dynasty":18,"author":1482,"museum":380,"description":5265,"tags":5266,"thumbUrl":5267,"material":5268,"size":5269,"collection":217,"collections":5270,"showCount":5232,"zanCount":48,"manualWeight":48,"mainColor":49},221411,"xiao-han-lin-tu-juan-li-cheng-221411","小寒林图卷","绘远处山恋起伏，云雾空蒙；近处松树数株，松干挺直，枝杈虬曲多姿，林木笼罩于烟霭雾气之中，四周坡面山石间杂树丛生，郁郁葱葱。李成，五代画家，画山石以“卷云皴”；画寒林创“蟹爪”法，其学生郭熙亦秉承其画风。",[23,24,25,7,114,29,118,605,1123,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c461e36f2a0526a7f631fdaa0a30b03.jpg","绢本浅设色","39.4x71.4\u002F39.4x233厘米",[],{"id":5272,"slug":5273,"title":5274,"dynasty":54,"author":5275,"museum":227,"description":5276,"tags":5277,"thumbUrl":5278,"material":217,"size":217,"collection":217,"collections":5279,"showCount":5280,"zanCount":1106,"manualWeight":48,"mainColor":128},234215,"chen-qin-zhu-lan-ju-shi-juan-chen-qin-234215","陈芹竹兰菊石卷","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，传世作品有《为佩庭作竹石图》（现藏故宫博物院）、《修篁文石图》（现藏南京博物馆）等。工书法，师钟繇，二王，尤善章草。《自书诗》行书册古雅畅达，妍媚洒脱，含章草意态。",[23,154,24,25,7,114,120,119,275,282,283,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05f0ec9be94c42d09d7d995a4450e60.jpg",[],95,{"id":5282,"slug":5283,"title":5284,"dynasty":54,"author":5285,"museum":227,"description":5286,"tags":5287,"thumbUrl":5288,"material":217,"size":217,"collection":217,"collections":5289,"showCount":5280,"zanCount":1106,"manualWeight":48,"mainColor":128},228466,"luo-yang-chun-se-tu-chen-chun-228466","洛阳春色图","陈淳","明陈淳洛阳春色图此卷绘数株盛开的牡丹，雍容华贵，以没骨法写意。\n湖石枯笔勾皴，淡墨晕染，色墨并用。\n画风疏爽秀逸，艳丽清新。\n自题：“己亥秋日，道复书并图。\n”款“道复制”，钤‘白阳山人“朱文方印、”复父氏“白文方印。\n拖尾自题草书牡丹诗。\n【名称】明 陈淳 洛阳春色图 ，横111.2厘米。\n南京博物院藏。\n（148-1544）：又作1482-159年，长洲（今江苏苏州）人。\n字道复，后以字行，更字复甫，号白阳，又号白阳山人。\n陈淳少年作画以元人为法，深受水墨写意的影响。\n他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。\n他的有些作品，所画质朴，可以看出受沈周画法的影响。\n与徐渭并称白阳青藤。\n陈氏少年作画工细，中年后笔法放纵，自立门户。\n陈淳师从文徵明，在其门下声誉最高。\n曾评其曰：“吾于道复仅举业师耳，其书画自有门径。\n” 己亥为嘉靖十八年，作者时年五十七岁。",[23,24,25,7,27,114,272,209,278,404,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafa67ce26c246c916ad4fb011d6f4d.jpg",[],{"id":5291,"slug":5292,"title":5293,"dynasty":18,"author":5294,"museum":56,"description":5295,"tags":5296,"thumbUrl":5297,"material":27,"size":5298,"collection":42,"collections":5299,"showCount":5280,"zanCount":48,"manualWeight":48,"mainColor":49},221254,"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,24,154,7,27,118,29,1298,116,90,61,690,37,419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[42,124,103],{"id":5301,"slug":5302,"title":5041,"dynasty":168,"author":5303,"museum":380,"description":5304,"tags":5305,"thumbUrl":5306,"material":442,"size":217,"collection":543,"collections":5307,"showCount":5280,"zanCount":1106,"manualWeight":48,"mainColor":128},221106,"qian-zi-wen-ou-yang-xun-221106","欧阳询","千字文作为中国古代的启蒙学课本，以一千字编为四言章韵语，叙述有关自然、社会历史、教育等方面的知识，隋代即开始流行。\n此千字文传欧阳询书，故宫博物院藏,见于《戏鸿堂帖》，内容完整，后有刻跋两段：“右率更令所书千文字扬补之家藏本，咸淳甲戍岁九月三日钱金应桂”。“书家以分行布白谓之九宫，元人作书经云：黄庭有六分九宫、曹娥有四分九宫是也。今观信本千文真有完字具于胸中。若构凌云台，一皆衡剂而成者。米南宫评其真书到内史、信矣，此本为扬补之家藏，勒其全文，欲学书者先定间架，然后纵横跌宕唯变所适也。其昌”。",[23,537,119,1229,7,193,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4e30ddce65a81934ed675107a76227.jpg",[543],{"id":5309,"slug":5310,"title":5311,"dynasty":54,"author":269,"museum":1100,"description":1429,"tags":5312,"thumbUrl":5313,"material":285,"size":1432,"collection":217,"collections":5314,"showCount":5280,"zanCount":48,"manualWeight":48,"mainColor":128},220101,"shi-er-mo-hua-tu-juan-4-xu-wei-220101","十二墨花图卷-4",[23,24,25,7,114,209,272,193,119,120,278,279,282,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a8eb2b6b2546b1fba3bbf5502311f.jpg",[],{"id":5316,"slug":5317,"title":5318,"dynasty":18,"author":415,"museum":227,"description":5319,"tags":5320,"thumbUrl":5321,"material":285,"size":5322,"collection":44,"collections":5323,"showCount":5280,"zanCount":914,"manualWeight":48,"mainColor":128},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[23,154,24,25,7,174,114,61,62,63,64,193,90,116,117,34,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[44],{"id":5325,"slug":5326,"title":5327,"dynasty":18,"author":2426,"museum":227,"description":5328,"tags":5329,"thumbUrl":5330,"material":140,"size":5331,"collection":42,"collections":5332,"showCount":5333,"zanCount":48,"manualWeight":48,"mainColor":49},221442,"xie-sheng-cao-chong-tu-juan-cui-bai-221442","写生草虫图卷","崔白，字子西，北宋濠梁人，杰出的花鸟画家。北宋中期翰林图画院画家，擅长画花鸟，所做动物在写生基础上概括，形象生动活泼。他不仅擅画花竹翎毛、败荷凫雁，而且画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生，所画鹅、蝉、雀堪称三绝。他一改百余年画风，成为北宋画坛革新主将，数百年来颇受画坛尊祟。\n崔白的一生中大部分时间只是个民间画工，生活颠沛流离，后来有很多人都为他的不得赏识打抱不平。像米芾在他的《画史》中说，在嘉年间（1056—1063年），公卿贵族们的收藏竞相一味求古，多是阎立本、韩滉一类画家的赝品，而对于像崔白这么优秀的当代画家的画作，他们却熟视无睹。",[23,24,25,7,28,27,1818,336,337,1550,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80e1171b5cd251561cf91850b031251.jpg","26×150",[42,261,45],94,{"id":5335,"slug":5336,"title":5337,"dynasty":18,"author":3193,"museum":5338,"description":5339,"tags":5340,"thumbUrl":5341,"material":442,"size":5342,"collection":543,"collections":5343,"showCount":5333,"zanCount":1106,"manualWeight":48,"mainColor":49},221263,"liu-ming-zhong-mo-zhu-fu-huang-ting-jian-221263","刘明仲墨竹赋","湖北襄阳图书馆","黄庭坚在书学上追求一种自然之美，忘我的境界，无法之法。他自称“老夫之书本无法也。但观世间万缘，如蚊蚋聚散，未尝一事横于胸中。遇纸则书，纸尽则已，亦不计较工拙与人之品藻讥弹，譬如木人舞中节拍，人叹其工，舞罢则又萧然矣。”他认为“心不知手，手不知心”是书法创作的最高境界。\n黄庭坚《刘明仲墨竹赋》元佑三年作于京师开封府，此帖拓本来源于清朝黄湄《黄文节公法书石刻》，作品横32厘米，纵30.5厘米，共25页",[23,154,24,25,7,120,119,114,275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3d7079ee1b5e8a0bf2ec9b0a24e24a.jpg","横32厘米，纵30.5厘米",[543],{"id":5345,"slug":5346,"title":5347,"dynasty":133,"author":1344,"museum":56,"description":5348,"tags":5349,"thumbUrl":5350,"material":78,"size":5351,"collection":44,"collections":5352,"showCount":5333,"zanCount":1106,"manualWeight":48,"mainColor":128},219546,"gui-qu-lai-ci-tu-qian-xuan-219546","归去来辞图","在改朝换代的无奈中，钱选效法陶渊明隐居不仕，因此在他聊以自娱的绘画中自然会表现出对陶渊明的追崇，进而描绘出他的形象。这大概也是钱选隐居生活中心境的映照。在《归去来辞图》画面里，左一半为坡岸，有人家院落；右一半烟水浩淼，远处依稀可见淡淡山脉。靠近坡岸的水中有一只木船，陶渊明身着大袖宽袍立于船头，一童子在船尾摇橹。看召魄伏的波纹，木船正破水向岸边驶来。这或许正是《归去来辞》中“舟摇摇以轻飚，风飘飘而吹衣”的真实写照。另—边浅渚绿岸上有六棵柳树，枝叶茂密；一道隆起的院墙间有一柴门开着，几竿竹子探出墙来，这大概是陶渊明的居所。门前有俩孩童和一妇人似在迎接陶渊明回家。正是《归去来辞》中“乃瞻衡宇，载欣载奔，童仆欢迎，稚子候门”的写照。\n在技巧上，钱选利用虚实对比的手段，表现了陶渊明乘船渡水、脱离尘网、走向田园的生活寓意。画中所设的无边淡水和田园家境是两种境界的载体，也是画家精神的载体。画中的人物描绘细腻、传神，用线精致；坡岸、院墙的皴染均匀，树的枝叶自然、流畅。整个画面赋色清淡，洋溢着田园的清幽之气，同时，也体现出作者一种闲适淡泊的襟怀。",[23,154,24,25,7,27,28,120,193,29,61,115,34,64,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c885d7fc36e4d1430327a83eb955a8.jpg","纵26厘米，横106.6厘米",[44,45,543],{"id":5354,"slug":5355,"title":1269,"dynasty":18,"author":430,"museum":1100,"description":5356,"tags":5357,"thumbUrl":5362,"material":78,"size":3088,"collection":44,"collections":5363,"showCount":5333,"zanCount":914,"manualWeight":48,"mainColor":128},218235,"luo-shen-fu-tu-yi-ming-218235","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[23,154,24,25,7,27,28,61,155,5358,115,64,34,2460,5359,196,5360,5361],"洛神","仙禽异兽","怅惘","神话场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg",[44],{"id":5365,"slug":5366,"title":4654,"dynasty":133,"author":4788,"museum":227,"description":5367,"tags":5368,"thumbUrl":5369,"material":217,"size":5370,"collection":217,"collections":5371,"showCount":5372,"zanCount":914,"manualWeight":48,"mainColor":49},231513,"hua-niao-tu-juan-wang-yuan-231513","王渊是元代著名花鸟画家，字若水，号澹轩，浙江杭州人。生卒年不祥，据陶宗仪《辍耕录》卷七记载，他“幼时获侍赵魏公（赵子昂）故多得指教，所以傅色特妙。天历中（1328—1330年），画集庆龙翔寺两庑壁”。其年龄要比赵子昂小，赵子昂生于南宋理宗宝佑二年（1254年），应活跃在1254年以后，从他的传世作品所签年款来看，多在元朝惠宗至正三年到九年，即1343—1349年，元朝灭亡于至正二十八年（1368年），也有文献记载，在至正二十六年（1366年）曾作《萱花白头图》。可见他从事艺术活动在元代中后期，他的卒年可能在元朝灭亡之前，或在明朝初年。\n王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[23,24,154,7,28,27,119,193,209,274,278,275,404,194,524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 厘米",[],93,{"id":5374,"slug":5375,"title":5376,"dynasty":250,"author":5377,"museum":20,"description":5378,"tags":5379,"thumbUrl":5381,"material":40,"size":5382,"collection":44,"collections":5383,"showCount":5372,"zanCount":1106,"manualWeight":48,"mainColor":49},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","焦秉贞","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[23,24,25,7,27,28,59,29,61,62,64,66,34,116,63,3517,5380],"城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm",[44,45],{"id":5385,"slug":5386,"title":5387,"dynasty":18,"author":716,"museum":1934,"description":5388,"tags":5389,"thumbUrl":5390,"material":140,"size":5391,"collection":42,"collections":5392,"showCount":5372,"zanCount":1106,"manualWeight":48,"mainColor":49},221578,"hao-liang-qiu-shui-tu-li-tang-221578","濠梁秋水图","《濠梁秋水图》是宋代画家李唐创作的一幅中国画，描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。\n《濠梁秋水图》的创作，似乎正处于其风格转变过程中的后期，是南宋新风格的开始，构图局部取景的方式已有所体现；而《采薇图》只不过是把要表现的物象更加拉近了而已。皴法上，此图出现了大量的侧锋用笔，洗练、刚劲，但笔触略小，石质坚实，这是大斧劈皴的雏形。到了《采薇图》，则变为阔笔挥洒，更加简略，充满速度和力感，转变体现得更加明显了。还有《采薇图》的远景部分，仿佛弥漫着一层雾气，树石的画法也是水气淋漓，这可能与李唐已久居江南有关。《濠梁秋水图》则显得稍有不同，透露出一种浑厚深沉的山水景象。\n从用笔、风格、水准等方面来看，《濠梁秋水图》当属李唐从《万壑松风图》到《采薇图》之间的过渡作品，仿佛是他在为北宋风格向南宋风格的转变做精巧的注释一般，因而显示出此作珍贵的历史价值和学术价值。",[23,24,25,7,29,114,118,61,34,468,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606bd8755e55a8ff1f77d67242cb344.jpg","纵24厘米，横114.5厘米",[42,124,45],{"id":5394,"slug":5395,"title":5396,"dynasty":18,"author":4700,"museum":20,"description":5397,"tags":5398,"thumbUrl":5399,"material":442,"size":5400,"collection":543,"collections":5401,"showCount":5372,"zanCount":1106,"manualWeight":48,"mainColor":128},221194,"huai-cheng-du-shi-yun-shi-juan-quan-juan-lu-you-221194","怀成都十韵诗卷全卷","释文：\n放翁五十犹豪纵，锦城一觉繁华梦。竹叶春醪碧玉壶，桃花骏马青丝鞚。斗鸡南市各分朋，射雉西郊常命中。壮士臂立绿绦鹰，佳人袍画金泥凤。椽烛那知夜漏残，银貂不管晨霜重。一梢红破海棠回，数蕊香新早梅动。酒徒诗社朝暮忙，日月匆匆迭宾送。浮世堪惊老已成，虚名自笑今何用。归来山舍万事空，卧听糟床酒鸣瓮。北窗风雨耿青灯，旧游欲说无人共。省庵兄以为此篇在集中稍可观，因命写之。游。\n此卷为陆游晚年为其友人手录旧日所作七言古诗一首，内容描写作者50岁左右在成都做官时的生活景况。格调豪放跌宕，书风亦瘦硬通神，可谓词翰双美。\n后纸有明陆釴、谢铎、程敏政、王鏊、周经、杨循古、沈周题跋。卷中钤有清乾隆、嘉庆、宣统内府诸玺及原博”、商丘宋荦审定真迹”、“陈宗后印”、“子万”、“真赏”等鉴藏印章。著录于《装余偶记》、《石渠宝笈》。",[23,154,24,25,7,120,119,193,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832c259287bb3a6900b83dbe1b571838.jpg","纵34.6厘米，横82.4厘米",[543],{"id":5403,"slug":5404,"title":5405,"dynasty":899,"author":5406,"museum":5407,"description":5408,"tags":5409,"thumbUrl":5412,"material":353,"size":5413,"collection":217,"collections":5414,"showCount":5372,"zanCount":48,"manualWeight":48,"mainColor":128},220481,"li-ren-xing-fu-bao-shi-220481","丽人行","傅抱石","中国现当代美术文献研究中心","泼墨晕染出如烟林木，虚实相生间铺展游春盛景。人物错落排布，文人儒雅、仕女娇妍，乐伎持乐相随，神态灵动鲜活，衣袂飘举尽显唐风古韵。色彩冷暖交织，石青、朱红的明艳衣袍，晕融在水墨氤氲的林野间，既有传统写意笔墨的空灵，又融入现代构图的章法韵律。将踏青的雍容闲适铺陈开来，古雅诗意漫溢林间，把人物雅集与山水意境融为一体，尽显华丽雅致的盛唐气象。",[23,24,27,7,61,34,157,5410,5411],"扇子","古代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0bde7dd2c3b8917c7f9b70c3d499f9.jpg","纵61.7厘米，横219厘米",[],{"id":5416,"slug":5417,"title":1710,"dynasty":250,"author":5418,"museum":151,"description":5419,"tags":5420,"thumbUrl":5421,"material":78,"size":5422,"collection":44,"collections":5423,"showCount":5372,"zanCount":1106,"manualWeight":48,"mainColor":2653},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","杨大章","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,25,7,27,28,60,59,61,62,63,64,34,90,91,35,1699,72,66,610,93,71,92,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[44,45],{"id":5425,"slug":5426,"title":5427,"dynasty":54,"author":5428,"museum":20,"description":5429,"tags":5430,"thumbUrl":5433,"material":442,"size":5434,"collection":543,"collections":5435,"showCount":5372,"zanCount":1106,"manualWeight":48,"mainColor":128},219147,"li-shu-xie-an-xiang-zan-juan-xu-lan-219147","隶书·谢安像赞卷","徐兰","此卷书法体势扁平，结字秀整，布白均匀，笔势舒展明朗，形体全以楷书体势为之，自具风神，是明代难得的隶书作品。",[23,5431,5432,119,7,3196,193],"明代","隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4c850084992b955b62a2fb7b118df7.jpg","纵30.5厘米，横86.5厘米",[543],{"id":5437,"slug":5438,"title":5439,"dynasty":250,"author":4830,"museum":151,"description":5440,"tags":5441,"thumbUrl":5442,"material":442,"size":5443,"collection":44,"collections":5444,"showCount":5372,"zanCount":978,"manualWeight":48,"mainColor":128},218363,"fang-li-gong-lin-ming-huang-ji-qiu-tu-ding-guan-peng-218363","仿李公麟明皇击球图","场景中画有16个人物，10个人聚集在场景中间，争夺一个小球。场景中央的人是唐朝的明朝皇帝李隆基。皇帝用臀部骑着一匹骏马，看起来专注而敏捷。他周围的人，有的戴着官帽，有的头上戴着发卡，也都骑在马背上，手持球棒，与皇帝争夺地上的球。他们是皇帝身边的官员、同伴和嫔妃，有两个人在头顶，两个人在卷尾看守目标。画中的人物姿态各异，静中有动，动中有变。这幅画画得很稀疏，线条流畅。",[23,24,25,7,174,60,61,90,193,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b3926ed3aac8697de219bc21a49828.jpg","32.1x523.2",[44],{"id":5446,"slug":5447,"title":5001,"dynasty":18,"author":5448,"museum":151,"description":5449,"tags":5450,"thumbUrl":5452,"material":442,"size":5453,"collection":217,"collections":5454,"showCount":5455,"zanCount":914,"manualWeight":48,"mainColor":128},232841,"chi-bi-tu-wu-yuan-zhi-232841","武元直","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[23,24,25,7,114,118,29,115,5451,34,2560,690,4865,405,37,691],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纵50.8厘米，横136.4厘米",[],92,{"id":5457,"slug":5458,"title":5459,"dynasty":54,"author":495,"museum":1934,"description":5460,"tags":5461,"thumbUrl":5462,"material":442,"size":5463,"collection":217,"collections":5464,"showCount":5455,"zanCount":48,"manualWeight":48,"mainColor":185},231835,"lin-xie-jian-cha-tu-wen-zheng-ming-231835","林榭煎茶图","该图所绘山丘起伏，而湖水澄澈，临湖平缓的坡岸上有茅屋数间，竹篱围而成院，杂树环绕。主人于房内凭窗远眺，一童正在室外烹茶，另一人拄杖沿湖边小径而行，似来访友，毫无城市的杂沓、喧嚣，表现了文人悠闲、恬淡的生活情趣。此图笔墨遒劲秀雅，线条流畅工致。\n此图描绘林榭处煎茶情景。此画右起青山林立，山顶山腰山坡间树木丛生，远见似一片片青绿林带，呈烟消碧落的景致。山下为江水一泓，河面宽阔，水平如镜，一派风和日丽的景色。画的中部座落着几间屋宇房舍，四周林木丛生，数间房舍掩映在树木之下，且被竹篱环抱，房舍内，一位长者坐室内凝思，室外一人煮茶，身着便服，这是此画核心部分。画卷的左边为不高不矮土坡山石，在坡岸上长满了杂木和丛草，葱葱郁郁，一派春光明媚，正是煎茶的最好时节。画中有作者自题“徵明为禄之作。”卷末有文徵明白题七言诗一首，赞美君山风光。\n煮茶历来为古贤名士选取的题材之一，远的不说，如元代有赵原的《陆羽烹茶图》，表现唐代茶人陆羽的故事，陆羽不但嗜茶著名，而且对茶很有研究，撰有《茶经》，世称其为“茶神”。又有明代丁云鹏绘有《煮茶图》，画面亦描绘唐代陆羽煮茶的典故。该图是文徵明中年时期所作。\n《林榭煎茶图》以更广阔的湖景描绘，在茶会所蕴含的雅俗之辨意味以外，更叠加以隐逸的超越意涵。悠游闲适、山湖相映，共同映射着苏州文人复杂的内心世界。\n此图笔墨遒劲秀雅，线条流畅工致。山石用牛毛皴，浅淡的青绿设色，近树精勾细琢，远树概括取景。人物的衣纹用高古游丝描。人物形象各俱神态，通过人物眼神、姿态、衣着等具体描绘来突出此画的主题。此画的技法，全画用笔秀润，勾点结合秀逸天成。设色清新秀丽，调色清淡有浓丽绚烂之致，虽浓丽又隽雅不艳俗，为时辈所难以企及。",[23,24,25,7,114,118,29,116,34,117,64,120,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9697288498df44d150ee73c094c572.jpg","纵25.7厘米，横114.9厘米",[],{"id":5466,"slug":5467,"title":5468,"dynasty":54,"author":269,"museum":227,"description":5469,"tags":5470,"thumbUrl":5471,"material":217,"size":217,"collection":217,"collections":5472,"showCount":5455,"zanCount":48,"manualWeight":48,"mainColor":128},228761,"shi-er-yue-hua-hui-tu-quan-juan-xu-wei-228761","十二月花卉图全卷","此作用笔纵逸狂放，以水墨晕染替代敷色，浓淡干湿间尽显花卉神韵。牡丹苍润饱满，墨色浓沉见雍容；蜀葵疏朗清劲，淡墨勾勒存清雅，水草兰叶信笔挥洒，野趣横生。\n\n诗画相生相伴，题诗与笔墨意境交融，将文人的疏放心性寄寓于一花一草之中，脱略形似而独尚神韵，以极简的水墨语言写尽花木风骨情态，尽显大写意花鸟的淋漓意趣，是笔墨性情与文人情思完美合一的典范。",[23,24,25,7,114,209,278,279,282,193,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4e8f11f67d43edc105e9c7369bf569.jpg",[],{"id":5474,"slug":5475,"title":5476,"dynasty":54,"author":2680,"museum":380,"description":5477,"tags":5478,"thumbUrl":5479,"material":353,"size":5480,"collection":124,"collections":5481,"showCount":5455,"zanCount":48,"manualWeight":48,"mainColor":49},222466,"lan-ting-xu-quan-juan-zhu-yun-ming-222466","兰亭序全卷","本卷为祝允明行书《兰亭序》全文与文徵明为之补图的书画合璧作品。祝氏书法宽博雄放，尤具自家风神。文氏补图画王羲之等人兰亭修契之事，设色雅丽，笔墨娴熟\n此本《兰亭序》即是二人追求隐逸自由的代表画作，也是二人友谊的见证。",[23,154,24,25,7,120,114,27,193,119,29,34,116,63,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa495121fe18a1376a9191624843f67a1.jpg","26.7x146厘米",[124,45],{"id":5483,"slug":5484,"title":5485,"dynasty":18,"author":415,"museum":20,"description":5486,"tags":5487,"thumbUrl":5488,"material":140,"size":5489,"collection":42,"collections":5490,"showCount":5455,"zanCount":1106,"manualWeight":48,"mainColor":49},221397,"lin-wei-yan-mu-fang-tu-juan-quan-juan-li-gong-lin-221397","临韦偃牧放图卷全卷","这是一幅宋朝画家李公麟临摹唐朝画家韦偃的作品。画幅为长卷形式，从右自左展开。在高低不平的土坡和广阔的平原间，牧者驱赶着大群马匹蜂拥而来，马嘶人叫，热闹异常。画面中段以后，马群逐渐散开成组各自活动，有的低头觅食，有的追赶嬉闹，有的奔跑，有的就地翻滚，还有几匹马走向远处的小河去饮水。众多的马匹姿态各异，生动自然。放马的牧人，有的骑在马上，有的穿戴较为整齐，有的则敞胸露怀赤足，在树荫里休息的牧人为契丹族，其中似乎还有等级的差别。整个画面的构图，前半部拥塞、紧张，后半部疏散、松弛，富于节奏感。\n全图共画了人一百四十余口、马一千二百多匹，可谓洋洋大观。\n画中的马匹和人物均用墨线勾勒，线条挺拔有力，色泽较浓重，坡石墨色稍淡，略有皴擦，再用赭石色渲染，加强了画面的气氛。构图和笔墨的变化。使整个作品主次分明、生动活泼，避免了呆板、重复和混乱。如此庞大的构图，若没有长时间的经营和缜密的运思，即使是临摹，也是难以设想的。\n李公麟的大部分绘画作品是画在纸上的，并不施色彩，“惟临摹古画，用绢素着色”（元·汤垕《画鉴》）。这件作品为临摹本，用绢素作画并施淡彩，与画史的记载完全吻合。唐朝画家韦偃已无可靠的作品存世，通过李公麟的这个摹本，也可以领略其绘画的风采。",[23,154,24,25,7,60,174,90,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc407cbff0db594e50f3614e4d2025047.jpg","纵46.2厘米，横429.8厘米。",[42,44,103],{"id":5492,"slug":5493,"title":5494,"dynasty":133,"author":534,"museum":20,"description":5495,"tags":5496,"thumbUrl":5497,"material":442,"size":5498,"collection":543,"collections":5499,"showCount":5455,"zanCount":914,"manualWeight":48,"mainColor":128},220825,"wan-shou-qu-juan-zhao-meng-fu-220825","万寿曲卷","赵孟頫晚年主要在集贤、翰林二院任职，撰写过不少应诏、应制的诗文。此卷是其抄录在皇庆年间官集贤侍读学士时“应制”而作的乐府颂词，也是现存赵孟頫唯一署“臣”字款的作品。卷中书写一丝不苟，结构端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。\n译文:闾阖初开。正苍苍曙色，天上春回。绛帻鸡人时报，禁漏频催。九奏钧天帝乐，御香惹，千官环珮。鸣鞘静，嵩岳三呼万岁，声震如雷。殊方异域尽来。满彤廷贡珍，皇化无外。日绕龙颜，云近绛阙蓬莱。四海欢欣鼓舞，圣德过，唐虞三代。年年宴，王母瑶池，紫霞长进琼杯。\n春满皇州。见祥烟拥日，初照龙楼。宫花苑柳，映仙仗云移，金鼎香浮。宝光生玉斧，听鸣凤，箫韶乐奏。德与和气游。天生圣人，千载希有。祥瑞电绕虹流。有云成五色，芝生三秀。四海泰平，致民物雍熙，朝野歌讴。千官齐拜舞，玉杯进，长生酒春（二字倒写）。愿皇庆万年，天子与天同寿。\n天上春风（此字点去）来。正阳和布泽，斗柄初回。一朵祥云捧日，万象生辉。帝德光昭四表，玉帛尽，梯航来会。彤廷敞，花覆千官，紫霄鹓鹭裵佪。仁风徧满九垓。望霓旌缓引，宝扇徐开。喜动龙颜，和气蔼然交泰。九奏箫韶舜乐，兽尊举，麒麟香叆。从今数，亿万斯年，圣主福如天大。\n瑞日当天。对绛阙蓬莱，非雾非烟。翠光覆禁苑，正淑景和（此字点去）芳妍。彩仗和风细转，御香飘满黄金殿。喜万国会朝，千官拜舞，亿兆同欢。福祉如山如川。应玉渚流虹，璇枢飞电。八音奏舜韶，庆玉烛调元。岁岁龙舆凤辇，九重春醉蟠桃宴。天下太平，祝吾皇，寿与天地齐年。臣孟頫。",[23,154,24,25,7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37efe029da300c60a044e81cd8a85eee.jpg","27.5*144cm",[543],{"id":5501,"slug":5502,"title":5503,"dynasty":18,"author":5504,"museum":111,"description":5505,"tags":5506,"thumbUrl":5507,"material":720,"size":5508,"collection":124,"collections":5509,"showCount":5455,"zanCount":978,"manualWeight":48,"mainColor":49},218400,"du-fu-shi-yi-tu-zhao-kui-218400","杜甫诗意图","赵葵","此图为唐代诗人杜甫“竹深留客处，荷净纳凉时”佳句为题，描绘的是一片竹林景色。图中丛草茂密，绿竹幽深，连绵万顷，层层叠翠，尤以竹林深处，一条蜿蜒小路上，有二人策驴缓行，显然是欲溯溪而上，至一塘绿水处，荷叶飘香，临流水阁数间，令人畅想，不免有流连忘返之意，若能高卧闲居，听竹闻香，自然就可以荣辱皆忘，陶然忘机。所谓一心，就是这个状态，无关乎身家性命，但求此心真诚无二，为将者保家卫国，为画者怡情自乐，君子无为而无不为，皆能不出其位，用现在的话说，就是干一行，爱一行，少些杂念，自然可以有所成就。岳飞曾说，文官不爱钱，武官不惜命。其实也是这个道理。故人若能一心不乱，大可以报效国家于危难之际，小可以洁身自好于巷陌之间。",[23,24,7,114,118,275,63,64,116,117,34,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96951e7904dac4cc20ea034fe6300033.jpg","纵74.7厘米，横 212.2厘米",[124],{"id":5511,"slug":5512,"title":5513,"dynasty":54,"author":1030,"museum":227,"description":5514,"tags":5515,"thumbUrl":5516,"material":122,"size":5517,"collection":44,"collections":5518,"showCount":5455,"zanCount":1106,"manualWeight":48,"mainColor":128},215040,"shi-cai-zi-tu-tang-yin-215040","十才子图","此卷是唐伯虎的虚构作品，后记说是宋徽宗赵佶临摹的，并说赵佶与吴宽一起南下。 吴宽死于1504年，而正德十年是1515年，吴宽已死了十一年，所以此画只能是赝品，但画技中上，可以作为参考。",[23,24,25,7,28,27,61,116,29,34,275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7c8a37613f6aa905d740483ae67edd.jpg","31.5x123.5",[44],{"id":5520,"slug":5521,"title":5522,"dynasty":250,"author":5523,"museum":227,"description":5524,"tags":5525,"thumbUrl":5526,"material":1050,"size":1051,"collection":217,"collections":5527,"showCount":5528,"zanCount":48,"manualWeight":48,"mainColor":128},288092,"yuan-ben-qing-ming-shang-he-tu-chen-mei-288092","院本清明上河图","陈枚","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[24,59,7,28,27,62,116,1298,61,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3f7497bacbc0ee63d999b8bc543f10.jpg",[],91,{"id":5530,"slug":5531,"title":5532,"dynasty":133,"author":5533,"museum":227,"description":5534,"tags":5535,"thumbUrl":5536,"material":1050,"size":1051,"collection":217,"collections":5537,"showCount":5528,"zanCount":1106,"manualWeight":48,"mainColor":128},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,24,25,7,114,118,120,193,119,29,276,274,115,61,34,64,404,116,765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],{"id":5539,"slug":5540,"title":5541,"dynasty":54,"author":269,"museum":20,"description":5542,"tags":5543,"thumbUrl":5544,"material":442,"size":5545,"collection":217,"collections":5546,"showCount":5528,"zanCount":1106,"manualWeight":48,"mainColor":128},233727,"mo-hua-juan-xu-wei-233727","墨花卷","本幅水墨花卉十六段，其顺序是：牡丹、梅花、竹石、玉簪、绣球、萱草、荷花、石榴、芙蓉、秋海棠、菊花、秋葵、双勾竹、水仙、茶花、梅花每段自题七绝一首。末端自题诗。款：“万历五年重九为从子十郎君戏作于木瓜桥之花园馆，金晶山人”印“文长”“两溟渔鸣”白方。引首自书“识得东风”后幅吴俊卿题记。",[24,25,7,114,272,119,120,193,274,282,275,283,277,281,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3841d2a97c07af3531a1bd134c1503b.jpg","纵30cm横54.7cm",[],{"id":5548,"slug":5549,"title":5550,"dynasty":168,"author":5551,"museum":227,"description":5552,"tags":5553,"thumbUrl":5555,"material":217,"size":217,"collection":217,"collections":5556,"showCount":5528,"zanCount":914,"manualWeight":48,"mainColor":49},232623,"wan-song-qiu-lin-tu-quan-juan-zhang-zao-232623","万松秋林图全卷","张璪","论画山水树石》中说到“山水之变，始于吴，成于二李”之后，紧接着便说“树石之状，妙于韦偃，穷于张通(张璪)”。在唐人心目中，张璪的画还是高于王维等人的。张璪作画喜用紫毫秃笔，属于吴道子型激情一派画家，他往往秃笔抹写，画至得意处，忘乎所已。干脆以手醮色，挥涂起来，久而久之，形成习惯，乃至于发展为王默的“脚蹙手抹”。后世的指画当受其影响。\n张璪的山水画另一大特色就是以墨为主，不贵五彩。荆浩《笔法记》云“张藻员外树石，气韵俱盛，笔墨积微，真思卓然，不贵五彩，旷古绝今，未之有也。”这种“不贵五彩”、“笔墨积微”水墨画法在绘画技法上是一个极大的突破。",[23,154,24,25,7,114,27,118,29,276,5554,34,117],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c33524bed7f62604513b963bc367865.jpg",[],{"id":5558,"slug":5559,"title":5560,"dynasty":250,"author":819,"museum":227,"description":5561,"tags":5562,"thumbUrl":5565,"material":217,"size":217,"collection":217,"collections":5566,"showCount":5528,"zanCount":1106,"manualWeight":48,"mainColor":128},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[24,25,7,27,29,118,120,193,119,194,115,196,62,63,64,116,34,117,37,5563,5564],"人家","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],{"id":5568,"slug":5569,"title":5570,"dynasty":54,"author":55,"museum":227,"description":5571,"tags":5572,"thumbUrl":5573,"material":217,"size":217,"collection":217,"collections":5574,"showCount":5528,"zanCount":48,"manualWeight":48,"mainColor":49},228385,"shang-lin-tu-juan-si-ren-shou-cang-chou-ying-228385","上林图卷（私人收藏）","《明仇英上林图卷》由明朝画家仇英绘画。\n仇英《上林图卷》画意取自西汉司马相如的名篇《上林赋》，描写了汉武帝时的皇家园囿“上林苑”的美景，以及汉武帝与群臣狩猎时的壮观景象。\n【名称】明仇英上林图卷 【类别】中国 【年代】明代 【作者】 【规格】该幅44.8128厘米，隔水一14.1厘米，隔水二14厘米，拖尾44.826.厘米 【收藏】 主题与关键字： 房舍、宫殿、马、后妃、渔夫、船夫、军士、瀑布、藤萝、江河、湖海、侍从（侍女、童仆）、兽力车、石磴、栈道、官员（臣）、栏杆、鹤、兵器、高士（士人、隐士）、桃花、溪涧、湍泉、帝王、狐狸、亭、乐器、台阁、杉、篷舟、鹿、仪仗（佛教宝盖）、桥、百姓、云、牛、篱笆、围墙、羊、帐篷、鸾凤、虎、鸡、茅草屋、田畴、松、狗。\n故宫书画录（卷八），第四册，页42 故宫书画图录，第十八册，页5-6 此幅图写 上林赋意，卷末并附有署文徵明款之隶书全文。\n相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。\n画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。\n人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。\n此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托。\n仇英，明朝，太仓（今江苏太仓）人。\n移家吴县（今江苏苏州）。\n画师 ，工山水、人物、士女，而格力不逮。\n特工临摹，粉图黄纸，落笔乱真。\n至于发翠豪金，丝丹缕素，精丽艳逸，无愧古人。\n尝作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆臆写古贤名笔，斟酌而成，可谓绘事之绝境，艺林之胜事也。\n题其仙弈图谓：“仇实父是 后身，即文、沈亦未尽其法。\n”洵非过誉。\n尤工士女，神采生动，为明代工笔之杰。\n152年（正德十五年）与 合仿 莲社图，藏故宫博物院。",[23,28,26,27,7,29,62,61,34,117,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d654d1e6148064ec1640922c1921901.jpg",[],{"id":5576,"slug":5577,"title":5578,"dynasty":250,"author":5579,"museum":227,"description":5580,"tags":5581,"thumbUrl":5582,"material":217,"size":5583,"collection":217,"collections":5584,"showCount":5528,"zanCount":1106,"manualWeight":48,"mainColor":128},222800,"zhuan-shu-xin-jing-deng-shi-ru-222800","篆书心经","邓石如","书法上极有创意。取法李阳冰铁线篆，其中又有以隶笔作篆的意味，笔力遒练，体势沉着，是他传世墨迹中的代表作。\n释文:观自在菩萨，行深般若波罗蜜多时，照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色。色即是空，空即是色。受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼耳鼻舌身意，无色声香味触法，无眼界，乃至无意识界，无无明，亦无无明尽，乃至无老死，亦无老死盡。无苦集滅道，无智亦无得，以无所得故。菩提薩埵，依般若波罗蜜多故，心无罣礙，无罣礙故，无有恐怖，远离颠倒梦想，究竟涅槃。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故知般若波罗蜜多，是大神咒，是大明咒，是无上咒，是无等等咒，能除一切苦，真实不虚。故说般若波罗蜜多咒。即说咒曰：揭諦揭諦，波罗揭諦，波罗僧揭諦，菩提萨婆訶。般多心経。嘉庆龙飞九年，岁在逢困敦十有一月，丙戌朔粤十有八日癸卯。古皖邓石如篆。",[23,119,664,540,173,7,4081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaacba25735befff5d1b956c05f59017.jpg","单字宽约2厘米",[],{"id":5586,"slug":5587,"title":5588,"dynasty":54,"author":5589,"museum":568,"description":5590,"tags":5591,"thumbUrl":5593,"material":78,"size":5594,"collection":44,"collections":5595,"showCount":5528,"zanCount":978,"manualWeight":48,"mainColor":49},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,25,7,29,27,118,61,63,64,115,764,62,34,117,2274,613,37,5592,138],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[44,45],{"id":5597,"slug":5598,"title":5599,"dynasty":54,"author":55,"museum":1270,"description":5600,"tags":5601,"thumbUrl":5602,"material":78,"size":5603,"collection":44,"collections":5604,"showCount":5528,"zanCount":48,"manualWeight":48,"mainColor":49},218359,"luo-han-tu-chou-ying-218359","罗汉图","这是一幅十八罗汉过海拜见龙王的画，笔触轻快，造型优美，但与仇英的风格不同。",[23,7,28,27,59,173,61,1071,483,62,1009,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[44],{"id":5606,"slug":5607,"title":5608,"dynasty":168,"author":430,"museum":1239,"description":5609,"tags":5610,"thumbUrl":5614,"material":1244,"size":217,"collection":217,"collections":5615,"showCount":5528,"zanCount":48,"manualWeight":48,"mainColor":49},217287,"jiang-mo-bian-dun-huang-tu-juan-3-yi-ming-217287","降魔变·敦煌图卷-3","树影婆娑间，故事徐徐铺展。墨线勾勒的衣袂翻飞里，左侧人群神色各异——或凝神静听，或交头接耳，衣袍的赭黄与青绿晕染出人间烟火气。\n\n帐幔轻垂，裹着一室虔诚：帐内人物或合十默祷，或低语交谈，虬髯者的粗犷与稚童的灵动相映成趣。旁侧大象纹饰古雅，背上的图案似藏玄机，卧于茵席间，添了几分神圣静谧。\n\n右侧僧众团坐，赭红衣袂与墨色僧袍交织，光头的圆润衬着肃穆神情，仿佛法音正缓缓流转。他们或指或听，姿态各异却皆凝向中心，将叙事的焦点引向那份庄严。\n\n淡彩晕染的纸页上，线条如行云流水，把宗教的神圣与人间的鲜活揉作一处。每一笔都藏着敦煌艺术的古朴韵致，让千年前的故事，在今日仍能触到那份温热的虔诚与生动。",[154,24,25,7,27,28,173,61,1242,5611,157,34,5612,640,5613,511],"大象","莲花","僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78417d9a75ae607f87c5184762deb39.jpg",[],{"id":5617,"slug":5618,"title":5619,"dynasty":250,"author":942,"museum":380,"description":943,"tags":5620,"thumbUrl":5624,"material":951,"size":952,"collection":217,"collections":5625,"showCount":5626,"zanCount":1106,"manualWeight":48,"mainColor":49},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段",[23,154,24,7,27,28,29,195,5621,4140,5622,62,63,64,5623,65,61,75,34,117,72],"村镇","古建","船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg",[],90,{"id":5628,"slug":5629,"title":5630,"dynasty":18,"author":507,"museum":5631,"description":5632,"tags":5633,"thumbUrl":5635,"material":1464,"size":5636,"collection":42,"collections":5637,"showCount":5626,"zanCount":48,"manualWeight":48,"mainColor":49},221459,"mo-long-juan-chen-rong-221459","墨龙卷","日本民间","此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[23,24,114,7,511,1071,483,272,5634],"泼墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd432ff264797bbb1461c11c9690c404d.jpg","185.8厘米×106.1厘米",[42,261,103],{"id":5639,"slug":5640,"title":5641,"dynasty":250,"author":5642,"museum":227,"description":5643,"tags":5644,"thumbUrl":5645,"material":1050,"size":1051,"collection":217,"collections":5646,"showCount":5647,"zanCount":914,"manualWeight":48,"mainColor":128},230292,"zhao-meng-fu-da-shi-zan-ai-xin-jue-luo-yong-xing-230292","赵孟頫大士赞","爱新觉罗永瑆","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。",[23,119,537,193,25,7,173,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239d73cbdf3045fafccec73a08a508ad.jpg",[],89,{"id":5649,"slug":5650,"title":5651,"dynasty":18,"author":465,"museum":56,"description":5652,"tags":5653,"thumbUrl":5654,"material":4762,"size":5655,"collection":42,"collections":5656,"showCount":5647,"zanCount":48,"manualWeight":48,"mainColor":128},221664,"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,25,7,114,118,29,115,923,254,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","29.3x376",[42,124,103],{"id":5658,"slug":5659,"title":5660,"dynasty":133,"author":534,"museum":56,"description":5661,"tags":5662,"thumbUrl":5663,"material":442,"size":5664,"collection":44,"collections":5665,"showCount":5647,"zanCount":1106,"manualWeight":48,"mainColor":49},220834,"lan-ting-xiu-xi-zhao-meng-fu-220834","蘭亭修禊","兰亭修禊：修禊（xiūxì），源于周代的一种古老习俗，即农历三月上旬“巳日”这一天，（魏以后始固定为三月三日），到水边嬉游，以消除不祥，叫做“修褉”。人们相约到水边沐浴、洗濯，借以除灾去邪，古俗称之为：“祓禊”。后文人饮酒赋诗的集会，也称为修禊。春日踏青有“春禊”，秋日秋高气爽，文人怎能辜负这大好时光，自然会有“秋禊”，时间一般是在农历七月十四。历史上最为有名的修禊当数兰亭修禊和红桥修禊。王羲之《兰亭集序》：“暮春之初，会于会稽山阴之兰亭，修褉事也。”",[23,24,25,7,27,28,119,120,61,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d11be852e9ee5dd0f93e513e3b855e.jpg","纵:32.2cm 横:375.3cm",[44,103],{"id":5667,"slug":5668,"title":5669,"dynasty":133,"author":430,"museum":227,"description":3820,"tags":5670,"thumbUrl":5672,"material":217,"size":217,"collection":217,"collections":5673,"showCount":5674,"zanCount":914,"manualWeight":48,"mainColor":49},232906,"ke-si-qing-niao-hu-die-tu-juan-yi-ming-232906","缂丝青鸟蝴蝶图卷",[23,3822,27,28,209,7,5671,337,278,117,436],"青鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f791b5f797cb61630dfe3c3212a14b.jpg",[],88,{"id":5676,"slug":5677,"title":5678,"dynasty":250,"author":942,"museum":380,"description":943,"tags":5679,"thumbUrl":5681,"material":951,"size":952,"collection":217,"collections":5682,"showCount":5674,"zanCount":914,"manualWeight":48,"mainColor":49},222819,"gu-su-fan-hua-tu-di-san-duan-xu-yang-222819","姑苏繁华图第三段",[23,154,24,7,28,27,61,62,63,64,66,65,4140,195,29,75,946,5680,95,72],"古街","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ce7b45c379e1c3d731de80836559d.jpg",[],{"id":5684,"slug":5685,"title":5686,"dynasty":18,"author":4114,"museum":4758,"description":5687,"tags":5688,"thumbUrl":5689,"material":140,"size":5690,"collection":217,"collections":5691,"showCount":5674,"zanCount":48,"manualWeight":48,"mainColor":49},221375,"xi-shan-qiu-ji-tu-wang-shen-221375","溪山秋霁图","《溪山秋霁图》是北宋 创作的绢画淡设色画，现藏于美国华盛顿弗利尔美术馆。\n图绘秋日雨过天晴后的山青水秀。\n图上群山叠嶂起伏，江水空阔浩淼；近处雨后树木更愈翠绿，江边草屋掩映于树林中；山中可见数座屋脊；远处云雾下的山峦更显妖娆。\n本图以长卷形式表现 雨过天晴后郊野的清丽风光。\n卷中忽而两山夹峙野水逶迤，忽而重岩叠嶂连绵而起，忽而江水横陈浩渺空阔，其中点缀高人逸士渔夫钓者，表现其悠闲生活情趣。\n此图画风清润秀雅，用笔尖利。\n整幅画面布置有序，意境优美，正如宋人论画山水所写：出于可游可居之景。\n王诜，字晋卿，北宋画家，所作烟江云山、寒林幽谷，水墨清润，设色高古绝俗",[24,154,7,114,118,120,193,29,34,117,420,37,2520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cbc8e85c993c64e82f3c902744c596.jpg","纵45.2厘米，横206厘米",[],{"id":5693,"slug":5694,"title":5695,"dynasty":168,"author":1305,"museum":5696,"description":5697,"tags":5698,"thumbUrl":5699,"material":5700,"size":5701,"collection":543,"collections":5702,"showCount":5674,"zanCount":1106,"manualWeight":48,"mainColor":2653},221062,"pei-jiang-jun-shi-tie-yan-zhen-qing-221062","裴将军诗帖","原作佚失","传为唐代颜真卿所书。该帖楷、行、草相混而书，书法大小、长短、肥瘦、斜正变化多端，间杂隶书笔法，气雄力厚。北京大学教授、引碑入草开创者的李志敏评价：“颜真卿的《裴将军诗》以汉分为魂，融合诸体，牢笼百态，裴旻剑舞活现于鲁公笔端。欲医草之轻浮，可于此贴中求之”。",[23,7,119,2917,1229,537,120,1892,5432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f840ab06e0e890cb03487c20c8ad3f8.jpg","楷、行、草相混","第一块碑石为长方形，长74厘米，宽43厘米 第二石为正方形， 长42厘米，宽42厘米 第三石的尺寸极可能长74厘米，宽43厘米",[543,1013],{"id":5704,"slug":5705,"title":5706,"dynasty":149,"author":5150,"museum":3074,"description":5151,"tags":5707,"thumbUrl":5708,"material":720,"size":5709,"collection":124,"collections":5710,"showCount":5674,"zanCount":1106,"manualWeight":48,"mainColor":49},219877,"zhong-xi-yan-ai-tu-ju-ran-219877","重溪烟霭图",[23,154,24,25,7,114,29,37,420,34,405,115,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002f9fd99a437be58311e2c0552f8180.jpg","29.9x418.5cm",[124],{"id":5712,"slug":5713,"title":5714,"dynasty":54,"author":1295,"museum":20,"description":5715,"tags":5716,"thumbUrl":5717,"material":122,"size":5718,"collection":124,"collections":5719,"showCount":5674,"zanCount":914,"manualWeight":48,"mainColor":128},219721,"shen-cui-xuan-tu-wen-zheng-ming-219721","深翠轩图","文徵明（1470—1559年），原名壁，字徵明，后以字行，改字徵仲，长洲（今江苏省苏州）人。家世武弁，自祖父起始以文显，父文林曾任温州永嘉知县。他幼习经籍诗文，喜爱书画，文师吴宽，书法学李应祯，绘画宗沈周。少时即享才名，与祝允明、唐寅、徐祯卿并称“吴中四才子”。然在科举道路上却很坎坷，从弘治乙卯（1495年）26岁到嘉靖壬午（1522年）53岁，十次应举均落第，直至54岁才受荐以贡生进京，待诏翰林院。四年中目睹官场腐败，一再乞归，57岁回归故里，潜心诗文书画。他通晓各科绘画之艺，擅长各种细粗之法，其目力和控笔能力极佳，80多岁时还能十分流利地书写蝇头小楷竟日不倦。绘画上与沈周共创“吴派”，又与沈周、唐寅、仇英并称“吴门四家”。书法上与祝允明、王宠并誉为“吴中三家”。 文徵明的绘画兼善山水、兰竹、人物、花卉诸科，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。这路细笔山水属本色画，具装饰性、抒情味、稚拙感、利家气诸特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。",[23,24,25,7,29,116,34,117,27,2161,69,486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纵23.8cm，横78.3cm",[124,543],{"id":5721,"slug":5722,"title":5723,"dynasty":54,"author":1295,"museum":20,"description":5724,"tags":5725,"thumbUrl":5726,"material":78,"size":5727,"collection":124,"collections":5728,"showCount":5674,"zanCount":1106,"manualWeight":48,"mainColor":128},219201,"lan-ting-xiu-xi-tu-juan-wen-zheng-ming-219201","兰亭修禊图卷","《兰亭修禊图》为文徵明73岁时用青绿山水画法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便展现出文人雅士潇洒的身姿。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失优雅，艳而别具秀润。",[23,24,25,7,27,28,29,120,61,116,64,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a71fb8eb9d0e6a362f166a6ec72e88d.jpg","纵24.2厘米，横60.1厘米",[124],{"id":5730,"slug":5731,"title":5732,"dynasty":168,"author":5733,"museum":151,"description":5734,"tags":5735,"thumbUrl":5736,"material":285,"size":5737,"collection":103,"collections":5738,"showCount":5674,"zanCount":48,"manualWeight":48,"mainColor":128},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,24,25,7,114,118,119,120,193,29,3398,34,117,64,116,404,63,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[103],{"id":5740,"slug":5741,"title":5742,"dynasty":225,"author":1472,"museum":227,"description":1732,"tags":5743,"thumbUrl":5745,"material":1050,"size":1051,"collection":217,"collections":5746,"showCount":5747,"zanCount":1106,"manualWeight":48,"mainColor":49},288119,"lan-ting-ji-shang-juan-wang-xi-zhi-288119","兰亭记上卷",[23,7,2917,119,120,61,2714,922,694,64,5744,1229],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fd561b9dece26b1983d27bca1e7e14.jpg",[],87,{"id":5749,"slug":5750,"title":5751,"dynasty":133,"author":534,"museum":20,"description":5752,"tags":5753,"thumbUrl":5754,"material":537,"size":5755,"collection":543,"collections":5756,"showCount":5747,"zanCount":914,"manualWeight":48,"mainColor":128},239685,"di-shi-dan-ba-bei-juan-zhao-meng-fu-239685","帝师胆巴碑卷","内容为记述帝师胆巴生平事迹，是赵孟頫奉元仁宗敕命书写的碑文。胆巴是元代前期僧人，西番突甘斯旦麻人，元世祖时被封为国师，元仁宗皇庆间，追号大觉普慈广照无上胆巴帝师。此卷书于延祐三年(1316)，书法点画顾盼有致，用笔遒美峻拔，为晚年碑书之笔。\n卷后有清姚元之、杨岘、李鸿裔、潘祖荫、王颂蔚、王懿荣、盛昱、杨守敬题跋，并钤有许乃普、叶恭绰等收藏印记。《南阳法书表》、《式古堂书画汇考》、《壬寅销夏录》、《三虞堂书画目》等书著录。现藏故宫博物院。",[23,25,119,7,537,173,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e897198e2de07be5ae069c46c590bfa.jpg","纵33.6厘米，横 166厘米",[543],{"id":5758,"slug":5759,"title":5760,"dynasty":1630,"author":1631,"museum":20,"description":5761,"tags":5762,"thumbUrl":5763,"material":5764,"size":5765,"collection":217,"collections":5766,"showCount":5747,"zanCount":48,"manualWeight":48,"mainColor":128},232939,"you-chun-tu-juan-zhan-zi-qian-232939","游春图卷","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。下端一角，便是坡陀花树，围绕山庄。描绘出明媚春光和游人在山水中纵情游乐的神态。各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。\n早期的山水画通常会呈现出“人大于山和水不容泛、树木若伸臂布指”的状态，这说明了早期山水画的不成熟，在构图方面体现了较为幼稚的特点。《游春图》的章法布置则突破了以往的画风束缚，形成了十分有特色的构图方式，结构层次颇有特点。它的画面的右上部主要是山峦的表现，绘有大量的崇山峻岭，展现了一副山峦起伏、峰回百转的形态。若在之前，这个画面可能就算是完成了整个景观背景的塑造。但是展子虔并没有到此为止，在画面的右下方，他在画面中画上了山间小径，小径则是由低矮的树木、草丛组成，曲径通幽，旖旎风光、透逛山路，成为了右上方巍峨高山的延伸部分。这样，高山便成为了山路的背景，山路又成为了高山的细节铺垫和展现。这就使得整个画面比前期山水画更显全面、沉稳、丰富。而在画面的左侧，观者可以看到展子虔在此绘有一处低矮的小山丘。这一小山丘能够与右侧上方的崇山峻岭遥遥相对，形成鲜明的对比。在画面的中问，则有大片江河，形成一道波光粼粼的天堑，并与湖水、天空融会在一起，使得整个画面形成湖天一色、山河并举的形象。值得一提的是，画面并未只以山川与河流为主，而是在细节之处加以点缀：江河之中有小船点缀其中，船中有三四位神态各异、姿态不同的人物，将人声、山河画面融合在一起，并通过山川、河流、船舶、人物等形象构造出整个画面的图片比例。\n深究整个《游春图》，可以发现该画以山川、水系为主体，将人物、古刹、船舶、阁楼等融于山水，成为画面中的重要景观。这些景观相互配合，运用其形象的客观物象来表达画面事物之间的大小、高低、远近等的关系。合理地处理画面关系，使得展子虔对画面的比例、深度等都能有十分准确的把握，并根据其特点，进行处理和变化。也正是由于这种十分合理的处理和变化，才能够使得山水画的构造变得更加符合现实，使得该画变化成了“超然物外”的穿插构图，形成隋代山水画的新格局，使得中国山水人物画的表现形式和审美取向变得更加成熟。\n运笔成熟，表现独特。展子虔在绘画创作上十分敢于并善于创新，尤其善于在细节处用笔。在观者欣赏《游春图》的时候，不难发现它无处不是点缀着代表盎然生气的绿色。例如，画面就有很多还没有完全长满枝芽的树木，这些枝芽就是展子虔运用独特的勾画技巧形成的，即青绿勾填技法。这种技法不仅仅使得他的创作变得“细密精致而臻丽”，更让他的这种创作方法成为了中国山水画的重要技法之一。\n在绘画山川石木的时候，展子虔善于运用细节，运用细笔勾勒它们的轮廓。以青绿色以及其他明丽的色彩来展现画面。例如，他在刻画《游春图》的山石树木之时，善于将山石树木的线条不用刻意有粗细、明暗的变化，它们不用刻意地添加皱祈，也照样能体现出古朴苍劲、俊朗豪迈的形象。而在描绘人物的时候，展子虔也习惯运用细节来展现人物的形态、神态等，虽然画面中的人物形象没有过大改变，但是人物神情却可以是各有特色，每个人的衣着外观都十分飘逸流畅，也使得观者有“观人于微，，的感受。另外，他还善于运用“点花”的方法，勾勒细节，例如对枝芽的处理，他也会运用粉点点上，形成芽苞初放的形象。而在绘画人物上，作者也是用了这种点染的方法，让细小如豆的人马等都形态毕现。\n青绿重彩，工细巧整。在隋代之前，魏晋时期的山水画不仅仅在构图、形状、用笔等方面都比较单一，而且在整个画面的用色方面也都十分单一。而在隋代展子虔的《游春图》中，其形状不仅仅充满变化，而且在用色上也更加丰富和大胆。展子虔为了改变以往单调而简单的填色方式，将自己大胆的想象和细致的技法运用到画面中。《游春图》以青绿色为主色调，并在此基础上，形成细工精琢的用色方法。例如，在画面右上部分，作者开始运用青绿着色，展现了初春山林间盎然的生机。而在右下部分，表现山间小路时，作者却用泥金来表现，展现了山林中春寒未退的山色。这样两类用色，使整个画面的表现力更加丰富。同时，在绘画树木之时，展子虔更加注重细节的刻画。在对树叶设色时，它不仅仅运用色填或者色染，而且还运用点彩的形式，来展现含苞初放的春日娇态。\n《游春图》除了对画面中的不同物象进行了十分具有特点的用色之外，在敷色上增加各种晕染等方法，使不同对象在色彩表达上显得更加统一而完善。在描绘松树时，画家并没有以松针来展现，而是用深绿色运笔，在表现其他花木时，画家则运用桃红色、白粉色等来展现，形成单纯而丰富、古朴而艳丽的形象特点。因而，纵观整个《游春图》，其画面展现的是新绿成荫、繁花盛开、水天一色、深浅莫辨的特点。而在对人物的描绘过程中，展子虔运用山后白云来展现人物所处的背景，并能够以此来衬托人物游春时的心境。而对于人物本身的形象来说，展子虔则也善于用粉色和白色进行点染，使得整个画面更显风格细腻、轻松生动。\n唐代僧彦悰《后画录》：“触物为情，备皆妙绝”，“远近山川，咫尺千里。”\n唐代张彦远：“动笔形似，画外有情。”\n宋代《宣和画谱》：“写江山远近之势尤工，故咫尺有千里之势。”\n明代董其昌：（《游春图》）是“世所罕见”的墨宝。\n当代作家沈从文：“这画卷的重要,实在是对于中国山水画史的桥梁意义……没有它，历史即少了一个重要环节。”\n现存于故宫博物院的《游春图》是展子虔唯一传世的代表作，也是世界上存在最早的画卷，它的存在，对中国乃至世界的绘画史、艺术史都具有极为重要的作用。\n在《游春图》出现之前，中国早期的山水画通常是“人大于山、水不容泛”。也就是说，绘画中人物形象的塑造比山还要大，而对于水的绘画，却永远不会有波光粼粼的形态，而是犹如一潭死水般地停留在画布上。可见，在展子虔之前的，尤其是南北朝时期的山水画仍然存在很多不足，这些画家们通常无法把握好山水、人物的比例关系，也不能完美、生动地展现山水的飘逸之感。而《游春图》出现之后则打破了这种限制，全图无处不展现着一种空间之美，人物、山水疏密安排十分得宜，展现着自然界的交替、交换与重叠。\n游春图之所以能够成为中国山水画承上启下的代表作品，不仅仅在于画面呈现的内容，更在于它异于前人的创作手法和审美取向，展现出了于方寸之地尽显千里之姿的艺术特点。\n《游春图》构图壮阔沉静，设色古艳，富有典丽的装饰意味，体现出承上启下的风格，也标志着山水画即将进入成熟期，他在山水画上所达到的成就及其绘画方法，直接开启了唐代画家李思训、李昭道父子金碧山水的先河。\n1980年5月27日华国锋到日本进行正式访问时，赠给日本天皇的礼品中，就有一幅中国现代女画家临摹的隋朝画家展子虔的《游春图》。",[154,24,25,7,26,27,29,61,62,63,64,194,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd3613327ff7d09b2f5cbe51fadde61.jpg","绢本绘画","高43厘米，宽80.5厘米",[],{"id":5768,"slug":5769,"title":5770,"dynasty":149,"author":1844,"museum":227,"description":5771,"tags":5772,"thumbUrl":5775,"material":217,"size":217,"collection":217,"collections":5776,"showCount":5747,"zanCount":1106,"manualWeight":48,"mainColor":49},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[23,154,24,25,7,28,27,61,1298,5773,213,193,623,5411,5774],"石桌","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg",[],{"id":5778,"slug":5779,"title":5780,"dynasty":54,"author":430,"museum":20,"description":5781,"tags":5782,"thumbUrl":5783,"material":140,"size":5784,"collection":217,"collections":5785,"showCount":5747,"zanCount":48,"manualWeight":48,"mainColor":49},223339,"er-lang-shen-sou-shan-tu-juan-yi-ming-223339","二郎神搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,24,25,7,28,27,61,29,34,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a66aa3c0dc8d8069db69e347e0a460.jpg","53×561cm",[],{"id":5787,"slug":5788,"title":5789,"dynasty":18,"author":2035,"museum":20,"description":5790,"tags":5791,"thumbUrl":5794,"material":752,"size":5795,"collection":42,"collections":5796,"showCount":5747,"zanCount":1106,"manualWeight":48,"mainColor":128},221485,"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[23,24,25,7,114,763,118,5792,120,193,1071,482,34,690,799,5793],"米点皴","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[42,124,103],{"id":5798,"slug":5799,"title":5800,"dynasty":18,"author":5801,"museum":1934,"description":5802,"tags":5803,"thumbUrl":5804,"material":78,"size":5805,"collection":44,"collections":5806,"showCount":5747,"zanCount":914,"manualWeight":48,"mainColor":49},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","中兴瑞应图","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,154,24,25,7,28,27,59,118,61,62,29,34,90,116,70,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[44],{"id":5808,"slug":5809,"title":5810,"dynasty":168,"author":1006,"museum":227,"description":5811,"tags":5812,"thumbUrl":5816,"material":78,"size":5817,"collection":44,"collections":5818,"showCount":5747,"zanCount":914,"manualWeight":48,"mainColor":49},219580,"nong-qian-tu-han-huang-219580","农迁图","此图是少有的描绘唐代农民生活的写实画作。左侧男子一手持竹杖，一手拿干粮而食，头戴斗笠，腰挂麻鞋，小腿上还系有绑带，可见行路之辛苦。其后一妇人手抱婴儿，骑驴而行，脸上似有疲倦之色。",[24,25,7,28,27,61,91,5813,2214,5814,5815],"驴","羊","农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f0ca4e6c67a7e352a230c6af67845a.jpg","25.1x91.1厘米",[44],{"id":5820,"slug":5821,"title":5822,"dynasty":18,"author":2005,"museum":151,"description":5823,"tags":5824,"thumbUrl":5826,"material":720,"size":217,"collection":103,"collections":5827,"showCount":5747,"zanCount":1106,"manualWeight":48,"mainColor":128},218687,"qing-quan-ming-he-tu-ma-he-zhi-218687","清泉鸣鹤图","淡墨晕染的山峦在云雾中若隐若现，似远似近间透出空濛之趣。岸侧虬枝盘曲，老干新枝交织，墨色浓淡相衬，尽显草木生机。清泉自石间潺潺而下，漱玉之声仿佛可闻。几只仙鹤或立汀洲，或振翅轻翔，羽翅线条流畅如兰叶，姿态灵动逸脱。鹤鸣与泉声相和，在幽寂的山水间漾开清旷之韵。整幅画笔墨简淡却意韵深浓，山石皴法疏朗，构图疏密有致，将自然的静谧与生命的灵动融于一纸，尽显宋人对林泉之乐的诗意追寻，读之令人心向澄明。",[23,24,114,29,196,257,5825,64,34,117,37,118,4315,25,7],"清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666423ffde0f0389cb0fa868b5cac17a.jpg",[103],{"id":5829,"slug":5830,"title":1269,"dynasty":18,"author":415,"museum":3074,"description":5831,"tags":5832,"thumbUrl":5833,"material":78,"size":5834,"collection":217,"collections":5835,"showCount":5747,"zanCount":48,"manualWeight":48,"mainColor":128},218436,"luo-shen-fu-tu-li-gong-lin-218436","素绢铺展，墨线如缕，织就人神邂逅的幽渺篇章。洛神凌波微步，衣袂飘举若流云绕岫，眉目间凝着怅然的婉约；曹植凭栏遥望，神情中藏着难掩的眷恋，侍从们或立或顾，衬出场景的静谧与心绪的波澜。林木扶疏，水波澹澹，云气萦绕间，似有辞采漫溢：“翩若惊鸿，婉若游龙”的风姿，“凌波微步，罗袜生尘”的韵致，皆由简练传神的白描线条铺陈。不着浓彩却神采飞动，景物与人物交融成空灵意境，将虚幻炽热的情愫凝于绢素，让千年后的目光，仍能触碰到那份跨越人神之隔的怅惘与温柔。",[23,24,25,7,174,27,61,155,29,64,34,404,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28979b39f4e81a38082bfb84c091ac0.jpg","26.9x225.2",[],{"id":5837,"slug":5838,"title":5839,"dynasty":168,"author":2497,"museum":56,"description":5840,"tags":5841,"thumbUrl":5843,"material":140,"size":5844,"collection":217,"collections":5845,"showCount":5846,"zanCount":48,"manualWeight":48,"mainColor":49},232624,"hai-tian-xu-ri-tu-juan-li-zhao-dao-232624","海天旭日图卷","此卷以青绿为主调，山峰勾以全绿，所画人物细小如豆，亭台楼阁、海浪舟桥，无不形象生动，尤其画幅中上方有一金龙，腾云驾雾，整个局面宏伟壮阔、气势不凡。",[23,24,26,27,7,28,29,1071,405,69,37,3874,34,35,5842],"仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc0164cbe171565b2c95e35e12fa8cf.jpg","47.1 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197.4厘米",[],86,{"id":5848,"slug":5849,"title":5850,"dynasty":18,"author":415,"museum":227,"description":5851,"tags":5852,"thumbUrl":5853,"material":217,"size":217,"collection":217,"collections":5854,"showCount":5846,"zanCount":48,"manualWeight":48,"mainColor":128},227609,"wei-mo-yan-jiao-tu-juan-li-gong-lin-227609","维摩演教图卷","《维摩演教图》卷，传为宋李公麟绘，纸本，墨笔，纵34.6厘米，横207.5厘米。\n\n无作者款印。画后幅有明沈度书《心经》及跋“永乐丙戍岁，予客燕台真如寺，老僧元觉出示李龙眠演教图真迹，随索予书《心经》附后，自愧玉台难并，固辞再三。老僧索之甚笃，勉强净手谨书一通。是夕上元日也。云间沈度。”丙戌为明永乐四年（1406年）。并有明董其昌、王穉登题跋。钤元柯九思“柯氏敬仲”，清索额图“钦赐忠孝长白山长索额图字九如号愚庵书画珍藏永贻子孙”、“长白索氏珍藏图书印”，清宣统皇帝“宣统御览之宝”、“宣统鉴赏”等鉴藏印，共57方。\n\n此图取材于佛教《维摩诘经》，描绘的是装病在家的维摩诘向奉佛祖释迦牟尼之命前来探病的文殊菩萨宣讲大乘教义的场面。全图意在表现维摩诘所具有的高深机智及其对佛教教义的巧思善辩。画中维摩诘坐于锦榻之上，精神矍铄地谈论教义，对面的文殊菩萨脚踩莲花，双手合十，对维摩诘的说法心悦诚服。画幅中部绘天女故意往大弟子舍利弗身上撒沾衣不坠的花瓣，令躲闪不及的舍利弗连忙振衣抖拂。维摩见此当即指出佛教应该视万物皆空的教义实质。\n\n佛教是公元前6至5世纪由释迦牟尼于印度创立，相传东汉明帝时传入中国。艺术家们为了扩大佛教在中国的影响，在表现佛教人物或故事时逐渐将他们中国化，生活化，以符合中国人的审美观。从东晋顾恺之到隋唐敦煌壁画，维摩诘尚被表现为“须眉奋张，目光如炬”的形象，而此图中他已完全成为汉化的佛教徒的形象。文殊菩萨体态雍容端庄，犹如现实生活中名门望族之人。众天女于恭谨中显露出活泼的神情，毫无宗教的虔诚之态。文人世俗思想融入宗教画创作中无疑增添了作品的亲和力，同时也增强了作品的感染力。全图为扫却粉黛的墨线勾描，遒劲圆转而富于表现力度的游丝描和铁线描相辅相成，在成功地刻画出神态各异的人物形象的同时，洁净轻淡的笔法也与佛教“空即是色，色即是空”的教义相吻合。\n\n此图无款，对作者有三种推测：明人沈度、董其昌、王穉登等人在画卷的跋中皆称作者为宋代李公麟。当代学者金维诺等先生认为作者应是金代的马云卿，主要根据是美国大都会博物馆藏有元代王振鹏《临马云卿画维摩不二图草本》。王振鹏在卷后题跋中称：“至大元年二月初一日拜住怯薛第二日，隆福宫花园山子上，西荷叶殿内，臣王振鹏特奉仁宗皇帝潜邸圣旨，临金马云卿画维摩不二图草本。”王振鹏的临本与此幅的艺术风格、构图章法等极为相仿，只是在局部纹饰上稍有细微变化。但目前亦有专家认为此图既不是李公麟所作，亦非马云卿所为，它应是宋佚名画家的作品。事实上，无论作者是谁，该图代表着早期白描人物画的最高成就当是无可争议的。",[23,154,24,25,7,173,61,174,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a5ca121eafafb8b8cc4acc361a11f6.jpg",[],{"id":5856,"slug":5857,"title":5522,"dynasty":250,"author":1694,"museum":151,"description":5858,"tags":5859,"thumbUrl":5868,"material":217,"size":5869,"collection":44,"collections":5870,"showCount":5846,"zanCount":48,"manualWeight":48,"mainColor":49},222834,"yuan-ben-qing-ming-shang-he-tu-sun-hu-222834","此画由清宫画院的五位画家协作画成，是参照了各朝仿本、集各家所长的作品。同时增加了明清时代的特殊风俗，如踏青、表演等等娱乐活动，亦增添了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，使画中人物增加到超过4,000人，而且受到西洋画风的影响，街道房舍均以透视原理作画，并有西式建筑行置其中。此卷用色鲜丽明亮，用笔达圆熟细致，所画之桥梁、屋宇、人物皆细腻严谨，是院画中的精品之作。",[23,24,7,27,28,61,62,36,5860,1699,5861,5862,5863,5864,5865,5866,810,5867],"屋宇","猴","戏剧","特技","擂台","西式建筑","踏青","院画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98aa9c3aaaf37a0138ff09866aaaffc7.jpg","长1152.8公分及宽35.6公分",[44,45],{"id":5872,"slug":5873,"title":5874,"dynasty":168,"author":2838,"museum":56,"description":2839,"tags":5875,"thumbUrl":5876,"material":2842,"size":2843,"collection":543,"collections":5877,"showCount":5846,"zanCount":914,"manualWeight":48,"mainColor":128},221068,"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221068","灵飞经四十三行",[23,119,537,540,193,7,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeac32242755aa712d5d8484ba83da2e.jpg",[543,1013],{"id":5879,"slug":5880,"title":5881,"dynasty":133,"author":534,"museum":151,"description":5882,"tags":5883,"thumbUrl":5884,"material":442,"size":5885,"collection":543,"collections":5886,"showCount":5846,"zanCount":914,"manualWeight":48,"mainColor":128},220885,"xian-ju-fu-zhao-meng-fu-220885","闲居赋","学赵孟頫行书，《闲居赋》是一个不错的选择。《闲居赋》法度严谨，相对不可捉摸、更加自由的手札，它具有更清晰明了的书写规范，更适合初学；而相对一些偏正式的书写内容，它又多了几分随性，写来变化丰富，美妙多姿。\n书西晋著名文学家潘岳《闲居赋》一首，56行，凡627字，款署子昂。此作无年款，但从书法上考察，应是晚年所书，为赵孟頫上乘之作。卷末有清曹溶题跋。",[23,119,120,7,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed6c39e105804541eda350961a53ebf.jpg","纵38厘米，横248.3厘米",[543],{"id":5888,"slug":5889,"title":1524,"dynasty":18,"author":294,"museum":227,"description":1621,"tags":5890,"thumbUrl":5891,"material":1050,"size":1051,"collection":217,"collections":5892,"showCount":5893,"zanCount":914,"manualWeight":48,"mainColor":128},287888,"xie-sheng-zhen-qin-tu-zhao-ji-287888",[23,154,24,25,7,28,114,209,196,275,1528,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e591cd8344c801084f6bb88a9f76701.jpg",[],85,{"id":5895,"slug":5896,"title":4597,"dynasty":250,"author":430,"museum":227,"description":5897,"tags":5898,"thumbUrl":5899,"material":1050,"size":1051,"collection":217,"collections":5900,"showCount":5893,"zanCount":1106,"manualWeight":48,"mainColor":49},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,24,25,7,26,27,29,60,28,118,405,34,37,31,35,610,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],{"id":5902,"slug":5903,"title":5904,"dynasty":133,"author":1344,"museum":227,"description":5905,"tags":5906,"thumbUrl":5907,"material":217,"size":217,"collection":217,"collections":5908,"showCount":5893,"zanCount":48,"manualWeight":48,"mainColor":128},228018,"lai-qin-zhi-zi-tu-qian-xuan-228018","来禽栀子图","宋末元初杰出的画家、书法家、诗人， 、 、 、 、肖子中、陈天逸、 、姚式并称“吴兴八俊”，钱选为“吴兴八俊”之首。\n“不管六朝兴废事，一樽且向画图开。\n”宋末元初，特殊的时代环境使得大多数汉文人从仕途中退却，隐逸文化成为当时汉文人生活方式的主流。\n同时，老庄隐逸思想中“平”“淡”的审美特质影响了画家的诗画品格。\n元初画家钱选的花鸟绘画作品所蕴含的诗画意蕴，充分体现了这种影响。\n《东山存稿》卷二中言及钱选作诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”以“淡”而归“真率”，绘画与诗文的统一格调，是钱选人格心理的真实写照。\n绘画主流由宫廷而转入民间的过程中，画家的自我意志得到了畅意与释放。\n宋末元初这一时期，钱选、赵孟、龚开、郑思肖等画家的作品中明显可见题画或题画诗的出现，实质是画家的文人意识与自我认知意识的一种抒发。\n钱选传世可考的一些 作品中常见其题诗，《秋瓜图》中道：“写向小窗醒醉目，东陵闲说故秦侯。\n”《梨花图》卷中题：“寂寞阑干泪满枝，洗妆犹带旧风姿。\n闭门夜雨空愁思，不似金波欲暗时。\n”从绘画题材看，画中的秋瓜、梨花等并非有太多奇巧之处，但画家入木三分的刻画赋与其丰富的情感内涵，再结合题画诗将意蕴内涵表现更为明确。\n“写向小窗醒醉目”是不谙世事的放纵，“东陵闲说故秦侯”却是满腔无奈的追忆与感喟，此秋瓜已非彼秋瓜也。\n而画中的梨花更已幻化为一风华绝代的美人，哀怨忧愁，褪尽铅华，悱恻百转却欲说还休。\n诗句是朴素平实的，而画中的对象在诗意中展开了延伸，从平常无奇的花鸟草木亦能体会出其情意所至。\n诗意中所表达的心绪在绘画的审美中与画家的情感相交融，画作意境由此而得以延伸。\n如果说南宋精美工细的花鸟画小品中能看出画家对具体物象细腻的揣度与恭谨的表现，在钱选的花鸟画中，画家所赋予物象的情感则通过诗作不露痕迹地带出，“洗妆犹带旧风姿”，一个“洗”字将观者对一树梨花的清新冷韵形象地再现出来，伤感、追忆的情绪已在枝头花间弥漫，而作者的情感似乎是中性的、平淡的。\n画境与诗境的相通并非是简单直接的描述或说明，而是在另一个较高层次上意趣的通融。\n钱选位居“吴兴八俊”并非完全以其绘画，而是“以诗擅名”，画为文之极，深厚的文学修养必然影响到其对绘画的理解与表现。\n清代陆心源所撰《仪顾堂集》《钱选传》中道：“尤善作折枝，其得意者赋诗其上。\n”钱选流传至今的画作上，无论有无题诗，皆有款识印章的出现。\n款识的出现与变化可能还有另外的原因，当绘画作品突破皇家欣赏的专属，在民间也广为流传时，作品的真伪问题就突显了出来。\n钱选在吴兴当地的画誉较高，时人以“吴兴三绝”分别指钱选的画、赵孟的字以及冯应科的笔。\n钱选作品在具备较高绘画造诣的同时，也有较强的课徒之资。\n其作品《来禽栀子图》现藏于美国弗利尔美术馆，图上绘有两株栀子花并未见禽鸟，一说可能是原图的残简，有一说“来禽栀子”本为花名。\n画中两株花枝势态怡然，摇曳生姿。\n花、叶穿插掩映有致，色调淡雅和谐。\n其画后隔水有赵孟跋：“来禽栀子，生意俱足。\n舜举丹青之妙于斯见之。\n其他琐者必其徒所为也。\n孟”足见，钱选的绘画在当时已为众多后学所追摹本。\n赵孟在钱选《八花图》卷后题跋：“右吴兴钱舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。\n尔来此公日酣于酒，手指颤掉，难复作此。\n而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。\n”山东省出土的钱选《白莲图》卷上也有作者的自跋：“余改号溪翁者，盖赝本甚多，因出新意，使作伪之人知所愧焉。\n钱选舜举。\n”显然，款识与画家身份的辨别在元初得到了进一步的发展，至元中后期画家在画面题款已蔚然成风，同时对画家书法品质的要求也起到了推动的作用。\n从作品来看，钱选书法明显承袭钟繇一路风格，含蓄内敛、平淡天真，法度严谨却又以拙胜巧。\n在钱选的绘画作品中，诗文、书法、绘画、款印相得益彰，书法的审美意蕴与题画诗意均呈现出某种同一的美学特质。\n再经由赵孟等人对“书画同源”观念的推动，发展为大多数文人画家所接受，奠定了后来整个文人画作样式上的基本面貌。\n明代沈颢在《画》中言：“元以前多不用款，款或隐之石隙，恐书不精，有伤画局。\n后来书绘并工，附丽成观。\n”显然，元初是书画款识的一个分界点，沈颢还从画面的结构关系上指出：“一幅中有天然候款处，失之则伤局。\n” 在花鸟画史研究中，论及钱选都认为其承南宋的画风。\n从画面效果来看，现藏于 的《牡丹图》卷是钱选花鸟画中风格较为接近南宋院体的一幅。\n也可能是由于牡丹本身繁茂明丽、雍容华贵的特质，拉近了作品与宫廷审美风格的关联。\n在钱选的画笔之下，花团锦簇，枝叶丰茂，写出牡丹的繁盛之妆容。\n明丽丰满的花头似乎随风摇曳，令人在体会到灼目芳华时却又顿生转瞬既逝的感喟。\n画面空疏有致，题款：“万卉何能继后尘，蜂喧蝶驻亦钟情。\n莫嫌开处春还暮，长向西都见太平。\n”七绝一首在画面左侧，画面形式上来看，题款与牡丹位置相距甚远，中有留白。\n显然作者在画面经营上是匠心独运的，以留白与牡丹花枝紧簇形成对比，增添了繁与简、荣与空之间的对比，从而增添了对牡丹内在审美意蕴的理解。\n题画诗所形成的纵向线条感疏朗有致，增添了画面的形式构成。\n从画面的整体来看，小楷的书写效果，朴实无华，独特一帜。\n同时，又能以诗意提升画意，作者在传承传统技法的同时，以自我的文化修养为作品的创新发展注入了新的因素。\n与同时代的画家相比，钱选花鸟画作品的独特性体现出两方面的辩证联系：一方面是显性的，时人评价钱选之诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”此论形容其绘画含蓄凝练，以平淡为格。\n在传承古典绘画技法的同时，将传统 的审美范畴拓展到更富于文人气质的表现上。\n其绘画命意高古，造型赋色独具意趣，以题画诗延伸画意，并在形式上以题跋款识介入画面，形成诗文书画合一的画面风格，为后世文人画家所效仿。\n另一方面，也是更为本质的一方面，他始终坚持在绘画本体的层面进行创作，文学因素的影响始终建立在其对绘画本身的追求与坚持之上。\n即使在钱选晚期的代表作《白莲图》卷中，色彩的渲染简约到了极致，几乎近于白描，但用线造型无不流畅细腻，富于表现力，可谓“精工之极”的典范。\n在宋元相交之际，绘画向主观写意转变的时代潮流中，钱选始终坚持对客观物象的尊重，坚持“状物”之美的表现，将富于文人意味的审美理想内化于其作品之中，这使他与当时的主流绘画样式拉开了距离，从而树立了自我的价值，形成独特的自我风格。",[23,154,24,25,7,27,28,209,1924,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2c8b9c667d1fd5c374bd1445018bdf.jpg",[],{"id":5910,"slug":5911,"title":5041,"dynasty":133,"author":534,"museum":20,"description":5912,"tags":5913,"thumbUrl":5914,"material":140,"size":5915,"collection":543,"collections":5916,"showCount":5893,"zanCount":1106,"manualWeight":48,"mainColor":49},220880,"qian-zi-wen-zhao-meng-fu-220880","引首系明代徐霖篆书“松雪千文”四个大字，卷后有元从张雨、赵雍、赵奕、黄公望，明代莫云卿、张湘詹景凤、徐霖等众人跋文。\n赵孟頫酷爱以千字文为习字素材，他曾在一卷千字文中自题云：“僕二十年来，写千字文以百数”足见共学书之勤奋。本卷是其晚年书写的一件千字文，先是楷书，后渐舒展为行书。\n明代书家詹景凤评说：“此卷笔法高古、圓润峻秀，为承旨得意之作。”\n明代书家莫雲卿评说：“昔人谓方圓一万里，上下数百年，绝无承旨 书法 ，观此本信然。”",[23,25,119,120,537,7,1229,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e6e46623392abf17fdd5a46b402c2b.jpg","26.5X373.4CM",[543],{"id":5918,"slug":5919,"title":5920,"dynasty":250,"author":430,"museum":20,"description":5921,"tags":5922,"thumbUrl":5927,"material":78,"size":5928,"collection":44,"collections":5929,"showCount":5893,"zanCount":914,"manualWeight":48,"mainColor":49},220348,"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[23,28,27,59,7,61,592,177,5923,34,639,731,5924,5925,5926,4139,74],"祭祀","灯笼","队伍","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","纵61.8厘米，横467.8厘米",[44,45],{"id":5931,"slug":5932,"title":5933,"dynasty":18,"author":5934,"museum":5935,"description":5936,"tags":5937,"thumbUrl":5938,"material":285,"size":5939,"collection":261,"collections":5940,"showCount":5893,"zanCount":1106,"manualWeight":48,"mainColor":128},218640,"qiu-lan-tu-quan-juan-zheng-si-xiao-218640","秋兰图全卷","郑思肖","耶鲁大学艺术博物馆","这幅画描绘了一棚无根的兰花，只有几片叶子，其中两片叶子细长而美丽，右边的兰花盛开，芳香四溢。",[23,24,25,7,114,272,282,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50b81ebe46546096d829c3ee4a31f63.jpg","23.2x55.6",[261],{"id":5942,"slug":5943,"title":5944,"dynasty":133,"author":1344,"museum":227,"description":5945,"tags":5946,"thumbUrl":5947,"material":1050,"size":1051,"collection":217,"collections":5948,"showCount":5949,"zanCount":48,"manualWeight":48,"mainColor":49},290099,"fu-yu-shan-ju-tu-qian-xuan-290099","浮玉山居图","《浮玉山居图》是钱选为山居霅川浮玉山的写景。图中山峦分三组，山势峻峭。湖上烟雾蒙蒙，山坳白云缭绕，更有用简笔点缀的茅舍、渡舟、小桥、老翁，一派江南水乡清润秀妍景色。全卷笔意冲淡，画意静穆，用笔工整而不板。",[23,154,24,25,7,27,29,117,605,2143,64,119,193,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c05f9c52d56eb6131b8f94b511ff173.jpg",[],84,{"id":5951,"slug":5952,"title":5953,"dynasty":18,"author":430,"museum":111,"description":5954,"tags":5955,"thumbUrl":5956,"material":384,"size":5957,"collection":42,"collections":5958,"showCount":5949,"zanCount":1106,"manualWeight":48,"mainColor":49},223660,"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","是宋代界画精品之一，为典型的“宣和装”，留有“宣和七玺”中的四枚。该卷屋宇楼榭，向背分明，斗拱铺作，不失绳墨。虽然台门有制、界画有度，但画家却用高超的技法突破题材的限制，生动呈现了一幅官营水磨作坊的日常情景。清代成亲王跋云：“雏凤楼中宝绘，须以此为第一，与汉瓦唐琴辉映千古。”",[23,154,24,25,7,59,28,27,61,62,64,94,89,34,36,2887],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","纵55.4厘米横124.1厘米",[42,45],{"id":5960,"slug":5961,"title":5962,"dynasty":225,"author":5963,"museum":151,"description":5964,"tags":5965,"thumbUrl":5966,"material":442,"size":5967,"collection":124,"collections":5968,"showCount":5949,"zanCount":48,"manualWeight":48,"mainColor":49},221014,"shan-shan-tu-juan-dai-kui-221014","剡山图卷","戴逵","戴逵（326－396年），字安道，谯郡铚县（今安徽省濉溪县临涣镇）人。东晋时期隐士、美术家、雕塑家，金城太守戴绥之子。\n\n早年师从名儒范宣，博学多才，善于鼓琴，工于绘画人物和山水。终身不仕，坚拒太宰武陵王（司马晞）召命和王徽之雪夜拜访。\n\n孝武帝司马曜即位，累次征辟，全部不就。太元二十一年，去世。著有《戴逵集》9卷，今已散佚。",[23,154,24,25,7,27,118,29,405,34,117,613,641,193,692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b825446ccfc90b423b206be2232fcac.jpg","38.4x615",[124,45],{"id":5970,"slug":5971,"title":5972,"dynasty":133,"author":534,"museum":3264,"description":5973,"tags":5974,"thumbUrl":5975,"material":442,"size":5976,"collection":543,"collections":5977,"showCount":5949,"zanCount":1106,"manualWeight":48,"mainColor":128},220884,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220884","般若波罗密多心经","2017年12月，赵孟頫《般若波罗蜜多心经》以1.909亿元的成交价被甘肃天庆博物馆竞得。",[23,154,24,25,7,173,120,119,540,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0264b2ce1fb06dde7fecef5a1e0eb419.jpg","28.6×11.9cm×5",[543],{"id":5979,"slug":5980,"title":5981,"dynasty":133,"author":4323,"museum":1100,"description":5982,"tags":5983,"thumbUrl":5984,"material":442,"size":5985,"collection":124,"collections":5986,"showCount":5949,"zanCount":48,"manualWeight":48,"mainColor":128},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,24,25,7,114,27,29,116,62,63,64,34,230,118,120,664,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[124],{"id":5988,"slug":5989,"title":5990,"dynasty":149,"author":5991,"museum":227,"description":5992,"tags":5993,"thumbUrl":5996,"material":1050,"size":1051,"collection":217,"collections":5997,"showCount":5998,"zanCount":48,"manualWeight":48,"mainColor":49},288460,"yu-le-tu-jing-hao-288460","渔乐图","荆浩","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[154,24,25,7,114,763,63,64,5994,117,62,61,765,5995],"古木","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe6d632a1b6babf419082b8f11a8e7b.jpg",[],83,{"id":6000,"slug":6001,"title":6002,"dynasty":54,"author":6003,"museum":227,"description":6004,"tags":6005,"thumbUrl":6008,"material":1050,"size":1051,"collection":217,"collections":6009,"showCount":5998,"zanCount":48,"manualWeight":48,"mainColor":128},287357,"xiao-xiang-guo-yu-tu-chang-juan-xia-chang-287357","潇湘过雨图长卷","夏昶","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能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红裙妒杀石榴花”，就是对唐代仕女及服饰的美艳写照。\n吴道子把唐代服饰风貌搬上《八十七神仙卷》，尤其衣衫纹样画法，线条密集、画迹流畅、繁杂有序、柔韧雄放、粗细相间、交织如网、鲜活灵动、造型夸张的笔法，后世称为“吴家样”，对衣饰飘舞形象称为“吴带当风”画法，表现了后人对吴道子超凡画技与与作品魅力的敬仰崇拜。\n唐朝从“贞观之治”到“开元之治”期间一百多年，虽有外患内乱但终被平息，国家政治局势基本稳定，经济繁荣昌盛，也是文化艺术发展的最好时代，涌现多位载入史册的文化名人，带领唐朝的文学诗歌、书法绘画、音乐舞蹈等取得了辉煌成就。《八十七神仙卷》仙女群组形象，有取材唐朝宫廷乐舞的身影",[23,24,25,7,174,173,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa144931d6cc1956dc7dacc5dd4c037.jpg","画芯长800厘米、宽75厘米",[],{"id":6151,"slug":6152,"title":6153,"dynasty":250,"author":819,"museum":227,"description":6154,"tags":6155,"thumbUrl":6156,"material":217,"size":217,"collection":217,"collections":6157,"showCount":6125,"zanCount":1106,"manualWeight":48,"mainColor":49},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","此作以全景铺展丘壑，溪谷盘绕于层叠峰峦间，村居错落掩映林泉。清润的皖南山水底色间，揉进雄健恣肆的皴擦点染，丹红林木轻点秋意，实景生趣与写意空灵相融。\n书画合璧，长题以文释意，将探幽快意寄于尺幅，林泉高致与文人雅兴浑然一体。笔底带着恣肆性灵，以山水写心，将搜尽奇峰的丘丘磊磊，化作澄怀观道的林泉佳处，尽显文人画借景抒怀的精髓。",[23,24,25,7,27,29,118,119,120,193,482,483,63,62,34,468,5564,1753,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],{"id":6159,"slug":6160,"title":6161,"dynasty":18,"author":294,"museum":380,"description":6162,"tags":6163,"thumbUrl":6164,"material":2224,"size":6165,"collection":543,"collections":6166,"showCount":6125,"zanCount":48,"manualWeight":48,"mainColor":49},221348,"cai-xing-chi-juan-zhao-ji-221348","蔡行敕卷","此帖乃宋徽宗赵佶不允蔡行辞殿中省事之手敕。行书，凡二十一字，共一百二十七字。此敕行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。\n此卷是宋徽宗不准蔡行辞去领殿中省之职所颁的敕书全文行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。",[23,154,24,25,7,120,119,193,442,3196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deae8a7337124f7de79f711ec96d05f.jpg","行书35.5 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—1763）于二月十二日在扬州贡进，他当时任文渊阁大学士兼吏部尚书，为可进献贡物的高级官员。从卷上「史铁珍藏书画」印亦可推知此画原为其藏品。李士行（1282 —1382）为元代画竹名家，此卷为其难得之山水画作。据笪重光（1623 —1692）题跋，此作在江南与〈鹊华秋色〉、〈师子林图〉等名迹并重。由于这两件名迹已经入藏宫中，因此当乾隆皇帝得到李士行此作时，才会欣喜地写下「鹊华师子仍同，足傲重光诩润州」。",[23,24,7,114,118,29,690,2965,34,31,32,890,3066,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5206a99d97c02c0778d6f18c6a6eb3.jpg","31x117.4cm",[124],{"id":6194,"slug":6195,"title":6196,"dynasty":54,"author":1030,"museum":151,"description":6197,"tags":6198,"thumbUrl":6200,"material":470,"size":6201,"collection":217,"collections":6202,"showCount":6203,"zanCount":1106,"manualWeight":48,"mainColor":128},287291,"lin-li-bo-shi-yin-zhong-ba-xian-quan-tu-tang-yin-287291","临李伯时饮中八仙全图","以白描法绘人物35位，线条柔和隽秀，人物神态形象逼真；山石树木粗笔勾勒，再以浓墨烘染而成。此幅长卷达八米之长，场景开阔，绘出八仙喝茶听曲，悠闲自得的情景。",[23,24,154,7,25,174,114,60,61,6199,922,623,34,117,120,119],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef12bafcbc98b00a1a699522f02abb9b.jpg","23.8厘米*838厘米",[],80,{"id":6205,"slug":6206,"title":6207,"dynasty":54,"author":495,"museum":20,"description":6208,"tags":6209,"thumbUrl":6210,"material":217,"size":217,"collection":217,"collections":6211,"showCount":6203,"zanCount":48,"manualWeight":48,"mainColor":128},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n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 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[23,154,24,25,7,120,114,27,118,29,115,61,117,34,64,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],{"id":6213,"slug":6214,"title":6215,"dynasty":54,"author":430,"museum":4758,"description":6216,"tags":6217,"thumbUrl":6223,"material":353,"size":6224,"collection":217,"collections":6225,"showCount":6203,"zanCount":1106,"manualWeight":48,"mainColor":49},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[23,24,7,27,28,118,29,1009,4337,90,6218,6219,6220,6221,5861,34,468,420,1857,6222],"象","鹿","山羊","狮子","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","34.5x744厘米",[],{"id":6227,"slug":6228,"title":6229,"dynasty":168,"author":321,"museum":227,"description":6230,"tags":6231,"thumbUrl":6233,"material":217,"size":217,"collection":217,"collections":6234,"showCount":6203,"zanCount":1106,"manualWeight":48,"mainColor":49},231021,"gu-di-wang-tu-juan-li-dai-di-wang-tu-juan-yan-li-ben-231021","古帝王图卷.历代帝王图卷","《国宝在线历代帝王》是2年 出版的图书。\n第1版 (2年12月1日) ISBN: 786726519 条形码: 978786726518 尺寸: 29.8 22.4 1 cm 重量: 259 g 历代帝王，是中国人物画历史上一个重要的题材。\n古代没有照片，千古一帝的仪容，全仗绘画来保存。\n最早的帝王画，可以追溯到种种遥远而缺乏实证的文字记载，如《孔子家语·观周》中，记载孔子参观周朝的明堂，见四周的墙壁上画有圣主尧、舜和暴君夏桀、商纣的肖像。\n他认为这些帝王图『各有善恶之状，兴废之诫焉』。\n孔子的这番评价， 一语道明了古代帝王画的功能，乃是出于礼教的宣传目的。\n当孔子把『兴废之诫』作为绘画艺术的基本任务时，他或许没想到，这样的思想在很长一段时期竟主宰了中国人物画的创作功能，甚至建国后盛行一时的伟人像、英雄像，与这一见解其实也异曲同工。\n唐代张彦远在《历代名画记》中引用了三国时曹植与孔子相类似的见解：『观画者，见三皇五帝，莫不仰戴；见三季暴主，莫不悲惋……是知存乎鉴戒者，图画也。\n』早期的帝王画大都是以屏画、壁画的形式出现，通过形象上的『善恶对比』，达到『成教化，助人伦』的目的，正所谓『见善足以戒恶，见恶足以思贤』。\n自汉代以后，宫廷壁画及卷轴画中的帝王图已成为委婉地向统治者进谏的政治性作品，不但臣僚们利用它来推行政见，而且帝王也用它来美化自己，表现能接受历史的经验，是趋贤去恶的明主。\n然而，『不见五陵豪杰墓，无花无酒锄作田』，随着大量绘有大批壁画的建筑物的损毁，后人却只能通过文字记载来想像这些作品的风采了。\n千秋功过画帝王 流传至今的帝王卷丑画中，以传为唐代阎立本所绘的《历代帝王图》和《步辇图》最早。\n尤其是《历代帝王图》，是一件典型的礼教绘画作品。\n画中共刻画了汉魏以来十三个帝王的形象。\n帝王的服饰、仪仗、起居、侍从等都表现着统治者共同的特征和气势，而一画家又通过入微地表现不同帝王的不同个性，象征并反映了这些帝王的千秋功过。\n相传同是阎立本所画反映唐太宗接见吐蕃使者的《步辇图》，则向我们传达了另一个信息——帝王的肖像常常同时也是一种记录重要事件的方法，很有些像今天的记录影片。\n这样的情况在西方甚至更为普遍，比如我们对大卫的《拿破伦加冕》和《马拉之死》大概不会陌生。\n正是通过这些作品，使我们对久远的历史场景在头脑中产生了一定的直观印象。\n依靠类似于《步辇图》这样的作品，使今人仍能较确切地了解盛唐帝王的威仪和处理重大事件的方式。\n在中国，类似的作品还有不少，如传宋徽宗所作的《听琴图》和清郎世宁所作的《 》等。\n古代，大多数的帝王肖像出于宫廷画家的手笔，特别是当朝帝王的画往往由专职的宫廷画家完成。\n不过民间也流传着一些以帝王为题材的绘画作品，且主要以远古的传说故事为内容。\n尽管同样具有礼教的功能，但正所谓[生后是非谁管得，满村争说蔡中郎]，这些作品，其实不过是人们凭想像的[演义]，而并不具备真实可靠的史料价值了。\n唐 阎立本 历代帝王图 唐 阎立本 历代帝王图 卷 之一 唐 阎立本 历代帝王图 卷 之二 唐 阎立本 历代帝王图 卷 之三 唐 阎立本 历代帝王图 卷 之四 唐 阎立本 历代帝王图 卷 之五 唐 阎立本 历代帝王图 卷 之六 唐 阎立本 历代帝王图 卷 之七 唐 阎立本 历代帝王图 卷 局部 唐 阎立本 步辇图 卷 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厘米",[],{"id":6468,"slug":6469,"title":6470,"dynasty":133,"author":1344,"museum":20,"description":6471,"tags":6472,"thumbUrl":6473,"material":1411,"size":6474,"collection":124,"collections":6475,"showCount":6439,"zanCount":1106,"manualWeight":48,"mainColor":49},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[23,154,24,25,7,27,28,119,193,29,34,35,33,117,1298,690,3077,613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[124,45],{"id":6477,"slug":6478,"title":6479,"dynasty":133,"author":534,"museum":111,"description":4168,"tags":6480,"thumbUrl":6481,"material":442,"size":6482,"collection":543,"collections":6483,"showCount":6439,"zanCount":914,"manualWeight":48,"mainColor":128},220844,"gui-qu-lai-ci-zhao-meng-fu-220844","归去来辞",[23,25,119,7,120,4170,1070,276,283,1071,524,482,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c86013046154464d778c5a0c6f7247.jpg","纵25.9 厘米，横139.4 厘米",[543],{"id":6485,"slug":6486,"title":6487,"dynasty":133,"author":534,"museum":111,"description":6488,"tags":6489,"thumbUrl":6491,"material":442,"size":6492,"collection":543,"collections":6493,"showCount":6439,"zanCount":1106,"manualWeight":48,"mainColor":128},220833,"guang-fu-chong-jian-ta-ji-zhao-meng-fu-220833","光福重建塔记","光福寺建于梁大同年，位于吴县郑尉山黾峰。元代寺内原塔毁坏。元延祐年间，众僧化缘重新建塔。至治元年立碑记，由住持沙门了清撰文，由赵孟頫书写碑文并篆额。《光福重建塔记》为赵孟頫晚年得意之作。明代书家董其昌在卷后题跋中评说：“此卷笔意虚和，尤可宝也。”\n释文：光福重建塔记佛慧雄辩大师，本寺住持沙门了清撰。 前翰林学士承旨、荣禄大夫知制诰兼修国史赵孟頫书并篆题 塔者，西域圣人之灵庙，众生灭罪致福之具也。自阿育王建初，后代震旦之来表刹兴盛者，莫盛于萧梁之世焉。光福塔实者，梁大同权舆，唐会昌暴殄，复兴咸通，至赵宋，宋至今朝大德中，住山磻师时毕方鸟栖其颠，以致铁石瓦甓(pì)（砖）隳(huī)（毁坏）哉，有不可葺(qì)（修理房屋）者。住持相师谟(mó)（计划）画鼎(dǐng)（正当、正在）创，真人周静翁仙宗而尚佛，来自双凤，作檀越主，率寺邻富而信者幼成徐公、沙门愿而干者成、彻、德三公暨寺职班员涓吉命匠篾栖鸾竹索以为绹村化羊杉缚以为架，撤顶至踵草，古从新，即旧基，越旧制，别絫(lěi)（累）层级，至五半，徐公脱屦(jù)（古时用麻、葛制成的鞋）索诃相师，迁乔梵行，施心愿力，唯静翁不移。走书成曰：“山中住持闻有更易，倘林屋清师补处，则塔缘幸甚，香火幸甚。”既而疏来洞庭，孤云乃起，一苇未杭，翁已羽化，乌乎！元度乎？重来乎？三叹终至，至未席温，或谓塔缘幸欤，不幸欤？余曰：佛三祇(zhǐ)（恭敬）百刻修六度万行以戒、定、慧，力成舍利，益众生者，塔之谓也。由塔即庙，庙即貌，佛圣德令众归，命行檀波罗而得福田。今啬(sè)一缘，将普万化是苻佛本愿，益众生欤？果元度之类欤？子知其然而不知其所以然欤？于是越明年，具梵礼，迎铜像，出化东。行首翁之儿妇魏氏母子承祯同调无改大父之道，乐助而之任洋沙头太仓苏台蓂(míng)见四新稇(kǔn)载而返，寻遇不请之檀朱公阙工施财施艺特银其相轮之顶，复有刾(cì)（刺）血为墨，书妙经者，二渡长江，入长淮，募远者三大槩(gài)（概），廿馀同袍，听命辅势，忘倦宣劳，聚诸村鸠。诸工一举而完。七级自尖以还，饰盖至四。岁暮收工，明年像复出，西募，春行，夏归，秋作，馀层列屋，皆落成，其辉辉乎，摩尼圆明；沓(tà)沓乎，露盘屃赑（xìbì）(赑屃:传说中的动物，像龟。旧时石碑座多雕刻成赑屃形状)。碧瓦鳞集，画檐翚(huī)飞，帀(zā)（匝）阑楯而宝鉩(xǐ)（鉨：古“玺”），和鸣镇山川而人天瞻仰。具功德一十五种：消罪业八千万，四千不夜常光，免责备于香火，实一不幸而众幸且甚也。遂书。其延祐改元二月十日之建始，来年五月望日之毕工。系以辞曰：阿阇(shé)（高僧）世藏设利罗，阿育得之出恒河，八万四千起塔婆。后世则之广兴建，四方玲珑成八面，萧梁以前世未见。我此灵庙实大同，起伏二次三鸠工，延祐以来又六冬。清宁仙人德相佛，福缘慈缘普泽物，白花岩头橛(jué)屼(wù)屼。清也薄有铜像缘，两募一举功其圆，尽未来际民福田。常光历刻射牛斗，羌椅椅兮淑吾后，哿(gě)矣富人寿长久。 至治元年二月望日建，皇帝陛下千万寿。",[23,24,25,119,7,120,173,6490,193],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3b0b925128b820dd4472547148a6de.jpg","纵29厘米，横377厘米",[543],{"id":6495,"slug":6496,"title":6497,"dynasty":54,"author":430,"museum":380,"description":6498,"tags":6499,"thumbUrl":6502,"material":78,"size":6503,"collection":44,"collections":6504,"showCount":6439,"zanCount":1106,"manualWeight":48,"mainColor":49},219537,"qi-ying-sheng-hui-tu-yi-ming-219537","耆英胜会图","《耆英胜会图》为辽宁省博物馆首次对外展出，画作反映了北宋年间，“耆英会”的成员们日常闲聚的场景。整幅画作人物栩栩如生，将那一时期士大夫们不问政事、优哉游哉的画面描绘了出来。画作上，在几个主要人物旁边都写有姓名，这为辨识“耆英会”成员提供了方便。辽宁省博物馆工作人员分析认为，这些姓名可能是作者在画完之后特意写上的。\n在《耆英胜会图》的左半部，画有一个案几，司马光静坐在案几后，右手持笔，摆出了想要落笔书写的样子。案几上，纸张铺开，砚中有墨。在司马光的右手边，富弼端坐着，双手互揣衣袖，慈祥地静观着他。\n因为二人在这幅画里有距离感，按照常规视觉，司马光在画里的形象应该大于富弼，但实际上却恰恰相反。“中国古代绘画与西方绘画不同，在人物构图上，更强调尊卑观念。也就是说，在一幅画里，要凸显尊者、主人公的形象。”《民国辽沈金石书画史》作者、沈阳故宫博物馆副研究员沈广杰对画作进行了解读。他说，就《耆英胜会图》来看，从年龄上，富弼要长于司马光，而如果从官职上，前者也要高于后者，所以富弼的形象大于司马光就在情理之中了。",[23,24,7,27,1044,28,1794,1298,3457,3458,119,6500,6501],"士大夫","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32aec312de9de2887e7eb87c9352fd6c.jpg","纵47横344厘米",[44,45,543],{"id":6506,"slug":6507,"title":6508,"dynasty":18,"author":430,"museum":651,"description":6509,"tags":6510,"thumbUrl":6511,"material":78,"size":6512,"collection":261,"collections":6513,"showCount":6439,"zanCount":1106,"manualWeight":48,"mainColor":49},218949,"hua-zhu-an-chun-tu-yi-ming-218949","花竹鹌鹑图","绢本之上，墨彩交织出温润古意。数只鹌鹑或低头啄食，或侧耳呼应，羽毛纹理细腻如绒，神态憨态可掬；竹枝挺拔，叶片婆娑，藤蔓缠绕间缀着娇艳花朵，石畔幽草含露，一派生机盎然。画家以精湛写生功底，捕捉自然瞬间的灵动：鹌鹑的互动、花叶的摇曳，皆形神毕肖。整体氛围静谧雅致，似能闻见草木清香，窥见田园一隅的闲适安然，尽显宋画“格物致知”的审美意趣——于细微处见天地，于平淡中藏深情，将寻常景致绘就成耐人寻味的诗意画卷。",[24,25,7,28,27,275,6306,454,524,908,338,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f14da85deeb768a04b8571e1787dcc.jpg","33x179cm",[261],{"id":6515,"slug":6516,"title":6517,"dynasty":149,"author":886,"museum":227,"description":6518,"tags":6519,"thumbUrl":6520,"material":1050,"size":1051,"collection":217,"collections":6521,"showCount":6522,"zanCount":48,"manualWeight":48,"mainColor":49},288554,"xiao-xiang-tu-hua-xin-dong-yuan-288554","潇湘图画心","《潇湘图》中表现的是南方山水，图绘一片湖光山色，山势平缓连绵，山峦多用披麻皴，并以墨点渲染山峦之上的植被，平远的构图方式和近景中大片水域的结合，让画面有很强的空间感，更呈现出江南山水的迷蒙。山水之中又有人物渔舟其间，赋色鲜明，趣味横生，为寂静幽深的山林增添了无限生机。\n《潇湘图》被画史视为“南派”山水的开山之作 ，也是中国山水画史上代表性作品之一。",[23,154,24,25,7,114,29,64,115,765,193,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeebc0ca9167bf3b40bd6d5a6b3e8cc6.jpg",[],75,{"id":6524,"slug":6525,"title":6526,"dynasty":54,"author":932,"museum":227,"description":6527,"tags":6528,"thumbUrl":6529,"material":442,"size":217,"collection":44,"collections":6530,"showCount":6522,"zanCount":48,"manualWeight":48,"mainColor":49},237222,"chen-hong-shou-jin-jue-tu-juan-chen-hong-shou-237222","陈洪绶晋爵图卷","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今 明代著名书画家、诗人。\n年少师事 明亡入 一生以画见长，尤工 所画人物躯干伟岸，衣纹 花鸟等描绘精细，设色清丽，富有装饰味。亦能画 还长于为文学作品创作 其画手法简练，色彩沉着含蓄，其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[24,25,7,28,27,61,155,157,117,34,64,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddd38d94f0d83cb4ba3169e2191ffee.jpg",[44],{"id":6532,"slug":6533,"title":6534,"dynasty":18,"author":4606,"museum":227,"description":6535,"tags":6536,"thumbUrl":6537,"material":217,"size":217,"collection":217,"collections":6538,"showCount":6522,"zanCount":1106,"manualWeight":48,"mainColor":49},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕(1124--1182年)，字希远，宋宗室，赵伯驹弟，官至和州防御史，曾以副使身份出使过金国。他擅长青绿山水，出自唐代李思训的传派并自成一体。",[23,154,24,25,7,26,27,28,29,482,483,34,62,116,63,115,3874,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],{"id":6540,"slug":6541,"title":6542,"dynasty":250,"author":5024,"museum":227,"description":6543,"tags":6544,"thumbUrl":6545,"material":1050,"size":1051,"collection":217,"collections":6546,"showCount":6522,"zanCount":1106,"manualWeight":48,"mainColor":128},230858,"lin-tian-wang-song-zi-tu-yu-zhi-ding-230858","临天王送子图","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[23,24,25,7,173,174,61,5016,511,1009,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2a2ab40be6165dd013479e508c193e.jpg",[],{"id":6548,"slug":6549,"title":347,"dynasty":54,"author":6353,"museum":227,"description":6550,"tags":6551,"thumbUrl":6552,"material":217,"size":217,"collection":217,"collections":6553,"showCount":6522,"zanCount":791,"manualWeight":48,"mainColor":128},228912,"tao-hua-yuan-tu-qian-gu-228912","此作以长卷铺展江南水村，开篇烟波澹荡，远渚含烟，水鸟凌虚翔集，渔舟泛于微波之上，渔人或垂纶独钓，或呼友聚谈，野趣盎然。\n\n沿岸柳丝拂水，桃林绽艳，村舍隐于茂林间，处处是武陵桃源般的恬然烟火。笔墨清润秀雅，淡设色浅淡明净，汀渚草木以写意出之，简括生动，人物虽寸豆之姿却形神宛然。将陶潜笔下的避世幽境，化作可观可感的江南闲居图卷，淡墨轻岚间，漾开文人心底的出世幽怀，尽显吴门画派的温婉逸致。",[23,24,25,7,114,27,118,28,29,61,194,64,115,765,196,63,116,1820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fb6b1339fc9b39427ac5cbdcb7f124.jpg",[],{"id":6555,"slug":6556,"title":6557,"dynasty":250,"author":5086,"museum":349,"description":6558,"tags":6559,"thumbUrl":6560,"material":442,"size":6561,"collection":124,"collections":6562,"showCount":6522,"zanCount":48,"manualWeight":48,"mainColor":128},222634,"fu-gui-qing-gao-tu-gao-feng-han-222634","富贵清高图","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,154,24,25,7,27,114,209,120,1892,193,277,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[124,103],{"id":6564,"slug":6565,"title":6566,"dynasty":54,"author":6567,"museum":20,"description":6568,"tags":6569,"thumbUrl":6570,"material":78,"size":6571,"collection":124,"collections":6572,"showCount":6522,"zanCount":1106,"manualWeight":48,"mainColor":49},220077,"yan-dang-shan-tu-ye-cheng-220077","雁荡山图","叶澄","此图描绘的是位于浙江省境内号称东南第一山的北雁荡山。画卷徐徐展开，一处处风景逐渐展现，按作者以小字标出的各处风景的名称，计有石门潭、章毅楼、石佛岩、石樑洞、灵风洞、罗汉洞、净明寺、蓼花峰、响岩等。作者对景写生，笔底风景各具奇姿，虽仅是雁荡山的一部分，却已展现出它的奇秀特色和壮阔气势。\n图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[23,24,25,7,114,27,29,118,482,468,34,37,64,5564,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6534892800d8681db97877a358ee5574.jpg","纵35厘米，横290.3厘米",[124,45],{"id":6574,"slug":6575,"title":6576,"dynasty":168,"author":1006,"museum":1270,"description":6577,"tags":6578,"thumbUrl":6579,"material":720,"size":6580,"collection":261,"collections":6581,"showCount":6522,"zanCount":48,"manualWeight":48,"mainColor":49},219041,"shuang-niu-tu-han-huang-219041","双牛图","这幅画画在一个平坦的斜坡上，左边是一棵断裂枯萎的老树，画面中间是两头牛，一前一后，正在前进，前面的牧童骑着牛，后面的牧童跟着牛。",[23,24,7,114,28,91,61,254,117,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe648b205f631048024faea7c42d32cae.jpg","纵35.6横93.5厘米",[261],{"id":6583,"slug":6584,"title":6585,"dynasty":54,"author":430,"museum":1270,"description":6586,"tags":6587,"thumbUrl":6591,"material":78,"size":217,"collection":261,"collections":6592,"showCount":6522,"zanCount":48,"manualWeight":48,"mainColor":49},219015,"ping-an-tu-yi-ming-219015","平安图","坡岸之上，竹丛疏密有致，枝叶间光影流转。数只禽鸟散落其间，或低头啄食草籽，或侧身梳理羽翎，姿态各异却皆显安然。白菊清雅，红果艳艳，点缀在苍褐的底色上，如散落在时光里的星子。溪流蜿蜒而过，山石静默伫立，整个画面似被一层温润的古意包裹。每一处细节都藏着对自然生机的细腻捕捉，笔墨间流淌着恬淡的野趣，更将“平安”的美好期许悄然融入这一方天地，让观者于静谧中感受那份岁月沉淀的祥和与安然。",[24,7,28,27,209,6306,275,283,6588,6589,117,420,6590,3529],"白花","红叶","小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8578e8b33b1c86d88f4b80524cd58b57.jpg",[261],{"id":6594,"slug":6595,"title":6596,"dynasty":168,"author":1006,"museum":20,"description":6597,"tags":6598,"thumbUrl":6600,"material":720,"size":217,"collection":261,"collections":6601,"showCount":6522,"zanCount":48,"manualWeight":48,"mainColor":128},218914,"feng-ren-tu-han-huang-218914","丰稔图","作品内容极为丰富——牛羊、乡野村田、田家农事、风俗集社、村童农夫——或是农家风土事物或是农家风俗人物或是农家日常生产生活的场景。从画史著录来看，韩滉人物画除为王公贵族歌功颂德之作外多以村田乡野为背景描绘田家人物及其生产生活的场面；其以牛羊为题材的畜兽绘画也是以田园风光为背景。",[23,24,7,27,28,119,120,193,91,61,6599,34,639],"牧童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ea09afee4d67677294254777585a84d.jpg",[261,543],{"id":6603,"slug":6604,"title":6605,"dynasty":18,"author":415,"museum":227,"description":6606,"tags":6607,"thumbUrl":6608,"material":720,"size":6609,"collection":42,"collections":6610,"showCount":6522,"zanCount":48,"manualWeight":48,"mainColor":49},218095,"bai-miao-shou-lie-tu-juan-li-gong-lin-218095","白描狩猎图卷","白描狩猎图卷是一幅巨大的屏风画，共有四卷，每卷长约10米，宽约1.5米。它描绘了一场盛大的狩猎活动，其中参加狩猎的人物有皇帝、皇后、王子和贵族，以及许多官员和太监。画面中还有各种各样的动物，包括骏马、鹿、鸟和兔子。\n\n李公麟的白描狩猎图卷以其精细的绘画技巧和丰富的内容而闻名。他使用了白色和黑色的墨水，在白色的底纸上绘制出细腻的线条。他还使用了许多细节，比如服装上的绣花和皇家徽章，以及动物身上的斑点和杂毛。\n\n白描狩猎图卷被认为是宋朝绘画史上的杰作，也是李公麟最著名的作品之一。它不仅是一幅精美的艺术品，还是对当时宋朝社会、文化和政治的重要记录。",[23,154,24,25,7,174,61,29,90,4337,1009,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca98a46e48106d01d0de91429a75d903.jpg","36.8×819",[42],{"id":6612,"slug":6613,"title":6614,"dynasty":250,"author":635,"museum":151,"description":6615,"tags":6616,"thumbUrl":6617,"material":78,"size":6618,"collection":44,"collections":6619,"showCount":6522,"zanCount":1106,"manualWeight":48,"mainColor":128},216939,"yuan-ben-qin-can-tu-yuan-juan-yi-tan-lang-shi-ning-216939","院本亲蚕图（元卷 诣坛）","手卷中钜细靡遗地绘出迤逦的随员行列、声势壮盛的仪仗、采桑的命妇、盛装端坐观礼的皇后，画风精细工整，设色明丽。皇后的形象虽小，但一丝不茍，宛如肖像画般具有个人特性，与郎世宁所绘〈高宗帝后像〉中的皇后像十分接近，当为有所凭据而作，而且很可能是出自郎世宁之手。本院同时也收藏有孝贤皇后亲手为乾隆绣作的荷包，表示连位尊权贵的皇后都不能免於女红的训练。",[23,24,25,7,28,27,59,61,62,34,63,70,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa035dbde6b9f77803cb1de96015f22ca.jpg","51x762.8",[44],{"id":6621,"slug":6622,"title":167,"dynasty":168,"author":169,"museum":227,"description":1610,"tags":6623,"thumbUrl":6624,"material":1050,"size":1051,"collection":217,"collections":6625,"showCount":6626,"zanCount":48,"manualWeight":48,"mainColor":128},289986,"ba-shi-qi-shen-xian-juan-wu-dao-zi-289986",[23,154,24,25,7,174,61,173,5016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ff0a4375f3f773c38c1951165e4cfe.jpg",[],74,{"id":6628,"slug":6629,"title":6630,"dynasty":18,"author":861,"museum":227,"description":6631,"tags":6632,"thumbUrl":6633,"material":1050,"size":1051,"collection":217,"collections":6634,"showCount":6626,"zanCount":48,"manualWeight":48,"mainColor":128},288998,"xiao-xiang-zhu-shi-tu-chang-juan-su-shi-288998","潇湘竹石图（长卷）","潇湘竹石图采用长卷式构图，展现湖南省零陵县西潇、湘二水合流处，遥接洞庭巨浸的苍茫景色。整幅画作以潇湘二水的交汇点为中心，远山烟水，风雨瘦竹，近水与云水、蹲石与远山、筱竹与烟树产生强烈对比，让人在窄窄画幅内如阅千里江山。",[23,154,24,25,7,114,29,275,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929d6054d285cd272a95cd49b582caaf.jpg",[],{"id":6636,"slug":6637,"title":6638,"dynasty":168,"author":1182,"museum":227,"description":6639,"tags":6640,"thumbUrl":6641,"material":1050,"size":1051,"collection":217,"collections":6642,"showCount":6626,"zanCount":48,"manualWeight":48,"mainColor":128},288361,"jiang-gan-xue-ji-tu-wang-wei-288361","江干雪霁图","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,154,24,25,7,114,29,973,1123,35,31,117,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18c80dfbf2d7b2f44a1ccaf36b3e7de.jpg",[],{"id":6644,"slug":6645,"title":6646,"dynasty":18,"author":2208,"museum":227,"description":6647,"tags":6648,"thumbUrl":6649,"material":1050,"size":1051,"collection":217,"collections":6650,"showCount":6626,"zanCount":914,"manualWeight":48,"mainColor":128},285064,"xi-hu-tu-juan-li-song-285064","西湖图卷","以纸本水墨图绘西湖全景，画中心突出明净湖水，四围群山环绕，雷峰塔、孤山、双峰插云、断桥诸名胜皆隐现于烟锁雾迷之中，画风上于马远、夏圭之外，自出机杼。 全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[23,154,24,25,7,114,29,62,115,64,116,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6099983a79040c7157e7afea0e72b08.jpg",[],{"id":6652,"slug":6653,"title":6654,"dynasty":54,"author":6655,"museum":20,"description":6656,"tags":6657,"thumbUrl":6658,"material":1411,"size":217,"collection":217,"collections":6659,"showCount":6626,"zanCount":1106,"manualWeight":48,"mainColor":128},234199,"mei-hua-juan-lu-fu-234199","梅花卷","陆復","陆复，明代人，字明本，自号梅花主人，江苏吴江人。善画墨梅。",[23,24,25,154,7,114,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71088b2bdc23a064be93938e4fef182c.jpg",[],{"id":6661,"slug":6662,"title":6663,"dynasty":54,"author":6664,"museum":227,"description":6665,"tags":6666,"thumbUrl":6667,"material":217,"size":217,"collection":217,"collections":6668,"showCount":6626,"zanCount":1106,"manualWeight":48,"mainColor":128},228343,"mo-zhu-tu-wang-you-228343","墨竹图","王右","此作用笔老辣爽利，以浓墨挥写竹竿，劲挺舒展如君子立世；竹叶欹正交错，墨色干湿浓淡相映，错落间尽显偃仰生姿的清灵意态，留白空灵疏朗，衬出幽篁萧散之致。\n\n左侧行书题跋笔势跌宕奇逸，与竹的清刚风神相得益彰，诗书画印浑融一体，将竹的坚贞品格寄寓笔墨。整幅以意写形，脱去匠气，尽显文人写意画以物明志的幽远意趣，清逸苍劲，足见绘者不凡的笔墨功底与文人襟怀。",[23,24,7,114,275,119,193,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891bce774dc22c38310f619a62d3623a.jpg",[],{"id":6670,"slug":6671,"title":6672,"dynasty":18,"author":4606,"museum":227,"description":6673,"tags":6674,"thumbUrl":6675,"material":217,"size":217,"collection":217,"collections":6676,"showCount":6626,"zanCount":1106,"manualWeight":48,"mainColor":49},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","卷 绢本设色 纵：31.8厘米 横：297.2厘米 美国克利夫兰博物馆藏 赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[23,154,24,7,26,27,28,118,29,62,63,64,115,34,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],{"id":6678,"slug":6679,"title":6680,"dynasty":250,"author":6681,"museum":227,"description":6682,"tags":6683,"thumbUrl":6684,"material":442,"size":217,"collection":543,"collections":6685,"showCount":6626,"zanCount":1106,"manualWeight":48,"mainColor":6686},223267,"xin-jing-hong-yi-fa-shi-223267","心经","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,119,540,173,537,193,25,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe27ec99b239906b44c4d50798a9bb840.jpg",[543],"FFFFFF",{"id":6688,"slug":6689,"title":6690,"dynasty":18,"author":2035,"museum":20,"description":6691,"tags":6692,"thumbUrl":6693,"material":6694,"size":6695,"collection":217,"collections":6696,"showCount":6626,"zanCount":1106,"manualWeight":48,"mainColor":128},221487,"xiao-xiang-qi-guan-tu-juan-mi-you-ren-221487","潇湘奇观图卷","本幅无款印，后纸自题一段：“先公居鎮江四十年，作庵於城之東高崗上，以海岳命名，一時國士皆賦詩，不能盡記。翰林承旨翟公詩：‘楚米仙人好樓居，植梧崇岡結精廬。下瞰赤縣賓蟾鳥，東西跳丸天馳驅。腹藏萬卷胸垂胡，論議如何決九渠。掀髯送目遊八區，欲叫虞舜浮蒼梧。'云云，餘不能記也。此卷乃庵上所見，大抵山水奇觀，變態萬層，多在晨晴晦雨間，世人鮮複知此。余生平熟瀟湘奇觀，每於登臨佳處，輒複寫其真趣成長卷以悅目，不俟驅使爲之，此豈悅他人物者乎。此紙滲墨，本不可運筆，仲謀勤請不容辭，故爲戲作。紹興乙卯孟春建康□□官舍，友仁題。羊毫作字，正如此紙作畫耳。”乙卯为绍兴五年（1135年），米友仁50岁。后纸另有薛羲、葛元喆、吴匏硕、贡师泰、邓宇志、董其昌等宋、元、明14家题跋。\n米友仁为北宋著名书画家米芾长子，父子两人共创“米家山水”。此图绘米友仁十分熟悉的潇湘奇观景致，深得其“变态万层”之“真趣”。开卷便是浓云翻滚，隐现出远山坡脚，随着云气的飘动变幻，逐渐显露出山形，重迭起伏的峰峦影影绰绰地展现于团团白云中。中段山川始露出清晰真容，主山屹立，尖峰高耸，树丛映带，沙渚数重，甚富高远和深远感。结尾处山色又渐趋淡远，唯近处林岸、草庐明晰。自首至尾，迷濛、清明以及远近、浓淡，几度变幻，奥妙莫测。\n时隐时显，忽明忽晦，迷濛又富有变化，故时人谓他“善画无根树，能描朦胧云。”(汤垕《画鉴》)同时他也很讲究笔法，以大笔触的遒劲笔法来泼染水墨，墨随笔走，在大笔涂染块面中，多有纵点、横点、落茄点和不规则的破笔点，亦见连勾带擦的线条。笔与墨的有机结合，使米氏云山兼具滋润和沉郁的特色。\n清·郁逢庆《书画题跋记》、卞永誉《式古堂书画汇考》、吴升《大观录》、顾文彬《过云楼书画记》等书著录。",[23,24,7,114,118,25,119,120,193,29,405,37,34,4003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0617af63570b0d4a59d0dc7f30ea9f0d.jpg","茧纸本，墨笔","纵19.8厘米，横289厘米",[],{"id":6698,"slug":6699,"title":6700,"dynasty":18,"author":1439,"museum":227,"description":6701,"tags":6702,"thumbUrl":6703,"material":140,"size":1443,"collection":217,"collections":6704,"showCount":6626,"zanCount":1106,"manualWeight":48,"mainColor":49},221326,"chao-yuan-xian-zhang-tu-di-yi-duan-wu-zong-yuan-221326","朝元仙仗图-第一段","《朝元仙仗圖》為北宋宗教畫家武宗元所繪製的一幅絹本白描長卷， 曾收藏於美國華人收藏家王季遷手中，在其去世後失竊下落不明。\n\n該畫作描繪了五方帝君中的三個帝君，去往朝謁天上的最高統治者時的隊仗行列。畫家以流利的長線條描繪此圖，畫中人物栩栩如生，表情生動，描畫出了不同的人物的不同的身份與形態特徵，成功地表現出帝君的莊嚴、神將的威武和仙女的丰姿，是白描人物畫的代表作。",[23,24,154,7,174,173,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e6bd28a60a6c338f34ccc4c8b090642.jpg",[],{"id":6706,"slug":6707,"title":6708,"dynasty":18,"author":3193,"museum":227,"description":6709,"tags":6710,"thumbUrl":6716,"material":6717,"size":6718,"collection":543,"collections":6719,"showCount":6626,"zanCount":914,"manualWeight":48,"mainColor":128},221275,"li-hua-shi-huang-ting-jian-221275","梨花诗","原诗共20首诗，本帖缺失。题头序：梨花诗，外甥孙莘老以梨花唱和诗寄余索和，夫诗生于情，不情而何以诗？余自黔还戎多日，苦思情由何生？虽然，抚景伤时，不能已也，遂步韵如左。 山谷道人黄庭坚。",[23,25,119,7,120,1925,455,70,1185,6711,6712,454,116,6713,483,5005,6714,6715],"月","春","燕","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm",[543],{"id":6721,"slug":6722,"title":6723,"dynasty":168,"author":1305,"museum":5696,"description":6724,"tags":6725,"thumbUrl":6726,"material":539,"size":6727,"collection":543,"collections":6728,"showCount":6626,"zanCount":48,"manualWeight":48,"mainColor":185},221060,"zhu-shan-tang-lian-ju-quan-ben-yan-zhen-qing-221060","竹山堂连句全本","774年（唐大历九年）三月，时任湖州刺史的颜真卿在朋友潘述家的“竹山堂”中与部属李萼、陆羽、释皎然、陆士修、韦介等人聚会饮宴，席间吟诗，每人依次各作两句，相联成篇，是为《竹山堂连句》。后传为颜氏书录，时颜氏66岁。\n此书原装裱形式是整幅，后割裱成册，几近百衲，章法已破。颜氏书法一般都是横画细，竖画粗，雄强博大，气势磅礴，楷书墨迹首推《自书告身》，清雄严谨。而此书横、竖用笔毫无变化，无粗细之别，千篇一律，拘滞平板……然而册后米友仁奉宋高宗命跋尾两行，却是绍兴御府故物，可知此册裁减最迟不晚于绍兴时，但非颜氏墨迹。至于是唐人还是宋人的临本说法不一。",[23,119,537,7,2917,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ea5aef3a6b5f52de93a223e0876adca.jpg","各开纵28.2cm、横13.7cm不等",[543,1013],{"id":6730,"slug":6731,"title":6732,"dynasty":168,"author":6733,"museum":111,"description":6734,"tags":6735,"thumbUrl":6736,"material":442,"size":6737,"collection":543,"collections":6738,"showCount":6626,"zanCount":914,"manualWeight":48,"mainColor":128},221051,"qian-zi-wen-can-juan-gao-xian-221051","千字文残卷","高闲","高闲草书《千文残卷》共52行，243字，是《千字文》的后面部分，现藏上海博物馆。",[119,1892,7,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F727bc937e04080676c39b9d3ae256047.jpg","纵30.8cm，横331.3cm，为残本",[543,1013],{"id":6740,"slug":6741,"title":6742,"dynasty":54,"author":3914,"museum":380,"description":6743,"tags":6744,"thumbUrl":6745,"material":6746,"size":6747,"collection":124,"collections":6748,"showCount":6626,"zanCount":48,"manualWeight":48,"mainColor":128},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,25,7,114,120,118,482,1071,34,35,138,420,690,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[124,103],{"id":6750,"slug":6751,"title":6752,"dynasty":133,"author":534,"museum":151,"description":6753,"tags":6754,"thumbUrl":6755,"material":140,"size":6756,"collection":543,"collections":6757,"showCount":6626,"zanCount":48,"manualWeight":48,"mainColor":2653},220854,"xiao-jing-juan-zhao-meng-fu-220854","孝经卷","翰林沈粲卷首题字:赵松雪金书 赵孟頫书法《孝经》\n唐明皇御制孝经序。\n朕闻上古其风朴略",[25,119,540,120,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf115e029874b7da4e01e6d1ada44155.jpg","25.5x878.7",[543],{"id":6759,"slug":6760,"title":6761,"dynasty":133,"author":534,"museum":20,"description":6762,"tags":6763,"thumbUrl":6764,"material":442,"size":6765,"collection":543,"collections":6766,"showCount":6626,"zanCount":914,"manualWeight":48,"mainColor":128},220828,"er-zan-er-shi-juan-zhao-meng-fu-220828","二赞二诗卷","此帖是与好友相聚，一时酒酣的乘兴之作。纸质莹润光滑，信手写来，“神融笔畅”，滂沛悦然。款署“湖州观堂与受益外郎饮酒一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫”。“受益”名张谦，大德元年前后，曾官江浙行省检校。“观堂”是佛寺中修习的场 所。据赵氏《重修观堂记》，湖州的观堂始建于南宋嘉泰年 间，宋木毁圮严电，元至元二十一年曾重新修葺，历时十 年。赵文作于大德元年(1297)九月，本卷也应作于此时。卷未有明代卞荣、王世贞、董其昌、文震孟、陈继儒，清代英 和、永瑆跋。",[23,119,120,7,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44319ff5514e459206f70266d02ef940.jpg","纵27厘米横456.3厘米",[543],{"id":6768,"slug":6769,"title":6770,"dynasty":18,"author":333,"museum":227,"description":6771,"tags":6772,"thumbUrl":6775,"material":1050,"size":6776,"collection":217,"collections":6777,"showCount":6778,"zanCount":914,"manualWeight":48,"mainColor":49},289554,"cao-chong-hua-die-tu-yan-yan-nv-shi-289554","草虫花蝶图","此卷描绘了一幅秋光明媚的花鸟长卷。画面中，在坡地、湖石之间，桂花、海棠、秋葵等花卉盛开、争奇斗艳，蝴蝶、蜜蜂、蜻蜓翻飞其间、形态各异，充满生机。此卷中花卉设色妍丽，虫蝶描绘栩栩如生而富于变化，与“勾勒纤细，敷色浓艳”的画院“院体”花鸟画风格十分相符，整体给人以写实细腻之感。此卷充分反映出艳艳女史作为一位女性画家出色的绘画技法，充满女性细致、淡雅之趣。",[23,24,154,7,209,28,27,281,336,337,6773,455,439,6774],"飞蛾","坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378970eb9c0212617a3a0b5e28d792b0.jpg","绢本设色纵32.5厘米，横333.5厘米",[],73,{"id":6780,"slug":6781,"title":6782,"dynasty":250,"author":5523,"museum":151,"description":5524,"tags":6783,"thumbUrl":6784,"material":1050,"size":1051,"collection":217,"collections":6785,"showCount":6778,"zanCount":48,"manualWeight":48,"mainColor":49},287872,"qing-yuan-ben-qing-ming-shang-he-tu-juan-chen-mei-287872","清院本清明上河图卷",[23,154,24,7,28,27,61,62,67,36,68,34,810,2228,65,71,90,5813,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49ed9bc2260582398ec60fe7c2077bb.jpg",[],{"id":6787,"slug":6788,"title":2638,"dynasty":250,"author":994,"museum":227,"description":2591,"tags":6789,"thumbUrl":6790,"material":1050,"size":1051,"collection":217,"collections":6791,"showCount":6778,"zanCount":48,"manualWeight":48,"mainColor":128},287691,"yu-shi-tu-juan-zhu-da-287691",[23,154,24,7,114,1820,404,119,193,765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3144488368fb9fbbcc03e2eb8bd3da56.jpg",[],{"id":6793,"slug":6794,"title":6795,"dynasty":54,"author":430,"museum":227,"description":6796,"tags":6797,"thumbUrl":6800,"material":217,"size":217,"collection":217,"collections":6801,"showCount":6778,"zanCount":1106,"manualWeight":48,"mainColor":49},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,24,25,7,27,28,60,119,209,196,210,257,34,117,256,6798,555,6799],"日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],{"id":6803,"slug":6804,"title":6805,"dynasty":18,"author":430,"museum":20,"description":6806,"tags":6807,"thumbUrl":6808,"material":526,"size":6809,"collection":42,"collections":6810,"showCount":6778,"zanCount":48,"manualWeight":48,"mainColor":49},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[23,154,24,25,7,27,29,34,63,64,115,35,118,28,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","纵24.5厘米，横185.5厘米",[42,124,103],{"id":6812,"slug":6813,"title":6814,"dynasty":250,"author":4830,"museum":2658,"description":6815,"tags":6816,"thumbUrl":6821,"material":1411,"size":6822,"collection":44,"collections":6823,"showCount":6778,"zanCount":1106,"manualWeight":48,"mainColor":128},223310,"fa-jie-yuan-liu-tu-juan-ding-guan-peng-223310","法界源流图卷","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[24,7,28,27,6817,6818,2802,2803,6819,1048,6820,175,1044],"宗教绘画","佛教","佛界人物","佛具法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd590947cd8119aa4c54bfeec57db03cf.jpg","纵33厘米、横1635厘米",[44],{"id":6825,"slug":6826,"title":6827,"dynasty":54,"author":6014,"museum":20,"description":6828,"tags":6829,"thumbUrl":6831,"material":1411,"size":6832,"collection":124,"collections":6833,"showCount":6778,"zanCount":48,"manualWeight":48,"mainColor":128},222223,"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","在明代吴门地区的绘画中，以名人的室名、别号为题材或描绘文人、官宦所居庄园、别墅景观的作品为数众多，此图即属于后一种。根据卷后王穉登所撰《重建南溪草堂记》可知，此图描绘的是江南望族顾氏的庄园“南溪草堂”重修后的景致。\n图中水道蜿蜒纵横，竹林丛树、渔舟小桥、草堂庙宇等散布杂错，建筑与自然景物融为一体，自然和谐。虽有农田、药圃，但无农人艰辛劳作之状，表现的是江南文人泛舟读书的优雅闲适的生活。图中庄园较之一般江南园林的文雅精致，另有一种田园野趣，别具特色。\n全画构图密而不乱，平坡土石以干笔勾勒、皴染，树冠枝叶多以极富变化的墨点画成，点染兼用，间或出以双勾，皆富于层次感。全图笔墨清劲简洁，风格柔和明秀，代表了文伯仁晚年的典型艺术风貌。\n近人汪士元《麓云楼书画论略》著录。",[23,24,7,27,118,29,63,64,116,34,613,115,61,6830,117,5564],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.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。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 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字孟思，号雪涛散人、青云生、养素处士，出生于杭州。因将其所学传递到吴门一带。是吾衍的弟子，擅长书法，尤其精通篆、隶。”他在篆书、隶书、印章方面都接受了吾衍的思想，并在这个基础之上有所发展。《篆书千字文》、《隶书离骚》、《九歌图卷跋》等流传于世。于1355年终于昆山。",[23,119,7,664,540,6986,193,1973,1229],"道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1e531dcb0129a0625d73cecbc77670.jpg",[],71,{"id":6991,"slug":6992,"title":6993,"dynasty":133,"author":534,"museum":227,"description":6994,"tags":6995,"thumbUrl":6997,"material":1050,"size":1051,"collection":217,"collections":6998,"showCount":6989,"zanCount":48,"manualWeight":48,"mainColor":49},288978,"xie-you-yu-qiu-he-tu-zhao-meng-fu-288978","谢幼舆丘壑图","《谢幼舆丘壑图》画江岸峰峦秀起，雾霭微茫，江面平静如镜。境界旷远。整个画面宛如宇宙万象被过滤提升成晶莹剔透般充满着音乐性的宁静世界。笔法秀润、清旷，虽系学李成、郭熙 画法而来，但一变宋人工整刻划之体。\n该图绘东晋谢鲲故事。鲲字幼舆，好老庄，善奏琴，寄迹山林。图绘茫茫山川， 荫荫松林，幼舆独坐水畔丘壑，观水流潺潺，听松涛阵阵，意态悠闲，神性超脱。图卷布局甚奇，绘法古拙，学晋、唐风格，一洗宋人旧习。",[154,24,7,26,27,29,1298,61,6996],"幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1102a9d9b42da6940a786b6d7fe6427.jpg",[],{"id":7000,"slug":7001,"title":5214,"dynasty":18,"author":7002,"museum":227,"description":7003,"tags":7004,"thumbUrl":7006,"material":1050,"size":1051,"collection":217,"collections":7007,"showCount":6989,"zanCount":1106,"manualWeight":48,"mainColor":49},288540,"qiu-jiang-yu-ting-tu-xu-dao-ning-288540","许道宁","此画将一望无际的山峰罗列于江岸，挺拔陡峭，险峻之极。山头用竖直细线皴出，也就是肺胃的“峰头直皴而下”，用笔之挺劲突出了岩石坚硬锋利的质感。山坡上，楼阁精致，树木峥嵘；两山间，潺潺的溪流由近及远婉转地汇入江中。平静的江面上有一窄小的木桥，两位行者正从桥上走过；江中几只渔舟游弋，上面忙碌的人像是在捕鱼。所有的景物都被描绘得既自然又贴切，显得那么和谐。",[23,154,24,7,114,763,118,29,602,115,1123,7005,4864,2520],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11d66b790819b514ce094377a357ca9.jpg",[],{"id":7009,"slug":7010,"title":7011,"dynasty":54,"author":3968,"museum":227,"description":7012,"tags":7013,"thumbUrl":7016,"material":217,"size":217,"collection":217,"collections":7017,"showCount":6989,"zanCount":1106,"manualWeight":48,"mainColor":49},228485,"qiao-lin-bai-que-tu-juan-lin-liang-228485","乔林百雀图卷","整卷以水墨挥毫，枯木槎枒间百雀各呈其态，飞栖鸣集无一雷同。劲爽墨笔勾勒禽鸟翎羽，干湿浓淡晕出绒羽蓬松质感，枯林苍劲荒疏，与群雀喧腾相映，在萧索冬日漾出盎然生趣。\n笔墨简括老辣，融院体工致与文人写意于一体，将小雀的灵动狡黠描摹入微，于长卷间铺展野逸灵动的自然意趣，尽显水墨花鸟纵逸格调，是水墨禽鸟画中极具表现力的佳构。",[23,24,25,7,114,272,209,7014,524,3318,7015,338,196],"乔木","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f738b6a6309084a7933eb775da10da.jpg",[],{"id":7019,"slug":7020,"title":7021,"dynasty":18,"author":7022,"museum":380,"description":7023,"tags":7024,"thumbUrl":7025,"material":442,"size":7026,"collection":543,"collections":7027,"showCount":6989,"zanCount":1106,"manualWeight":48,"mainColor":128},221432,"ou-yang-shi-pu-tu-gao-ou-yang-xiu-221432","欧阳氏谱图稿","欧阳修","卷中钤有宋“中书省印”九叠朱文印记及清内府鉴藏印记多方。卷后有宋周必大，元张雨、欧阳玄，明宋濂等人题跋。南宋名臣周必大写于淳熙乙巳的三篇题跋，每篇题跋的右方都盖上了“中书省印”，足足盖了三颗，卷中还有明宋濂题跋云：“欧阳公《谱图序》，作于至和二年乙未，后一百三十一年，平园周益公得公所具检槁一段并嘉祐八年癸卯夜宿中书东阁诗八句，联为一卷，诗阴有中书所录裕陵出阁亲挥两行，亦不弃去，而附见之，且各题其左，而识以中书省印者三，卷首又识以益国之章，其慎重之意至矣。”",[23,120,537,119,7,539,193,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61487417327d66c5a75b7dbd2f70518.jpg","纵30.5厘米，横66.2厘米",[543],{"id":7029,"slug":7030,"title":7031,"dynasty":18,"author":3193,"museum":227,"description":7032,"tags":7033,"thumbUrl":7034,"material":7035,"size":7036,"collection":543,"collections":7037,"showCount":6989,"zanCount":1106,"manualWeight":48,"mainColor":128},221276,"di-zhu-ming-juan-huang-ting-jian-221276","砥柱铭卷","《砥柱铭》是“宋四家”之一北宋著名书法家黄庭坚的手书作品，是他散落民间的最重要的书法瑰宝之一。内容是黄庭坚生前最为推崇的唐代宰相魏征写的《砥柱铭》，全文600多字。\n卷上有宋代贾似道、明代项元汴直至清代民国藏家的大量题跋和钤印。2010年以4.368亿元拍卖成交。\n黄庭坚《砥柱铭》，行书。此卷长八米，抄录唐代魏征《砥柱铭》，全文六百多字。黄庭坚大字行书凝练有力，结构独特，是北宋书坛杰出的代表，与苏轼、米芾、蔡襄并称“宋四家”。\n天津美术学院美术史系教授刘金库指出，《砥柱铭》在宋代时为王厚之、南宋权相贾似道收藏，是贾似道收藏的“黄庭坚双璧”之一；入明则为著名收藏家项元汴所藏，在明代鉴赏家张丑的《真迹日录》中著录，明天顺年间归黄庭坚十一世族孙黄洵（字公直）所藏；入清则为项源、伍元蕙、罗天池等有名藏家所藏，后从广东流入日本，为日本有邻馆收藏，此后被一个台湾收藏家购得，最终，在时隔915年之后，现身于北京。并于2010年6月3日被拍出了中国艺术品成交记录——3.9亿元，加上12%的佣金，总成交价4.368亿元。",[23,119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ffe5e71095a96040c58af2051eb7df.jpg","手书","手卷长达11米，画心长8米",[543],{"id":7039,"slug":7040,"title":7041,"dynasty":168,"author":7042,"museum":227,"description":7043,"tags":7044,"thumbUrl":7045,"material":217,"size":217,"collection":543,"collections":7046,"showCount":6989,"zanCount":914,"manualWeight":48,"mainColor":49},221110,"zhang-hao-hao-shi-du-mu-221110","张好好诗","杜牧","《张好好诗》是唐代文学家杜牧创作的一首诗。此诗以浓笔重彩，追忆了张好好六年前初吐清韵、名声震座的美好一幕。当年风姿绰约的张好好，才不过几年，竟已沦为卖酒东城的“当垆”之女。杜牧用精湛的诗歌语言，再现了张好好升浮沉沦的悲剧生涯，抒发了诗人对这类无法主宰自己命运的苦难女子的深切同情。全诗情绪饱满，文辞清秀，堪称唐诗中的佳作。",[23,119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3673bf4d376a38eed699e0f44d7cbf5.jpg",[543],{"id":7048,"slug":7049,"title":7050,"dynasty":133,"author":534,"museum":380,"description":7051,"tags":7052,"thumbUrl":7053,"material":442,"size":7054,"collection":543,"collections":7055,"showCount":6989,"zanCount":791,"manualWeight":48,"mainColor":128},220881,"gui-qu-lai-ci-juan-quan-juan-zhao-meng-fu-220881","归去来辞卷全卷","乌丝栏中字行书陶渊明《归去来辞》全文并序。书法规抚王羲之,运笔及间架明显师法王氏兰亭及圣教序,精致清新",[23,120,119,7,25,193,27,61,114,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91687600b8640b457b4a8ea7f84da540.jpg","书心纵24,横146.2厘米",[543],{"id":7057,"slug":7058,"title":7059,"dynasty":250,"author":7060,"museum":1327,"description":7061,"tags":7062,"thumbUrl":7063,"material":27,"size":7064,"collection":261,"collections":7065,"showCount":6989,"zanCount":1106,"manualWeight":48,"mainColor":128},220143,"leng-yan-you-xiang-tu-li-shan-220143","冷艳幽香图","李鱓","李鱓（1686—1762），清代画家，江苏兴化人。字宗扬，号复堂、懊道人。康熙五十四年（1715年）举人，官滕县、临淄知县。擅花鸟、山水。绘画师法沈周、林良、陈淳、徐渭、恽寿平、石涛、高其佩、蒋廷锡等人。李鱓比较重视生活感受与传统技法的结合，熟练使用自己领悟到的笔墨，善于发挥水的特性，“水墨融成奇趣”，大胆发挥鲜艳色彩和白粉的特性，将粗笔画法与工细画法结合，形成“纵横驰骋，不拘绳墨而独得天趣”“随意布置，另有别趣”的写意花鸟画风，笔墨雄健劲拔，设色淡雅。他的绘画对吴熙载、赵之谦、吴昌硕等人产生了深远影响。李鱓亦擅书法，用笔古朴豪宕、洒脱自然。从南京博物院藏《冷艳幽香图》中的题跋可见李鱓书法的一些审美意趣和风格特色。",[23,24,25,7,27,114,272,209,274,282,277,283,524,117,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776535ffcb2a3e1e219ec108c1aebfe7.jpg","纵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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”。",[23,154,24,25,7,27,118,29,115,62,117,34,64,2200,116,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],70,{"id":7076,"slug":7077,"title":7078,"dynasty":225,"author":7079,"museum":227,"description":7080,"tags":7081,"thumbUrl":7082,"material":217,"size":217,"collection":217,"collections":7083,"showCount":7074,"zanCount":48,"manualWeight":48,"mainColor":128},227048,"ping-fu-tie-lu-ji-227048","平复帖","陆机","《平复帖》卷，晋，陆机书，纸本，手卷，纵23.7厘米，横20.6厘米 。\n草隶书9行86字。\n释文:\n“彥先羸瘵 ，恐難平復，往屬初病，慮不止此，此已爲慶。承使唯男，幸爲複失前憂耳。吳子楊往初來主，吾不能盡。臨西複來，威儀詳跱。舉動成觀，自軀體之美也。思識□量之邁前，勢所恒有，宜□稱之。夏伯榮寇亂之際，聞問不悉。”（释文据启功《〈平复帖〉说并释文》）\n《平复帖》内容涉及三个人物：贺循，字彦先，是陆机的朋友，身体多病，难以痊愈；陆机说他能够维持现状，已经可庆，又有子侍奉，可以无忧了。吴子杨，以前曾到过陆家，但未受到重视；如今将西行，复来相见，其威仪举动，自有一种较前不同的气宇轩昂之美；最后说到夏伯荣，他因寇乱阻隔，没有消息。\n《平复帖》的书写年代距今已有1700余年，是现存年代最早并真实可信的西晋名家法帖。它用秃笔写于麻纸之上，笔意婉转，风格平淡质朴，其字体为草隶书。《平复帖》在中国书法史上占有重要地位，同时对研究文字和书法变迁方面都有参考价值。\n根据尾纸董其昌、溥伟、傅增湘、赵椿年题跋，可得知《平复帖》历代递藏情况。此帖宋代入宣和内府，明万历间归韩世能、韩逢禧父子，再归张丑。清初递经葛君常、王济、冯铨、梁清标、安岐等人之手归入乾隆内府，再赐给皇十一子成亲王永瑆。光绪年间为恭亲王奕訢所有，并由其孙溥伟、溥儒继承。后溥儒为筹集亲丧费用，将此帖待价而沽，经傅增湘从中斡旋，最终由张伯驹以巨金购得。张氏夫妇于1956年将《平复帖》捐献国家。\n清吴其贞《书画记》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[23,119,1892,1229,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d2a5b8673609f128d22c45974e653b.jpg",[],{"id":7085,"slug":7086,"title":7087,"dynasty":250,"author":7088,"museum":227,"description":7089,"tags":7090,"thumbUrl":7091,"material":27,"size":217,"collection":261,"collections":7092,"showCount":7074,"zanCount":1106,"manualWeight":48,"mainColor":128},220141,"ling-bo-shui-xian-tu-juan-ren-xun-220141","凌波水仙图卷","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。",[23,154,24,25,4081,7,28,27,209,280,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49729d30e7c1b1754794c5ec8a67dee3.jpg",[261],{"id":7094,"slug":7095,"title":7096,"dynasty":18,"author":7097,"museum":1100,"description":7098,"tags":7099,"thumbUrl":7100,"material":442,"size":7101,"collection":42,"collections":7102,"showCount":7074,"zanCount":914,"manualWeight":48,"mainColor":2653},220074,"jia-pai-tu-quan-juan-gong-kai-220074","笳拍图全卷","龚开","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,24,25,7,174,61,90,640,119,120,1892,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a6695fc73019d28ed46873d7d95576.jpg","全卷30.6X770厘米",[42],{"id":7104,"slug":7105,"title":7106,"dynasty":54,"author":7107,"museum":3074,"description":7108,"tags":7109,"thumbUrl":7120,"material":78,"size":7121,"collection":124,"collections":7122,"showCount":7074,"zanCount":914,"manualWeight":48,"mainColor":128},219851,"xiao-xiang-ba-jing-tu-zhang-long-zhang-219851","潇湘八景图","张龙章","张龙章，字伯云，号古塘、武丘山樵，吴（今江苏苏州）人，生卒年不详。善画人物、骏马，不下赵孟頫。代表作品《穆王骏骥图》《风月梧柳图》《三教图》《潇湘八景图》。",[24,25,7,27,29,118,119,120,115,64,116,196,2153,921,765,63,7110,7111,7112,7113,7114,7115,2661,7116,7117,7118,606,7119],"远浦","归帆","山市","晴岚","江天","暮雪","夜雨","烟寺","晚钟","夕照","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816a582fdb55abba3dd407013f0b0e7c.jpg","29x787.5cm",[124],{"id":7124,"slug":7125,"title":7126,"dynasty":54,"author":7127,"museum":20,"description":7128,"tags":7129,"thumbUrl":7130,"material":285,"size":7131,"collection":261,"collections":7132,"showCount":7074,"zanCount":48,"manualWeight":48,"mainColor":128},219358,"mu-niu-tu-li-lin-219358","牧牛图","李麟","画面串联起数幅牧牛小景：牧童牵绳引牛涉过浅溪，牛儿低首饮水；稚童持竿逗弄，牛儿仰头呼应；更有童子骑牛，随牛缓步林间。笔墨简淡却意趣盎然：牛身以淡墨晕染，憨态可掬；牧童身形虽小，衣纹寥寥几笔便勾勒出天真烂漫之态。背景树木疏朗，坡石浅淡，留白处似含悠然风致。整卷洋溢着田园的闲静与生机，将寻常牧歌化为清雅的笔墨图景，尽显文人画的恬淡意趣。",[23,24,25,7,114,272,120,193,91,61,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ffc8e11b8b0d9721f2d41b9535d6b.jpg","纵34.2横156.2厘米",[261,103],{"id":7134,"slug":7135,"title":7136,"dynasty":133,"author":534,"museum":151,"description":7137,"tags":7138,"thumbUrl":7139,"material":122,"size":7140,"collection":44,"collections":7141,"showCount":7074,"zanCount":48,"manualWeight":48,"mainColor":128},215018,"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[23,24,25,7,27,29,61,119,120,193,34,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[44],{"id":7143,"slug":7144,"title":7145,"dynasty":54,"author":430,"museum":227,"description":7146,"tags":7147,"thumbUrl":7149,"material":1050,"size":1051,"collection":217,"collections":7150,"showCount":7151,"zanCount":1106,"manualWeight":48,"mainColor":49},287979,"bei-song-zhang-ze-duan-quan-jing-qing-ming-shang-he-tu-juan-ming-qing-mo-ben-yi-ming-287979","北宋张择端全景清明上河图卷(明清摹本)","这卷追摹之作，将北宋汴京的市井烟火铺展于绢素之上。朱墙之下屋舍错落，官署比邻商肆，黛瓦飞檐勾连着宋韵城坊肌理。街衢间人流如织，挑担货郎穿街过巷，沽酒食客围坐檐下，驻足交谈的路人、接引宾朋的店家，鲜活复刻着彼时的日常百态。\n\n画者以细腻笔触捕捉俗世鲜活，酒幌招摇、门板半敞，处处藏着汴京的喧嚣暖意，把千年前都城的熙攘意趣传神留存，让观者仿佛踏入彼时的春日长街。",[23,154,24,7,7148,27,28,59,61,62,1699,92,68,75,810],"摹本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dd02dd6db3b5b7381b799a8a64e635f.jpg",[],69,{"id":7153,"slug":7154,"title":6654,"dynasty":54,"author":6655,"museum":227,"description":7155,"tags":7156,"thumbUrl":7157,"material":217,"size":217,"collection":217,"collections":7158,"showCount":7151,"zanCount":914,"manualWeight":48,"mainColor":128},235876,"mei-hua-juan-lu-fu-235876","此卷以水墨铺展千株寒梅，老干以淡墨晕染，苍朴遒劲，枝桠以浓墨勾勒，虬曲交错如铁骨盘空。繁花借留白晕出，似雪压枝头，星罗棋布却繁而不乱，淡墨轻笼朦胧烟霭，恍若月浸梅林，清寒幽寂扑面而来。\n\n整幅不见杂色，将梅之凌霜傲骨与疏淡雅逸融于笔底，冷香浮动的清逸之境跃然绢上，观之如身临雪后梅园，心神被梅的孤高澄澈涤荡，尽显冬日寒梅的孤洁神韵。",[23,154,24,25,7,114,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d929c8439fc9a29644b89d5ff6a22ad.jpg",[],{"id":7160,"slug":7161,"title":7162,"dynasty":18,"author":430,"museum":227,"description":2721,"tags":7163,"thumbUrl":7164,"material":2724,"size":2725,"collection":42,"collections":7165,"showCount":7151,"zanCount":48,"manualWeight":48,"mainColor":49},223548,"luo-shen-tu-juan-yi-ming-223548","洛神图卷",[23,24,25,7,27,28,120,193,61,29,34,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg",[42,44,45],{"id":7167,"slug":7168,"title":7169,"dynasty":18,"author":430,"museum":111,"description":7170,"tags":7171,"thumbUrl":7174,"material":384,"size":7175,"collection":217,"collections":7176,"showCount":7151,"zanCount":914,"manualWeight":48,"mainColor":49},223525,"ge-le-tu-yi-ming-223525","歌乐图","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[23,24,25,7,27,28,61,155,1795,157,275,254,255,211,70,1590,7172,1377,7173],"发饰","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","25.5x158.7厘米",[],{"id":7178,"slug":7179,"title":7180,"dynasty":149,"author":4909,"museum":20,"description":7181,"tags":7182,"thumbUrl":7183,"material":442,"size":7184,"collection":543,"collections":7185,"showCount":7151,"zanCount":1106,"manualWeight":48,"mainColor":49},221141,"shen-xian-qi-ju-fa-juan-yang-ning-shi-221141","神仙起居法卷","《神仙起居法》是杨凝式书写的古代一种健身，文体近似口诀。\n释文：\n“神仙起居法。行住坐臥處，手摩脅與肚。心腹通快時，兩手腸下踞。踞之徹膀腰，背拳摩腎部。才覺力倦來，即使家人助。行之不厭頻，晝夜無窮數。歲久積功成，漸入神仙路。乾祐元年冬殘臘暮，華陽焦上人尊師處傳，楊凝式(下一草押)。”\n后纸有宋米友仁，元商挺，清张孝思题记及无名氏行书释文5行。卷前右下角有明项元汴“摩”字编号。\n卷前后及隔水上钤有宋“紹興”、“內府書印”，明杨士奇、陈淳、项元汴，清张孝思、陈定、清内府等鑑藏印。\n此卷最早为宋高宗内府之物，后入贾似道手中，至明代曾经“江阴葛惟善收藏”(都穆《寓意编》)，《清河书画舫》又称“郡人王氏所藏”，明代为项元汴所有，至清代乾隆时进入内府。\n书法由唐到宋，杨凝式是一转折人物，苏轼评曰：“自颜、柳没，笔法衰绝。加以唐末丧乱，人物凋落，文采风流扫地尽矣。独杨公凝式笔迹雄杰，有二王、颜、柳之余，此真可谓书之豪杰，不为时世所汩没者。”\n此幅小行草书是杨凝式七十六岁时的作品，笔法劲逸，转侧多变。用墨浓淡相间，时有枯笔飞白。书字的结势于攲侧险劲中求平正，且行间字距颇疏，在继承唐代书法的基础上，以险中求正的特点创立新风格，尽得天真烂漫之趣。此书是杨凝式行草书传世作品的代表作，对宋代书法影响较大。",[23,119,1892,7,539,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3574f4c03f15292387c8362a4bddebbc.jpg","纵27厘米，横21.2厘米",[543],{"id":7187,"slug":7188,"title":7189,"dynasty":168,"author":7190,"museum":20,"description":7191,"tags":7192,"thumbUrl":7193,"material":442,"size":7194,"collection":543,"collections":7195,"showCount":7151,"zanCount":48,"manualWeight":48,"mainColor":49},221088,"meng-zhao-tie-juan-liu-gong-quan-221088","蒙诏帖卷","柳公权","《蒙诏帖》卷，传为唐柳公权书，纸本，行书，纵26.8厘米，横57.4厘米。\n\n释文：\n公权蒙诏, 出守翰林，职在闲冷，亲情嘱托，谁肯响应，深察感幸。公权呈。\n鉴藏印有宋“绍兴”、“瑞文图书”、“贤志赏”，元“赵氏子昂”、“乔氏篑成”、“齐郡张绅士行”，明“冯氏鹿庵珍藏图籍印”，清“安岐之印”、“王常宗”、“陈氏彦廉”、“韩世能印”、“韩逢禧印”等。\n\n此帖传为柳公权写的一通信札，告诉对方自己年老体衰，能力有限，虽然有个闲官职位，可也不能为别人办什么大事，请谅解自己的难处。\n\n南宋所刻《兰亭续帖》中收有《翰林帖》（或称《蒙诏帖》），其文曰：“公权年衰才劣，昨蒙恩放出翰林，守以闲冷，亲情嘱托，谁肯响应，惟深察，公权敬白。”据文意推测该帖应写于文宗时柳氏任翰林院书诏学士期间，而本帖中的“出守翰林”在文辞上不符合当时居官者职守的称谓，因此可能是宋人据《翰林帖》的大意写出。书法的前四行用笔较雄畅，结字亦尚稳妥，而后几行用笔逐渐瘦薄，结字多松散，末行的“权”字笔画也不成结构，与柳氏遒媚劲健的书风悬殊较大。种种迹象表明，本帖非柳书，乃是宋人仿本。\n\n明詹景凤《东图玄览》、张丑《南阳书法表》、《真迹日录》，清安岐《墨缘汇观》著录。",[154,24,25,7,120,1892,119,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5e4a285528d158dd273e3ee4b593bd.jpg","纵26.8厘米，横57.4厘米",[543,1013],{"id":7197,"slug":7198,"title":7199,"dynasty":54,"author":7200,"museum":227,"description":7201,"tags":7202,"thumbUrl":7203,"material":442,"size":217,"collection":44,"collections":7204,"showCount":7151,"zanCount":1106,"manualWeight":48,"mainColor":128},220103,"zhong-kui-yi-jia-tu-qian-gu-220103","钟馗移家图","钱谷","钱谷（公元1508~1578年），字叔宝，号磬室，江苏苏州人。好读书，曾手抄稀有书籍，跟从文征明学习诗文书画。山水笔墨疏朗稳健，也能画人物、兰竹，风格较平实。编有〈续吴都文粹〉等。作品有〈雪山策骞图轴〉，〈虎丘前山图轴〉，〈董姬像（册页）〉，〈晴雪长松图轴〉。",[23,24,25,7,174,27,61,1047,173,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee38741396103f6c03bb189f8e3e50a.jpg",[44],{"id":7206,"slug":7207,"title":7208,"dynasty":133,"author":4323,"museum":380,"description":7209,"tags":7210,"thumbUrl":7211,"material":122,"size":7212,"collection":124,"collections":7213,"showCount":7151,"zanCount":48,"manualWeight":48,"mainColor":128},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[23,154,24,25,7,29,27,118,62,34,117,37,119,193,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[124,45],{"id":7215,"slug":7216,"title":7217,"dynasty":250,"author":430,"museum":56,"description":7218,"tags":7219,"thumbUrl":7220,"material":720,"size":217,"collection":124,"collections":7221,"showCount":7151,"zanCount":1106,"manualWeight":48,"mainColor":128},219864,"qing-ren-fang-xi-shan-wu-jin-tu-yi-ming-219864","清人仿溪山无尽图","整卷铺展千里丘壑，峰岭层叠攒簇，苔点皴擦尽显山石苍浑质感，烟岚轻笼幽谷溪川，晕染出空濛悠远的意境。村居田庐散缀林麓水湄，野桥横溪、茂林修竹，尽显山居幽寂之致，复刻全景山水的雄浑大气，又糅入文人画的静穆意趣。沉厚绢色晕开烟峦，笔墨带着追摹古贤的沉静韵味，将林泉高隐的诗意融于层叠山水间，让观览者随着溪山延展，步入烟霞丘壑，沉浸在清寂旷远的山水雅趣中。",[23,24,7,29,27,118,405,34,37,31,138,3823],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1062bdcf0ab3c5882ef217057ef7f7.jpg",[124],{"id":7223,"slug":7224,"title":7225,"dynasty":18,"author":294,"museum":227,"description":7226,"tags":7227,"thumbUrl":7229,"material":1050,"size":1051,"collection":217,"collections":7230,"showCount":7231,"zanCount":48,"manualWeight":48,"mainColor":49},289655,"xue-jiang-gui-zhao-tu-zhao-ji-289655","雪江归棹图","《雪江归棹图》描绘的是冬日雪景山水画。全图不着色，仅以细碎之笔勾勒、点皴山石，淡墨渲染江天，衬映出皑皑雪峰。",[23,154,24,7,763,973,405,31,115,1123,62,196,114,27,119,193,7228],"清寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ccf8a6b79d6e33362afa23ac8564cb.jpg",[],68,{"id":7233,"slug":7234,"title":7235,"dynasty":250,"author":994,"museum":227,"description":3563,"tags":7236,"thumbUrl":7238,"material":217,"size":217,"collection":217,"collections":7239,"showCount":7231,"zanCount":48,"manualWeight":48,"mainColor":128},234227,"hua-guo-juan-zhu-da-234227","花果卷",[23,24,25,7,114,272,120,1332,1821,7237,1330,1926,209,1819,5774,193],"佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd794f3dd4ca89c61b435218135cfad42.jpg",[],{"id":7241,"slug":7242,"title":1041,"dynasty":18,"author":430,"museum":227,"description":7243,"tags":7244,"thumbUrl":7245,"material":217,"size":217,"collection":217,"collections":7246,"showCount":7231,"zanCount":914,"manualWeight":48,"mainColor":49},223655,"song-zi-tian-wang-tu-yi-ming-223655","此作为白描神品，以铁线描、兰叶描交错挥写，尽显吴带当风的流动韵致。\n画卷起首帝后侍从环侍，仪度端雅雍容；继而护法神将狞猛威严，流云焰气翻卷烘托出天界的诡谲神圣；中段天女执器缓行，身姿柔婉静穆；后段天王安坐肃穆，诸鬼神环伺拱卫，末了瑞兽载仙疾驰，灵动飞扬。\n全卷人物身份鲜明，神情各殊，帝王的沉凝、天女的温婉、神将的凶戾皆刻画入微，线条或刚劲如铁、或飘逸如丝，将天界仪卫的盛大庄严铺陈尽致，虽为摹本，依旧留存原作神采，是水墨线描的绝佳范本。",[23,154,24,25,7,174,173,61,511,1009,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1875d213531142bdb5f15a8d47809ba.jpg",[],{"id":7248,"slug":7249,"title":7250,"dynasty":54,"author":495,"museum":20,"description":7251,"tags":7252,"thumbUrl":7253,"material":7254,"size":5727,"collection":7255,"collections":7256,"showCount":7231,"zanCount":48,"manualWeight":48,"mainColor":128},221971,"lan-ting-xiu-qi-tu-quan-juan-wen-zheng-ming-221971","兰亭修契图全卷","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。\n卷尾下钤“徵明父印”、“徵仲父印”，右下有“雪坪心赏”、“杜氏藏画”印，左下有“与古维新”印。尾纸首段是文徵明临写王羲之所书的《兰亭序》，其后又有文氏行书自题一段：“曾君曰潜，自号兰亭，余为其写《流觞图》，既临褉帖，兰之复赋，此诗发其命名之意，壬寅五月。”“猗兰亭子袭清芬，珍重山阴迹未陈。高音漫传幽谷操，清真重见永和人。香生环珮光风远，秀茁庭阶玉树新。何必流觞须上巳，一簾（芳？）意四时春。文徵明”。钤“徵明印”、“悟言室印”。由此可知，因曾潜的号与“兰亭修褉”发生的地点相同，文氏便将这一题材入画，并为之题诗，贻赠友朋。尾纸另有王穀祥、陆师道、许初、文彭、文嘉、周复后的题跋。壬寅年为明嘉靖二十一年（1542年）。",[23,24,25,7,27,28,120,29,61,116,64,605,275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb0d378f8205d4f6be244afbdc9303a.jpg","金笺地，设色","山水精选",[7255],{"id":7258,"slug":7259,"title":7260,"dynasty":18,"author":7261,"museum":20,"description":7262,"tags":7263,"thumbUrl":7265,"material":78,"size":7266,"collection":543,"collections":7267,"showCount":7231,"zanCount":48,"manualWeight":48,"mainColor":128},221359,"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[23,154,24,25,7,120,119,114,29,115,973,923,4645,7264],"天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm",[543],{"id":7269,"slug":7270,"title":7271,"dynasty":168,"author":5303,"museum":380,"description":7272,"tags":7273,"thumbUrl":7274,"material":7275,"size":7276,"collection":543,"collections":7277,"showCount":7231,"zanCount":1106,"manualWeight":48,"mainColor":128},221105,"zhong-ni-meng-dian-tie-ou-yang-xun-221105","仲尼梦奠帖","用笔\n《仲尼梦奠帖》用笔清峻，锋芒毕露，给人以锐利、刻厉之感。其用笔有两个主要特点，一是侧锋入纸，起笔无不锐利，显然是魏碑笔法。下笔直截了当，不藏锋敛迹，加之行笔稍快，如剑戟般的锋芒便外耀无遗了。二是转折顿挫带来的刻厉。在唐书家中，初唐的柔和之风的特征之一就是化方为圆。这样，不仅消失了方角使之更为圆转灵活，而且也加快了书写的速度。欧阳询丝毫不受这种化方转圆的影响，他的转折仍然是重而方，不减作楷书之法，如“仲尼”、“有”、“周”，尽骨节之露，如“奠”之第二笔，起讫三折笔，如怪石嶙峋，与北魏的刀刻痕迹何其相似。可是，这样的笔触是很需要有分寸感的，稍微过头则为造作。在这方面，像欧阳询这样的行家也未能幸免，如“数”字就是一个病例，其“文”字旁起笔牛头角状，十分不雅，有趣的是把这一角状遮去后，这一个字反而格外的流畅、顺眼了。《仲尼梦奠帖》像“过”字这样圆转灵活、随意自然的笔触并不多，全篇的创作仍然是庄严的、认真的，作者创作心态似乎也不轻松，一副如《九成宫碑》那样的庙堂面孔。 [8]\n\n结体\n《仲尼梦奠帖》结体有独特之处，结体修长一目了然。欧阳询不在意从横向上进行发展，因此在行距上显得特别疏朗，每字向下舒展时，欧阳询也把字距拉开，使这一纵向发展显得天地开朗。竖画挺拔坚韧，在每一字中起着砥柱作用，使每一字的骨格坚挺起来。把《仲尼梦奠帖》与虞世南的《汝南公主墓志铭》比较，会看得更清楚。虞氏行书以柔和胜，竖画也起支柱作用，但作用并不明显，也不突出，似乎隐于其中；而欧氏行书竖画刚强外耀、强烈可感，那壁立千仞的挺拔，构成了作品的主要基调。观帖中字，虽用秃笔疾书，却转折随意，笔势圆融，用墨淡而有质感，丝毫无油滑之态。 [8]\n\n章法\n《仲尼梦奠帖》是两种书体的结合，即行书入碑，或曰碑体行书。从章法看，《梦奠帖》“宪章右军，抽锋一线，如猿腾鹘落而泯上下相承之迹”（包世臣《艺舟双楫》），而更多靠单字造型调节章法；帖中“彭”由左右结构变换成半包围结构；“导”字繁体下旁本为“寸”，此处不同，换为“木”旁；“冥”字上首用“宀”代“冖”且书写跳荡；“熟”字结构变异，这四字的安排，使《梦奠帖》章法更显紧凑，以部首移位和比例倒错来调整字形结构及通篇章法。且《仲尼梦奠帖》取魏碑为骨格，以行书的笔意来调节，避免了碑体楷书的平板，显得更加密切、多姿多态。碑体的骨格使每一个字气势开张、伟岸，而行书的绵密活泼又连缀其中，形成刚劲而活络，活络而不失骨力。",[23,119,120,1229,25,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed9f1b77f3256e056f28a188b756240.jpg","纸本行书","纵25.5cm，横33.6cm",[543],{"id":7279,"slug":7280,"title":7281,"dynasty":168,"author":3763,"museum":227,"description":7282,"tags":7283,"thumbUrl":7284,"material":442,"size":5099,"collection":543,"collections":7285,"showCount":7231,"zanCount":48,"manualWeight":48,"mainColor":2653},221079,"li-qing-lian-xu-zhang-xu-221079","李清莲序","張旭（675-750），唐代書法家，字伯高，與李白、賀知章等人共列飲中八仙之一。唐文宗曾下詔，以李白詩歌、裴旻劍舞、張旭草書為「三絕」。又工詩，與賀知章、張若虛、包融號稱「吳中四士」。傳世書跡有《肚痛帖》、《古詩四帖》等。\n\n張旭初仕為常熟尉，後官至金吾長史，人稱「張長史」。其母陸氏為初唐書家陸柬之的侄女，即虞世南的外孫女。陸氏世代以書傳業，有稱於史。張旭為人灑脫不羈，豁達大度，卓爾不群，才華橫溢，學識淵博。與李白、賀知章相友善，杜甫將他三人列入「飲中八仙」。是一位極有個性的草書大家，因他常喝得大醉，就呼叫狂走，然後落筆成書，甚至以頭髮蘸墨書寫，故又有「張顛」的雅稱。後懷素繼承和發展了其筆法，也以草書得名，並稱「顛張醉素」。",[23,119,1892,7,1229,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a58ec93ac0fe20390b6d67708a83e8.jpg",[543,1013],{"id":7287,"slug":7288,"title":7289,"dynasty":250,"author":5024,"museum":20,"description":7290,"tags":7291,"thumbUrl":7296,"material":78,"size":7297,"collection":44,"collections":7298,"showCount":7231,"zanCount":1106,"manualWeight":48,"mainColor":128},218523,"wang-yuan-qi-yi-ju-tu-xiang-juan-yu-zhi-ding-218523","王原祁艺菊图像卷","这幅画描绘了王原祁在院子里享受一杯茶和一朵菊花。在这幅画中，留着浓密的胡须、身材略胖的王志刚大约50岁，坐在沙发上，手里拿着一杯茶，欣赏着面前的菊花。他目光专注，态度沉稳大方，体现出不同于普通文人的优雅高贵的气质。画中的桌子和沙发简洁大方，书卷摆放整齐，还有精心栽培的菊花和其他景物，这些又说明了人物的爱好和雅趣。",[23,24,25,7,28,27,61,283,454,7292,7293,7294,3664,7295,1590,119,120,193],"桌","椅","花瓶","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b426879ff6f6f7c85be31d0fd4ef954.jpg","32.4x136.4",[44],{"id":7300,"slug":7301,"title":7302,"dynasty":250,"author":4230,"museum":349,"description":4231,"tags":7303,"thumbUrl":7304,"material":27,"size":4234,"collection":124,"collections":7305,"showCount":7231,"zanCount":48,"manualWeight":48,"mainColor":4236},214194,"xie-qin-you-ju-tu-cha-shi-biao-214194","携琴幽居图",[24,25,7,114,27,29,118,63,64,116,117,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c24a38eb02628f19b29d63163ea0de4.jpg",[124],{"id":7307,"slug":7308,"title":7309,"dynasty":18,"author":465,"museum":227,"description":7310,"tags":7311,"thumbUrl":7312,"material":1050,"size":1051,"collection":217,"collections":7313,"showCount":7314,"zanCount":1106,"manualWeight":48,"mainColor":128},289837,"shan-shui-shi-er-jing-tu-xia-gui-289837","山水十二景图","为夏氏山水十二景中残存四景中的一部分。图展现平溪汀渚、湖水荡漾，渔舟出没，巨石峭壁，绿树成荫。通过山林，有港湾一泓，数艘渔舟停泊其间。此画山石用斧劈皴，先用水笔皴擦，然后落墨，具有水墨交融，淋漓酣畅的效果。",[23,154,24,7,25,114,29,115,64,405,605,609,4666,119,120,118,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2cda136703b84ead22be2bcf7e2b48.jpg",[],67,{"id":7316,"slug":7317,"title":7318,"dynasty":250,"author":430,"museum":227,"description":7319,"tags":7320,"thumbUrl":7322,"material":1050,"size":1051,"collection":217,"collections":7323,"showCount":7314,"zanCount":48,"manualWeight":48,"mainColor":49},288197,"fang-chou-ying-jie-bo-tu-yi-ming-288197","仿仇英揭钵图","佛尊安坐莲台，神态静定超然，护法眷属恭立环伺，一派庄穆。另一侧群魔攒动，夜叉鬼卒或拽绳撼钵，或挥戈咆啸，狞恶跳脱，奔走腾挪间满是躁动戾气，将救母揭钵的冲突推向极致。飞天振袂穿插云间，衣袂飘举柔化了杀伐之氛。\n\n整卷设色沉厚古雅，铁线描勾勒劲利灵动，人物神态各异，夜叉的凶蛮、天众的肃穆、佛尊的慈悲皆跃然绢上，把神魔相争的戏剧张力尽数铺展，尽显宗教故事画的叙事感染力。",[23,24,7,27,28,60,61,173,6818,366,7321],"佛教故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faafca72c1f7d102945d31b9ddf001121.jpg",[],{"id":7325,"slug":7326,"title":7327,"dynasty":133,"author":1344,"museum":227,"description":7328,"tags":7329,"thumbUrl":7330,"material":217,"size":217,"collection":217,"collections":7331,"showCount":7314,"zanCount":48,"manualWeight":48,"mainColor":49},228019,"yang-fei-shang-ma-tu-chang-juan-qian-xuan-228019","杨妃上马图（长卷）","《题杨妃上马图》是宋朝著名文学家钱选的代表作品之一。\n宋 唐室开元致太平，年年十月幸华清。\n当时马上多娇态，不相驱驰蜀道行。",[23,24,25,154,7,27,28,61,90,193,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b28078355dcd9084429ae23f044604.jpg",[],{"id":7333,"slug":7334,"title":7335,"dynasty":149,"author":4909,"museum":20,"description":7336,"tags":7337,"thumbUrl":7338,"material":442,"size":7339,"collection":543,"collections":7340,"showCount":7314,"zanCount":48,"manualWeight":48,"mainColor":128},221140,"xia-re-tie-yang-ning-shi-221140","夏热帖","釋文： 首署款：“凝式”。\n後紙有宋代王欽若，元代鮮于樞、趙孟頫，清張照的題跋及乾隆皇帝的釋文。\n卷前後及隔水上鈐有宋代“賢志堂印”，元代趙孟頫，明項元汴，清代曹溶、納蘭成德、清內府等鑑藏印。另有數方古印不辨。\n此帖是楊凝式唯一的傳世草書作品，書法兼取唐顏真卿、柳公權筆法，體勢雄奇險崛，運筆爽利挺拔，與他的楷書、行書作品相比較，藝術風格迥殊，表現出了書家的豐富藝術變化，為楊凝式書法代表作品作之一。此帖為信札，筆勢飛動，渾然一體，凝重之中有瀟灑氣象，雄健縱逸，鋒芒灼耀，極富大氣。米芾贊：“楊凝式如橫風斜雨，落紙雲煙，淋漓快目。”\n此帖曾刻入《三希堂法帖》。明代汪砢玉《珊瑚網書跋》，清代吳其貞《吳氏書畫記》、顧復《平生壯觀》、卞永譽《式古堂書畫匯考》、內府《石 渠寶笈·初篇》等書著錄。",[23,119,1892,7,114,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797a61ea192f0e9b636c25d708827dd0.jpg","纵23.8厘米，横33厘米",[543],{"id":7342,"slug":7343,"title":7344,"dynasty":225,"author":1472,"museum":7345,"description":7346,"tags":7347,"thumbUrl":7348,"material":7349,"size":7350,"collection":1013,"collections":7351,"showCount":7314,"zanCount":48,"manualWeight":48,"mainColor":128},221035,"you-mu-tie-wang-xi-zhi-221035","游目帖","日本广岛安达万藏","《遊目帖》又名《蜀都帖》、《彼土帖》、《山川諸奇帖》。草書，11行，102字。信中王羲之表達了他對蜀地山山水水諸多奇景的嚮往之情。他期盼一登汶嶺、峨嵋而暢遊意足，並希望這個日子早日到來。《中國書法全集》評價《遊目帖》“行、草書間雜，筆畫遒勁爽利”。",[23,119,120,1229,7,193,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5188c56caf21e01b10a04cacb4376ed.jpg","纸本墨迹","11行，102字",[1013],{"id":7353,"slug":7354,"title":7355,"dynasty":250,"author":3062,"museum":56,"description":7356,"tags":7357,"thumbUrl":7359,"material":122,"size":7360,"collection":124,"collections":7361,"showCount":7314,"zanCount":48,"manualWeight":48,"mainColor":128},219901,"tai-hang-shan-se-tu-wang-hui-219901","太行山色图","此为王翚仿关仝笔意作太行山图,其于画幅中央作突兀怪石、山泉溪谷,以细密雨点皴作出,颇有范宽枪笔俱均之势",[23,24,25,7,29,27,118,405,37,34,4003,31,117,610,986,7358],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cb4b3c91f64f54888179c45394bbda.jpg","25.3x209.4",[124],{"id":7363,"slug":7364,"title":7365,"dynasty":54,"author":7366,"museum":20,"description":7367,"tags":7368,"thumbUrl":7369,"material":285,"size":7370,"collection":543,"collections":7371,"showCount":7314,"zanCount":1106,"manualWeight":48,"mainColor":128},219157,"cao-shu-you-qi-xing-yan-shi-jie-jin-219157","草书· 游七星岩诗","解缙","释文：游七星岩偶成。早饭行春桂水东，野花榕叶露重重。七星岩曲篝镫入，百转萦回路径通。石榴滴余成物象，古潭深处有蛟龙。却归为恐衣沾湿，洞口云生日正中。就日门前春水生，浮波岩下钓船轻。漓江倒影山如画，榕树交柯翠夹城。村店午时鸡乱叫，游人陌上酒初醒。殊方异俗同熙皞，欲进讴谣合颂声。度水穿林访隐君，七星岩畔鹤成群。犹疑仙李遗朱实，几见蟠桃结绛云。石乳悬崖金烂烂，瀑泉隥洞鸟纷纷。柳莺满树春风啭，共坐高吟把酒闻。桂水东边度石桥，酒祈村巷见渔樵。葭祠歌吹迎神女，野庙苹繁祀帝尧。附郭有山皆积石，仙岩无路不通霄。日长衣繍观民俗，行乐光辉荷圣朝。永乐戊子五月十一日，为文弼书廌识。",[23,1892,119,7,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5015742489dad8692560c35bafa41c2d.jpg","纵22.8厘米，横61.2厘米",[543],{"id":7373,"slug":7374,"title":7375,"dynasty":168,"author":430,"museum":1239,"description":7376,"tags":7377,"thumbUrl":7379,"material":1244,"size":217,"collection":217,"collections":7380,"showCount":7314,"zanCount":1106,"manualWeight":48,"mainColor":49},217286,"jiang-mo-bian-dun-huang-tu-juan-4-yi-ming-217286","降魔变·敦煌图卷-4","古朴绢本上，笔墨流转间铺展着一段生动叙事。左侧世俗人物神态各异，衣袂飘举间透着生活气息；中间裸身有须者围坐伞下，伞面纹饰繁复，身旁神兽昂首展翼，灵动线条勾勒出其威猛与祥瑞兼具的姿态；右侧僧侣群像肃穆，衣袍色彩沉稳，传递出宁静的宗教氛围。整幅画以流畅线描为骨，设色淡雅却层次分明，人物与神兽、世俗与神圣场景交织，既捕捉生活细节，又蕴含佛教故事的庄严奇幻，岁月痕迹里仍能感受到鲜活的艺术张力。",[154,24,25,7,27,28,173,1242,61,7378,29,196,34,117],"神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc400e9da6b17613f5e9395694aaabf3d.jpg",[],{"id":7382,"slug":7383,"title":5012,"dynasty":18,"author":430,"museum":6291,"description":7384,"tags":7385,"thumbUrl":7386,"material":285,"size":7387,"collection":44,"collections":7388,"showCount":7314,"zanCount":48,"manualWeight":48,"mainColor":128},217001,"jiu-ge-tu-yi-ming-217001","此《九歌图》共九段，分别绘《东君》《河伯》《湘夫人》《大司命》《少司令》《云中君》《湘君》 《山鬼》《国荡》，缺《东皇太一》《礼魂》。",[23,24,25,7,174,114,61,4714,1071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec00dfbd7a8b8065f4b1da78192376.jpg","33x743",[44],{"id":7390,"slug":7391,"title":7392,"dynasty":250,"author":7393,"museum":227,"description":7394,"tags":7395,"thumbUrl":7396,"material":78,"size":7397,"collection":44,"collections":7398,"showCount":7314,"zanCount":48,"manualWeight":48,"mainColor":128},214835,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-214835","仿李晞古采薇图全卷","萧晨","在右边，伯益坐在山坡上，双膝弯曲，认真听着舒淇的讲话，舒淇俯身向前致意，面前放着一把锄头和一筐野菜。萧琛，字灵溪，号仲素，清代画家，善诗，精画，山水人物，师承唐宋。",[23,24,25,7,60,27,28,118,61,1298,117,34,193,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341cd77a009ea4082f79b83c8e83756d.jpg","\u001659.2x27.1",[44],{"id":7400,"slug":7401,"title":7402,"dynasty":54,"author":430,"museum":227,"description":7403,"tags":7404,"thumbUrl":7405,"material":1050,"size":1051,"collection":217,"collections":7406,"showCount":7407,"zanCount":914,"manualWeight":48,"mainColor":49},287341,"fang-chen-rong-shen-long-jiu-xian-tu-yi-ming-287341","仿陈容神龙九现图","整卷以九龙为芯，龙躯腾挪翻涌于青绿云水间，或隐没于云涛，或怒破水浪，鳞爪遒劲灵动，尽显神威雄奇。古绢带着岁月晕染的斑驳，青绿与墨色交融晕开，将神龙谲变幻化的身姿描摹得栩栩如生。\n\n后附题跋行书笔意跌宕，笔墨苍劲老辣，诗文咏叹龙姿神韵，与画作相得益彰，书画合璧，复刻出沉雄气势。装裱古朴雅致，卷间流转着古雅厚重的气韵，尽显传统龙题材绘画的精妙造诣，兼具视觉张力与文人意趣。",[23,7,24,25,511,60,27,119,1892,1045],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05d908008b19b2e6f55501a6f863f5f4.jpg",[],66,{"id":7409,"slug":7410,"title":7411,"dynasty":250,"author":7412,"museum":227,"description":7413,"tags":7414,"thumbUrl":7415,"material":217,"size":217,"collection":124,"collections":7416,"showCount":7407,"zanCount":48,"manualWeight":48,"mainColor":49},238196,"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,7,27,29,118,196,63,64,115,116,117,419,34,257,6219,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[124,45],{"id":7418,"slug":7419,"title":7420,"dynasty":54,"author":7421,"museum":227,"description":7422,"tags":7423,"thumbUrl":7424,"material":217,"size":217,"collection":217,"collections":7425,"showCount":7407,"zanCount":48,"manualWeight":48,"mainColor":128},234206,"feng-zhu-tu-zhou-feng-qi-zhen-234206","风竹图轴","冯起震","冯起震(1553—1644)，字青方，明末画家，青州城北青州市高柳村（今山东益都）人。隐居教书，不图仕进，善画竹。来青州做官的，常慕名到他家拜访。崇祯二年（1629），他与儿子冯可宾合作画了竹石图10幅，著名书画家董其昌、邢侗、李君实为之题记。董等非常称赞他，认为“文与可后数百年所仅见”。著有《无声诗史》、《图绘宝鉴续纂》、《榆园画志》等书。崇祯十五年（1642）年90岁尚在。",[23,24,25,114,7,119,120,193,275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bf753c1b5f255b01b17c3148f491394.jpg",[],{"id":7427,"slug":7428,"title":7429,"dynasty":54,"author":55,"museum":227,"description":7430,"tags":7431,"thumbUrl":7432,"material":217,"size":217,"collection":217,"collections":7433,"showCount":7407,"zanCount":1106,"manualWeight":48,"mainColor":49},228430,"jiang-shan-zao-chun-tu-juan-chou-ying-228430","江山早春图卷","此卷以青绿敷色晕染山峦，石青浅绛晕出早春烟岚空濛之态，平远构图铺展百里江南。层峦如螺黛迤逦，汀渚蜿蜒如带，茂林村居散缀江畔，渔舟横波独行，将早春清灵秀雅尽数铺陈。\n\n笔墨工致细腻，青绿设色古雅妍丽却无俗艳之感，远山轻描淡写含黛色，近树苍劲已带新翠，茅庐隐于林泉，尽显逸世幽居之趣。画作融院体精工与文人山水淡远意境于一体，暗藏清寂悠然，将山水静穆与早春生机相融，引人身临其境，静赏江南早春的温柔诗意。",[23,24,25,7,28,26,27,118,29,30,34,62,63,64,3066,5563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08aa96f29fa17783d88d6937cda876e.jpg",[],{"id":7435,"slug":7436,"title":7437,"dynasty":250,"author":7438,"museum":151,"description":7439,"tags":7440,"thumbUrl":7442,"material":470,"size":7443,"collection":124,"collections":7444,"showCount":7407,"zanCount":914,"manualWeight":48,"mainColor":49},224488,"yun-bai-shan-qing-tu-juan-wu-li-224488","云白山青图卷","吴历","此幅山水画作於1668年（三十七岁），临摹古画功力极深，於青绿著色者尤有独到之处，气息颇近似宋元人作品，通卷皆用青绿红白重色，而能不觉躁浊，於清虚灵动中妙造自然。",[23,24,7,26,27,29,482,1071,254,196,69,692,419,117,4713,35,38,7441,420],"雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f1f40e927b107f59c209c6dfc46117.jpg","该幅25.9x117.2公分；隔水一14.6公分；隔水二 14.6公分",[124],{"id":7446,"slug":7447,"title":7448,"dynasty":54,"author":495,"museum":151,"description":7449,"tags":7450,"thumbUrl":7452,"material":140,"size":7453,"collection":124,"collections":7454,"showCount":7407,"zanCount":791,"manualWeight":48,"mainColor":128},221996,"hu-xi-cao-tang-hua-xin-wen-zheng-ming-221996","浒溪草堂画芯","作品是作者六十六岁时所作。描绘的是吴邑沉天民的浒溪草堂，既反映了草堂主人淡泊明志，不追逐名利的品格，又对映了主人热情好客的秉性，同时也折射出了作者本人的好恶。\n《浒溪草堂图》原藏沉天民家中，明末遗失。沉天民曾孙沈培风少时曾在朋友姚子文家见到此画，想要购回，却终究没好意思开口，一直是心头的一块心病，念念不忘。二十年后的一天，得知姚子文已于一年前的冬天患病不治而逝的讯息后，沈培风立即前往浙江的姚宅，欲觅得此画，可惜宅内已空无一物。有道是功夫不负有心人，不久有人将画送上门来。经过二十年世事沧桑，百变流转，培风又遇此画，便下定决心说什么也不能让机会从自己身边再次溜走。于是，几乎倾其所有，重金购得，并请工匠重新装裱后珍藏起来。此举显示出培风与其曾祖一样不忘本，具有难得的孝心。当年天民虽生活在城市，但仍不忘先祖的桑梓生活而在城市中修建草堂，取名为浒溪，才得以有画作《浒溪草堂图》留传至今，让后人一睹名家画作的风采。\n此画画法秀润，意境清幽，构图严谨，笔法细腻，设色明快。画面上描绘的是高木浓荫，掩映草堂，群山环抱，清波蜒曲，帆樯林立，榭阁屋宇错落。近处草堂敞轩，二高士案前对坐，正在高谈阔论；远山以石青晕染，近山则石青加赭石微抹，树干纯以赭石钩染，枝叶以石绿加石青点染，背光处加渴墨，显得更加郁郁葱葱。在艺术表现手法上，用笔细腻严谨，山石仅用渴笔微抹，以点苔显出明暗，经营位置，得写生之助化出清幽境界。",[23,24,29,482,483,254,7451,36,854,27,7358,272,7,442],"房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb9da20bb028a48cc761920595df3e9.jpg","166 X 31.5cm",[124,45],{"id":7456,"slug":7457,"title":7458,"dynasty":133,"author":7459,"museum":56,"description":7460,"tags":7461,"thumbUrl":7462,"material":3632,"size":7463,"collection":124,"collections":7464,"showCount":7407,"zanCount":48,"manualWeight":48,"mainColor":49},221757,"jiang-xiang-yu-yin-sheng-mao-221757","江乡渔隐","盛懋","画中群山连绵，一片苍茫。近处山水相连，绿树仓翠，岸边草房几间，人影绰绰。盛懋，字子昭，元代画家，善画人物、山水、花鸟等，其画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[23,24,154,7,114,118,29,63,64,115,34,69,765,196,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","30.8x475.3cm",[124,103],{"id":7466,"slug":7467,"title":7468,"dynasty":18,"author":3525,"museum":151,"description":7469,"tags":7470,"thumbUrl":7471,"material":140,"size":7472,"collection":543,"collections":7473,"showCount":7407,"zanCount":48,"manualWeight":48,"mainColor":128},221323,"hou-mao-tu-juan-yi-yuan-ji-221323","猴猫图卷","《宋易元吉猴猫图卷》画孙猴儿一只，脖子上围绑着粗绳，圈系在地，两只小花猫，大概路经此地，不经意中，一为猴儿挟抱，另一则惊避回顾。画中二小猫，全身毫毛皆用纤细的笔线，笔笔丝出，再加色晕染。黄花猫斑纹处是以淡赭墨染绘，毛色层次井然分明。盘坐在地的猴儿也是采同样手法处理，然而毛发更见丰盈毛绒，多而不乱。作者传神体物的绘画表现，足能成为北宋人写生写实的艺事风格代表。\n画家除了在此展现出精巧的画技外，捕捉动物生态，更有其独到之处。无论是调皮捣蛋的顽猴；或是它怀中畏怯无奈的小猫；或是一旁怒目嘶叫、张牙舞爪的幸免者，这三者间生动的神情，及合于本性、出于自然的瞬间互动，都藉由画家敏睿的观察，和传神的画笔，铺陈出如此富有戏剧效果的画面。",[23,154,24,25,7,28,27,5861,997,1009,193,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F823207814807056484a74f5f2d92e6bb.jpg","纵31.9公分、横57.2公分",[543],{"id":7475,"slug":7476,"title":2837,"dynasty":168,"author":2838,"museum":56,"description":2839,"tags":7477,"thumbUrl":7478,"material":2842,"size":2843,"collection":543,"collections":7479,"showCount":7407,"zanCount":914,"manualWeight":48,"mainColor":128},221070,"ling-fei-jing-chang-juan-zhong-shao-jing-221070",[23,119,537,540,1229,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d3387434404715e6043148aa6f6079.jpg",[543,1013],{"id":7481,"slug":7482,"title":7483,"dynasty":133,"author":760,"museum":151,"description":7484,"tags":7485,"thumbUrl":7486,"material":470,"size":7487,"collection":124,"collections":7488,"showCount":7407,"zanCount":48,"manualWeight":48,"mainColor":128},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[23,24,25,7,114,29,118,120,664,193,62,63,64,116,6490,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 37.8x112公分",[124,103],{"id":7490,"slug":7491,"title":7492,"dynasty":54,"author":110,"museum":227,"description":2477,"tags":7493,"thumbUrl":7495,"material":1050,"size":1051,"collection":217,"collections":7496,"showCount":7497,"zanCount":48,"manualWeight":48,"mainColor":128},289752,"jing-kou-song-bie-tu-juan-shen-zhou-289752","京口送别图卷",[154,24,7,763,114,118,64,115,62,34,117,7494,193],"送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea161e0d4c00caea203450d2b1512ba6.jpg",[],65,{"id":7499,"slug":7500,"title":7501,"dynasty":18,"author":465,"museum":227,"description":7502,"tags":7503,"thumbUrl":7504,"material":1050,"size":1051,"collection":217,"collections":7505,"showCount":7497,"zanCount":48,"manualWeight":48,"mainColor":128},288428,"xi-shan-qing-yuan-quan-juan-xia-gui-288428","溪山清远全卷","描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地。",[23,24,7,114,763,118,29,117,34,610,64,63,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2e7ac0afedc23fcf6291490a68ee6a.jpg",[],{"id":7507,"slug":7508,"title":3084,"dynasty":18,"author":430,"museum":227,"description":7509,"tags":7510,"thumbUrl":7511,"material":1050,"size":1051,"collection":217,"collections":7512,"showCount":7497,"zanCount":48,"manualWeight":48,"mainColor":49},288302,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-288302","以长卷铺展这段缥缈情缘，起于河畔惊鸿初见，洛神凌波凭风，衣袂翩跹若流云回风。仙姝侍立，神兽随行，云车仪仗迤逦于川泽林莽间。\n画师以高古游丝描勾勒人物，线条匀细灵动，淡彩敷染晕出古朴雅致的气韵，将辞赋里的缱绻爱慕、依依怅别缓缓铺陈。山川林木错落点缀，水波微漾间，把人神相恋的怅惘诗意凝于绢素，让千年的浪漫情思在卷中流转不散。",[23,154,24,7,25,27,28,60,61,155,5016,854,62,605,29,2241,1045,1315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c57e460baa6a03b77a4fd2f15d23fbb.jpg",[],{"id":7514,"slug":7515,"title":7516,"dynasty":54,"author":55,"museum":7517,"description":7518,"tags":7519,"thumbUrl":7520,"material":7521,"size":7522,"collection":217,"collections":7523,"showCount":7497,"zanCount":1106,"manualWeight":48,"mainColor":128},222197,"jia-fu-ren-li-tu-chou-ying-222197","佳妇人例图","日本早稻田大学图书馆","《佳妇人例图》落款为“实父仇英制”，共绘人物60位，构图、内容、人数与《千秋绝艳图》均雷同，所以有专家言《佳妇人例图》属《千秋绝艳图》的母图或白描草图。\n仇英 ，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[23,24,25,7,174,28,61,155,156,3665,626,627,3666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],{"id":7525,"slug":7526,"title":7527,"dynasty":133,"author":7528,"museum":20,"description":7529,"tags":7530,"thumbUrl":7531,"material":442,"size":7532,"collection":543,"collections":7533,"showCount":7497,"zanCount":914,"manualWeight":48,"mainColor":49},221844,"zhuan-shu-lou-shi-ming-juan-tai-bu-hua-221844","篆书陋室铭卷","泰不华","释文：\n山不在高，有仙则名；水不在深，有龙则灵。斯是陋室，唯吾德馨。苔痕上階绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”至正六年正月廿八日白野兼善书。\n鉴藏印有“安岐之印”、“朝鲜人”、“佩裳宝藏”、“木头老子”等。前后隔水各有清罗天池题记一则，记录其重金购买此卷之事及对此卷的评价。\n此卷是泰不华书唐代著名诗人刘禹锡所作《陋室铭》全篇。\n从落款可知此卷书于元至正六年（1346年），是年泰不华43岁。其书兼善篆、隶、楷。篆法初师宋徐铉，后取法汉碑额，高古可尚，行笔圆活遒劲，转折方正，结构疏朗工稳，末笔多作尖锋，即“悬针”笔法。此为迄今所见泰不华唯一的篆书真迹。作为一个少数民族文人，能写如此齐整秀逸的汉字古体实属难能可贵。\n此卷曾刻入《海山仙馆帖》。",[23,664,119,7,193,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aead25aafad0b776e8c3ac69e1dc0e8.jpg","纵36.9厘米，横113.5厘米",[543],{"id":7535,"slug":7536,"title":7537,"dynasty":18,"author":2005,"museum":20,"description":7538,"tags":7539,"thumbUrl":7540,"material":100,"size":7541,"collection":42,"collections":7542,"showCount":7497,"zanCount":914,"manualWeight":48,"mainColor":49},221621,"hou-chi-bi-fu-tu-juan-ma-he-zhi-221621","后赤壁赋图卷","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[23,154,24,25,7,174,114,27,29,61,115,230,921,64,196,404,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","25.9*143cm",[42,124,45],{"id":7544,"slug":7545,"title":7546,"dynasty":18,"author":7547,"museum":568,"description":7548,"tags":7549,"thumbUrl":7550,"material":40,"size":7551,"collection":217,"collections":7552,"showCount":7497,"zanCount":48,"manualWeight":48,"mainColor":128},221352,"fan-wang-li-fo-tu-juan-zhao-guang-fu-221352","番王礼佛图卷","赵光辅","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[154,24,25,7,173,28,27,61,193,1590,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979126ec026d2d53f7d8ef93beef224e.jpg","纵28.6厘米，横103.5厘米",[],{"id":7554,"slug":7555,"title":7556,"dynasty":168,"author":2905,"museum":380,"description":7557,"tags":7558,"thumbUrl":7559,"material":1894,"size":7560,"collection":543,"collections":7561,"showCount":7497,"zanCount":1106,"manualWeight":48,"mainColor":128},221098,"lun-shu-tie-huai-su-221098","论书帖","帖前有宋徽宗赵佶金书签题《唐僧怀素行书论书帖》，帖后有乾隆皇帝行书释文，赵孟頫、项元汴等人题跋。 卷中钤有“宣和”、“政和”、“绍兴”、“秋壑图书”、“内府图书之印”、“项子京家珍藏”、“旷奄”、“乾隆”、“嘉庆”、“宣统御鉴之宝”等鉴藏印。\n从艺术风格上看，《论书帖》不同于怀素其他如《自叙帖》、《食鱼帖》等用“古瘦”和“半无墨”的毛笔创作的笔意连绵不绝、体势险绝诡奇、极度夸张浪漫的狂草之作，笔下明显洋溢出东晋王羲之恬淡平和的风神气息。此帖运笔悠然自得，意气平和，应规入矩，精谨而纯熟。其每作一字，起落分明，虽无纵横捭阖之势，但由于擅长驾驭中锋，故能做到笔势圆融婉转、飞动轻灵，骨气深稳，血肉丰润。虽偶作牵连映带，但亦无拖沓之嫌。笔墨流宕处，英姿勃发，气象超然。其结构以平正恒定基调，疏密聚散之间，显露出“端庄杂流丽，刚健寓婀娜”的风致。",[23,119,1892,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bad6ec436069c8a3cd2ef405945887a.jpg","纵38.5厘米，横40.5厘米",[543,1013],{"id":7563,"slug":7564,"title":7565,"dynasty":18,"author":465,"museum":151,"description":7566,"tags":7567,"thumbUrl":7569,"material":215,"size":7570,"collection":217,"collections":7571,"showCount":7572,"zanCount":48,"manualWeight":48,"mainColor":49},288371,"chang-jiang-wan-li-tu-hou-juan-xia-gui-288371","长江万里图后卷","《长江万里图》是一幅长超过11公尺的手卷，画卷的前半段，以接近平视的角度近景特写岩块、林木，以及江行的舟船，表现长江三峡险峻和波涛汹涌的景观；后半段则是以俯视和远观的角度描绘江面上的活动，以及沿途所见秀丽的景色。从逼近观者的景物，转换到辽阔空旷的视野，这种构图的方式具有戏剧性的效果。在画卷最后，有元代鉴藏家柯九思的题字，鉴定这幅画作者是南宋夏珪。但是柯九思题字是后人伪造，所以这样的意见值得强烈怀疑。从时代风格来看，这种山水长卷的构图方式流行于明初，而在笔墨技巧方\n宋夏圭长江万里图卷\n宋夏圭长江万里图卷\n面，本幅的“斧劈皴”用同一方向的侧锋表现，而水纹的描绘也刻意强调浪花的造型和装饰效果，这些特征显示〈长江万里图〉的创作时代为十四世纪末至十五世纪初，可能是一张与明代宫廷画院风格密切相关的作品。",[23,24,7,114,763,118,405,4666,115,610,1298,37,7568,690],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17ed61dd6a5972ee7a6aea3bd1ee1f2.jpg","该幅26.8x1115.3公分；隔水一 11.3公分；引首 26.8x75.7公分；隔水二 13.7公分；隔水三 11.3公分；拖尾 26.9x241公分",[],64,{"id":7574,"slug":7575,"title":7576,"dynasty":54,"author":430,"museum":227,"description":7577,"tags":7578,"thumbUrl":7580,"material":217,"size":217,"collection":217,"collections":7581,"showCount":7572,"zanCount":1106,"manualWeight":48,"mainColor":49},232907,"fang-huang-quan-hua-niao-chong-die-yi-ming-232907","仿黄荃花鸟虫蝶","冬夜闻虫\n【唐】白居易\n虫声冬思苦于秋，不解愁人闻亦愁。\n我是老翁听不畏，少年莫听白君头\n冬天虫鸣，比秋天更让人发愁，即便不懂愁绪的人听了也会感到忧愁。我已经是个老人了，听了也没什么关系，年轻人就不要听了，那会让你愁白头的。",[23,5431,24,25,7,28,27,60,209,7579,275,256,337,404,193,119,120],"虫蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff995cf8766f0528a866e2854e3963bca.jpg",[],{"id":7583,"slug":7584,"title":7585,"dynasty":54,"author":7586,"museum":227,"description":7587,"tags":7588,"thumbUrl":7589,"material":217,"size":217,"collection":217,"collections":7590,"showCount":7572,"zanCount":48,"manualWeight":48,"mainColor":128},228427,"fang-huang-gong-wang-shan-shui-juan-lan-ying-228427","仿黄公望山水卷","蓝瑛","此作用淡墨晕开漫谷烟岚，山石以枯淡勾勒皴擦，简劲松灵间带着萧散元人意趣。高岭危岩朴拙厚重，几株苍松杂木卓立云岫，枝桠舒展，暗涌生机。留白氤氲云气衔接远近山景，虚实相生，衬出林泉幽寂的空濛意境。\n\n右上角鉴藏朱印排布规整，朱红米黄绢底相映，为古雅山水更添金石气韵。全卷师法元人笔意却自出清隽格调，将江南山水的静穆淡远融于尺幅间，尽显文人山水的悠然雅韵。",[24,25,7,27,114,29,118,404,34,405,37,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8cc00462f6de4e96e3d6c62025f165e.jpg",[],{"id":7592,"slug":7593,"title":7594,"dynasty":54,"author":7595,"museum":151,"description":7596,"tags":7597,"thumbUrl":7599,"material":27,"size":7600,"collection":124,"collections":7601,"showCount":7572,"zanCount":48,"manualWeight":48,"mainColor":128},222452,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222452","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,25,7,27,118,29,63,62,34,117,690,7598,69,38,405,420],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe762343913fad16b0e0bdb556a9e5.jpg","27.1x161.2",[124,103],{"id":7603,"slug":7604,"title":7605,"dynasty":54,"author":7606,"museum":7607,"description":7608,"tags":7609,"thumbUrl":7610,"material":470,"size":7611,"collection":543,"collections":7612,"showCount":7572,"zanCount":914,"manualWeight":48,"mainColor":128},222247,"nan-hua-zhen-jing-wang-chong-222247","南华真经","王宠","荣宝斋","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[23,119,540,7,537,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8deb6432f583ee8a984338a7c0a3cdfa.jpg","每开尺寸长19.1、宽12.5厘米",[543],{"id":7614,"slug":7615,"title":7616,"dynasty":18,"author":4114,"museum":151,"description":7617,"tags":7618,"thumbUrl":7619,"material":140,"size":7620,"collection":42,"collections":7621,"showCount":7572,"zanCount":48,"manualWeight":48,"mainColor":185},221378,"ying-shan-tu-juan-wang-shen-221378","赢山图卷","《宋王诜赢山图》用勾勒青绿填染画山，古朴清雅，元代钱选小青绿山水即似此画风，卷末山石上有小楷题识，云：“保宁赐第王晋卿赢山既觉，因图梦中所见，甲辰春正月梦游者。",[23,24,25,7,29,27,118,405,34,35,31,115,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60b9eb105d6a170d78f0e0696507e39.jpg","纵24.5厘米、横145.1厘米",[42,44,45],{"id":7623,"slug":7624,"title":7625,"dynasty":18,"author":1482,"museum":151,"description":7626,"tags":7627,"thumbUrl":7628,"material":78,"size":7629,"collection":103,"collections":7630,"showCount":7572,"zanCount":48,"manualWeight":48,"mainColor":128},219723,"lin-ting-tu-li-cheng-219723","林亭图","图绘山中霜林高阁，文士坐阁中观景。树木繁密，林泉清洌。此幅因画寒林之景，后人附之为李成所作，实是明清人笔墨之格。",[24,25,114,118,7,29,116,230,117,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abf21543f24da0a232c5b578e6a8b4f.jpg","37.5x72.2厘米",[103],{"id":7632,"slug":7633,"title":7634,"dynasty":54,"author":6373,"museum":227,"description":7635,"tags":7636,"thumbUrl":7639,"material":1050,"size":1051,"collection":217,"collections":7640,"showCount":220,"zanCount":1106,"manualWeight":48,"mainColor":128},287361,"liu-min-tu-juan-gao-qing-zhou-chen-287361","流民图卷(高清)","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[23,24,7,154,114,27,61,7637,5814,2214,5861,119,7638],"流民","民生疾苦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89baea17418e8268052ddf9c5e1952b0.jpg",[],{"id":7642,"slug":7643,"title":7644,"dynasty":250,"author":7645,"museum":20,"description":7646,"tags":7647,"thumbUrl":7648,"material":217,"size":217,"collection":124,"collections":7649,"showCount":220,"zanCount":48,"manua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- 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[23,24,7,27,118,29,117,34,31,419,610,66,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[124,45],{"id":7651,"slug":7652,"title":7653,"dynasty":250,"author":430,"museum":227,"description":7654,"tags":7655,"thumbUrl":7656,"material":217,"size":217,"collection":217,"collections":7657,"showCount":220,"zanCount":48,"manualWeight":48,"mainColor":128},224109,"kang-xi-yong-zheng-qian-long-jia-qing-dao-guang-yu-bi-wu-fu-tu-yi-ming-224109","康熙、雍正、乾隆、嘉庆、道光御笔五福图","五幅御笔福字各擅风神：康熙之福雍容浑朴，自带庙堂端稳气象；雍正笔力爽利刚劲，法度谨严见骨力；乾隆书体圆润舒展，尽显盛世舒展意态；嘉庆落笔秀雅内敛，静穆端方；道光笔触朴拙厚重，自带沉凝质感。\n\n每字上方钤朱红帝王宝玺，小字题识附于其下，呼应御笔身份。米黄地子衬缠枝暗纹，朱印墨字相映成趣，将五朝帝王的书法意趣，与传统五福祥瑞之意相融，兼具书法审美价值与吉祥文化内涵。",[23,4081,119,25,120,193,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa5f2a0a8689aba2be7855d85362368a.jpg",[],{"id":7659,"slug":7660,"title":7661,"dynasty":250,"author":4830,"museum":151,"description":7662,"tags":7663,"thumbUrl":7664,"material":442,"size":7665,"collection":44,"collections":7666,"showCount":220,"zanCount":48,"manualWeight":48,"mainColor":128},223326,"mo-gu-kai-zhi-luo-shen-tu-juan-ding-guan-peng-223326","摹顾恺之洛神图卷","《清丁观鹏摹顾恺之洛神图》虽是摹本，然山水造型已自朴拙稚趣的古典画洋，转为成熟的金碧山水，且景物间的比例关系已趋精确；援以西洋明暗设色法与定点透视法，表现脸部五官、马匹体态与空间层次，营造合乎视觉经验的画面。丁观鹏在当时受到西洋绘画的影响，本卷中采取光影与透视法即是。",[23,24,25,7,27,28,61,90,34,117,60,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea4b7ef2e14f9b4457400360dcabf0de.jpg","28.1x587.5",[44,45],{"id":7668,"slug":7669,"title":7670,"dynasty":54,"author":110,"museum":56,"description":7671,"tags":7672,"thumbUrl":7673,"material":3383,"size":7674,"collection":217,"collections":7675,"showCount":220,"zanCount":48,"manualWeight":48,"mainColor":128},222099,"si-ji-hua-hui-juan-shen-zhou-222099","四季花卉卷","此卷绘各色花卉，用笔不斤斤于形似，得花之天趣，开以后白阳，青藤花卉大写意之法门。沈周出身诗书门第，幼受严训，师承大家，饱览祖传的书画名迹，又周游名山大川，这些优厚条件，对他一生的创作，有莫大的裨益和帮助。沈周画的梅、兰、菊、竹传统文人画题，变化多样，运用彩色没骨画法，创出新颖的文人花鸟画。对后期的花卉画家影响深远。\n沈周（1427-1509），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沉贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。与文征明、唐寅、仇英并称「明四家」，是吴门画派的创始人。他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。",[23,24,25,7,27,28,209,274,282,283,278,279,194,280,434,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f527202709f0b8a75e4edc90151d183.jpg","27.5 X504.8厘米",[],{"id":7677,"slug":7678,"title":7679,"dynasty":18,"author":7680,"museum":416,"description":7681,"tags":7682,"thumbUrl":7683,"material":140,"size":7684,"collection":42,"collections":7685,"showCount":220,"zanCount":48,"manualWeight":48,"mainColor":49},221437,"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[23,24,154,25,7,114,118,29,405,34,1298,37,63,64,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[42],{"id":7687,"slug":7688,"title":7689,"dynasty":133,"author":534,"museum":111,"description":7690,"tags":7691,"thumbUrl":7692,"material":442,"size":7693,"collection":543,"collections":7694,"showCount":220,"zanCount":1106,"manualWeight":48,"mainColor":128},220851,"zhi-zhai-ji-zhao-meng-fu-220851","止斋记","《止斋记》是元代书画家赵孟頫的作品，这是他的行书代表作之一，书于1308年（元至大元年），作者时年55岁。\n该书通篇字形俊秀飘逸，而笔笔又谨守法度，体现了他极深的行楷功力，乃至后学无法超越。\n全文:公受事九郡，务求简靖。其风概严而不猛，待人和而不流。有犯，恻怛以处之，毋贷。故名声莫不闻，每语同僚，曰：尔来宦途不再，岁经涉万有余里，游已倦矣！安得幽闲之地，葺一容膝之斋，其中惟竹与菊是植，终日燕坐，诚可乐也！因顾幕从事段从周曰：子为名其斋。诸君合辞曰：公未也。一笑而罢。他日又谓余曰：我得斋名矣，举所得，云：行年六十，官三品，亦是人生合止时，以止扁（匾）斋可乎？子为我记之，余谢曰：公精力未衰，中外属望，方期大用，膏泽天下，岂容止乎？且余不敏，安敢承教？公笑曰：子言侈矣，止此，于我为过，敢有他望，以重其过？其毋愧我。遂不敢复辞，勉为之说。曰：止之，时义大矣哉，尝考诸艮乾坤之交，三索而成艮。一阳居二阴之上，阳动而上进之物，既至于上则止矣。阴者，静也，上止而下静，故为艮。艮者，止也。其象为山，取坤地而隆其上之状，既曰山，又有安重坚实之意，乃所谓止也。然止有两义，有止而止者，行而止者。止而止者，时行则行，时止则止。如蹇之险而止、如蒙之坎而止，止其时也。行而止者，谓行其事也，所止者，理而已。如父止于慈，子止于孝，君止于仁，臣止于敬。此即止其所也，动中有静，静中有动，彖曰：动静不失其时，其道光明。盖当止而止，既不失其时；当行而止，又皆得其所，其道安得不光明辉显哉？由此观之，止之为义，非特专主辞禄去位，闭门却扫，与夫高蹈远引，遯(遁)世无闷之谓也。历观前人，处止之义不同，有功成名遂，全身远害而止者，有知足不辱，恶盈好谦而止者，有委心乘化，乐天知命而止者，如汉之留侯与二疏及晋之陶渊明是已。是止也固异，夫知进而不知退，既得患失，暨不量其才之称否而冒之者万万也。然皆非圣人之止也，圣人之止何如？可以仕则仕，可以止则止，可以久则久，可以速则速。孔子也，噫！为能尽艮之，止之之道者，其唯圣人乎？孟子不曰，自有生民以来未有孔子也。又曰：乃所愿则学孔子也，公如处止之道，愿以孔子为法，庶无慊于孟氏矣。敢此以为止斋记。至大元年冬十月既望，东平段从周记，吴兴赵孟頫书。",[23,25,119,120,7,193,539,4050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae4a5784200dea1f30b91c76c182ba7.jpg","纵达四十七点五厘米,横三百五十六厘米",[543],{"id":7696,"slug":7697,"title":7698,"dynasty":54,"author":7699,"museum":151,"description":7700,"tags":7701,"thumbUrl":7702,"material":78,"size":7703,"collection":44,"collections":7704,"showCount":220,"zanCount":48,"manualWeight":48,"mainColor":128},219552,"jiu-lao-tu-huang-biao-219552","九老图","黄彪","此幅是黄彪摹刘松年九老图而成，得形似而人物传神，虽布置树石稍显薄淡，傅色鲜浮之外，不失为一种临摹传世之佳品。",[23,24,25,7,27,28,61,34,63,64,117,276,275,281,116,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f86b80884e1f7a09cf9f31d6902a1ad.jpg","27.2x193厘米",[44,45],{"id":7706,"slug":7707,"title":7708,"dynasty":149,"author":7709,"museum":227,"description":7710,"tags":7711,"thumbUrl":7714,"material":1050,"size":1051,"collection":217,"collections":7715,"showCount":7716,"zanCount":1106,"manualWeight":48,"mainColor":49},289960,"jiang-xing-chu-xue-tu-zhao-gan-289960","江行初雪图","赵幹","全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,154,24,7,27,763,7712,115,764,1123,985,973,765,61,7713],"寒江","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6231144b6f47232f68a05a22d27743f8.jpg",[],62,{"id":7718,"slug":7719,"title":7720,"dynasty":250,"author":1019,"museum":227,"description":7721,"tags":7722,"thumbUrl":7724,"material":1050,"size":1051,"collection":217,"collections":7725,"showCount":7716,"zanCount":48,"manualWeight":48,"mainColor":128},239458,"hui-bu-si-guo-juan-qian-wei-cheng-239458","回部四果卷","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[24,25,7,27,28,120,119,193,1330,7723,3676,456],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a10e9be96c5643887aeff2b4ec9e0b8.jpg",[],{"id":7727,"slug":7728,"title":7729,"dynasty":54,"author":110,"museum":20,"description":7730,"tags":7731,"thumbUrl":7732,"material":696,"size":217,"collection":217,"collections":7733,"showCount":7716,"zanCount":48,"manualWeight":48,"mainColor":128},234159,"shen-zhou-sui-an-tu-juan-shen-zhou-234159","沈周邃庵图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,7,114,27,118,119,120,664,29,117,34,420,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a686a30f4662dd5e69d37ebb1b90d7.jpg",[],{"id":7735,"slug":7736,"title":7737,"dynasty":18,"author":294,"museum":7738,"description":7739,"tags":7740,"thumbUrl":7741,"material":7742,"size":7743,"collection":217,"collections":7744,"showCount":7716,"zanCount":48,"manualWeight":48,"mainColor":2653},232616,"shen-xiao-yu-qing-wan-shou-gong-zhao-zhao-ji-232616","神霄玉清万寿宫诏","海南省海口市五公祠","《神霄玉清万寿宫诏》碑是宋徽宗赵佶于宣和元年（1119年）用瘦金体御书的一块碑铭。他崇奉道教，自称“教自道君皇帝”，书写后令汴京神霄宫先刻碑，即后以该碑的拓本颁赐天下摹勒立碑。该碑是《清万寿宫诏》碑之一，位于海南省海口市五公祠内，另一通现存福建省莆田市元妙观三清殿内。\n《神霄玉清万寿宫诏》碑在海南琼山府城五公祠内，为宋徽宗赵佶书，海南《神霄玉清万寿宫诏》碑额已失，驮碑的巨型贔屭仍存。现存碑身高2.34米，宽1.21米，书于宣和元年。该碑瘦金体书法挺拔，舒展遒丽，运笔灵动。周刻回文，中暗刻青龙十八条。宋徽宗笃信道教，该碑于汴京刻成后，拓片分发全国各地翻刻竖立。宋徽宗是亡国之君，其碑刻多被后人毁坏\n据可考史料，全国仅存两尊《神霄玉清万寿宫诏》碑，除了五公祠内这一尊，另一尊现存福建省蒲田市元妙观三清殿内。 海南岛上的这通《神霄玉清万寿宫诏》碑原立在琼州府城的天庆观内，元初改称玄妙观，明更名为玉皇庙，清初玉皇庙倒塌。但这通碑被完整地保存下来，几经迁移，1983年移立于两伏波祠前拜亭内；1994年被公布为海南省第一批文物保护单位；2001年又同五公祠一起被公布为第五批全国重点文物保护单位。\n该碑高2.55米，宽1.3米，厚0.29米，正面光平如镜，背面保留开凿时的原貌。碑文竖行，16行，366字，瘦金体，无标点符号，右行“神霄玉清万寿宫诏御制御书”，正文主要阐述了宋徽宗崇信道教的缘由。\n碑文原文:道者，体之可以即至神；用之可以挈天地；推之可以治天下国家，可使一世之民，举得其恬淡寂常之真，而跻于仁寿之域。朕思是道，人所固有，沉迷既久，待教而兴。俾欲革末世之流俗，还隆古之纯风。盖尝稽参道家之说，独观希夷之妙。\n钦惟长生大帝君、青华大帝君，体道之妙，立乎万物之上。统御神霄，监观万国无疆之休。虽眇躬是荷，而下民之命，实明神所司。乃诏天下，建神霄玉清万寿宫，以严奉祀。自京师始，以致崇极，以示训化，累年于兹，诚忱感格，高厚博临。属者，三元八节，按冲科、启净供，风马云车，来顾来飨。震电交举，神光烛天，群仙翼翼，浮空而来者，或掷宝剑，或洒玉篇，骇听夺目，追参化元。卿士大夫，侍卫之臣，悉见悉闻，叹未之有，咸有纪述，著之简编。\n呜呼！朕之所以隆振道教，帝君之所以眷命孚佑者，自帝皇以还，数千年绝道之后，乃复见于今日，可谓盛矣！岂天之将兴斯文以遗朕，而吾民之幸，适见正于今日耶？布告天下，其谕朕意，毋忽。乃令京师神霄玉清万寿宫刻诏于碑，以碑本赐天下，如大中祥符故事，摹勒立石，以垂无穷。\n宣和元年八月十二日奉圣旨立石。",[23,119,1578,537,7,1229,2917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4739e1d31d9aef0754aa90b310aebc23.jpg","碑","高2.55米，宽1.3米，厚0.29米",[],{"id":7746,"slug":7747,"title":7748,"dynasty":18,"author":465,"museum":227,"description":7749,"tags":7750,"thumbUrl":7751,"material":217,"size":217,"collection":217,"collections":7752,"showCount":7716,"zanCount":48,"manualWeight":48,"mainColor":128},228255,"qiu-jiang-yu-le-tu-xia-gui-228255","秋江渔乐图","此作用边角取景，淡墨晕染开层叠远山，留白铺就浩渺秋江，虚实相生间尽显清旷萧疏。孤舟渔翁垂纶独钓，似与烟水山色相融。坡岸林木苍劲虬曲，群雁振翅惊破江天寂静，寥寥数笔便点活秋江灵动意趣。\n水墨淋漓间以简驭繁，将秋江的冷寂清寒，与渔者隐逸的悠然快意揉入尺幅之中，淡远空寂的氛围感扑面而来，尽显空灵简远的意韵，藏着江湖散人的疏旷闲情。",[23,24,25,7,114,118,120,193,29,115,196,765,34,117,64,923,764,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27660b82a2b352247e4cc452331a1a3.jpg",[],{"id":7754,"slug":7755,"title":7756,"dynasty":18,"author":294,"museum":227,"description":7757,"tags":7758,"thumbUrl":7759,"material":217,"size":217,"collection":217,"collections":7760,"showCount":7716,"zanCount":1106,"manualWeight":48,"mainColor":128},227490,"gong-shi-fang-qiu-chi-zhao-ji-227490","恭事方丘敕","宋徽宗赵佶《恭事方丘敕》质地为五幅不同颜色的均描有金花凤的罗绢，又名《方丘礼戍答妃嫔起居敕》、《方丘季享敕》。",[23,119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1cb57e70671faa9fe3a3135ca50598.jpg",[],{"id":7762,"slug":7763,"title":7764,"dynasty":54,"author":7586,"museum":705,"description":7765,"tags":7766,"thumbUrl":7767,"material":3383,"size":7768,"collection":124,"collections":7769,"showCount":7716,"zanCount":48,"manualWeight":48,"mainColor":49},222600,"qiu-shan-you-ju-tu-juan-lan-ying-222600","秋山幽居图卷","这幅画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。他的画法有两种，一种作钩勒浅绛法。另一种作没骨法，设色鲜艳突目，所画红树、青山、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水作品。",[23,24,7,114,118,29,2199,2038,34,64,115,196,117,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e087d6380ef6f745979fe23ff227fcc.jpg","26.3x246.5",[124,103],{"id":7771,"slug":7772,"title":7773,"dynasty":133,"author":2780,"museum":151,"description":7774,"tags":7775,"thumbUrl":7777,"material":140,"size":7778,"collection":124,"collections":7779,"showCount":7716,"zanCount":48,"manualWeight":48,"mainColor":49},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,154,24,25,7,59,174,27,61,62,511,89,483,34,7776,193],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[124,103],{"id":7781,"slug":7782,"title":7783,"dynasty":18,"author":3193,"museum":151,"description":7784,"tags":7785,"thumbUrl":7786,"material":7275,"size":7787,"collection":543,"collections":7788,"showCount":7716,"zanCount":1106,"manualWeight":48,"mainColor":128},221267,"shu-han-shan-zi-pang-ju-shi-shi-juan-huang-ting-jian-221267","书寒山子庞居士诗卷","本幅大字行书，落笔奇伟，丰筋多力，笔笔似自空中荡漾而来，充满着飞动之势，却又沉着稳健，呈现出一份闲适自得的意境。",[119,120,7,442,3196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdc8b7f6439835438af172d141a859d.jpg","纵29.1厘米，横213.8厘米",[543],{"id":7790,"slug":7791,"title":7792,"dynasty":133,"author":2780,"museum":56,"description":7793,"tags":7794,"thumbUrl":7795,"material":78,"size":7796,"collection":44,"collections":7797,"showCount":7716,"zanCount":1106,"manualWeight":48,"mainColor":49},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,25,7,59,28,27,61,62,34,117,64,116,63,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[44,45],{"id":7799,"slug":7800,"title":7801,"dynasty":133,"author":430,"museum":651,"description":7802,"tags":7803,"thumbUrl":7805,"material":78,"size":7806,"collection":261,"collections":7807,"showCount":7716,"zanCount":48,"manualWeight":48,"mainColor":49},216751,"shi-hu-san-biao-tu-yi-ming-216751","十虎三彪图","这是一幅虎画长卷，名曰《十虎三彪图》，宋人佚名作，共画了十只虎，三只彪。\n\n龙生九子，各有不同。虎生三子，必有一彪。\n\n在传统文化里，龙虎都少不了一些衍生同类，彪是虎演化而来的。故事相传，母虎生有三虎崽，其中一虎崽格外凶狠彪悍，有吞食另外两只幼崽的能力，因此母虎日夜提防着凶虎崽和另外两只虎崽单独相处。",[23,24,25,7,114,118,4337,7804,1009,34,117],"彪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22319c2472e4a7063456b1ee2a4fb07f.jpg","27x349cm",[261],{"id":7809,"slug":7810,"title":7811,"dynasty":149,"author":1844,"museum":227,"description":5226,"tags":7812,"thumbUrl":7817,"material":1050,"size":1051,"collection":217,"collections":7818,"showCount":7819,"zanCount":48,"manualWeight":48,"mainColor":49},290013,"he-le-shi-nv-tu-zhou-wen-ju-290013","合乐仕女图",[23,24,7,1044,28,27,155,677,157,7813,7814,7815,119,120,193,7816],"奏乐","室内场景","闺阁","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66132f9f2e6e9d33fbf23643535dd1c2.jpg",[],61,{"id":7821,"slug":7822,"title":7823,"dynasty":133,"author":2780,"museum":227,"description":7774,"tags":7824,"thumbUrl":7826,"material":1050,"size":1051,"collection":217,"collections":7827,"showCount":7819,"zanCount":1106,"manualWeight":48,"mainColor":49},287337,"long-zhou-jing-du-tu-juan-wang-zhen-peng-287337","龙舟竞渡图卷",[23,154,24,7,59,26,27,29,62,4803,61,31,7825],"龙舟竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d38c779987285d7530e29b1984cd1b.jpg",[],{"id":7829,"slug":7830,"title":7831,"dynasty":133,"author":1344,"museum":151,"description":7832,"tags":7833,"thumbUrl":7836,"material":40,"size":7837,"collection":217,"collections":7838,"showCount":7819,"zanCount":48,"manualWeight":48,"mainColor":128},231423,"yan-jiang-dai-du-tu-qian-xuan-231423","烟江待渡图","此卷绘秋景山水，山峦平坡多用硬拙直笔勾皴，既表现出青绿山水的古雅工丽，又富有文人画的恬静意趣。树丛以细笔皴点，葱郁清丽，构图平远浩渺，颇有绝世出尘之境。画家借助创作此幽寂静谧，充满诗意的山水，并在画上题诗，委婉曲折地表达自己隐遁避世之愿望。",[154,24,25,7,27,26,28,29,193,119,120,664,482,483,115,34,690,7834,61,31,37,7835,38],"渡口","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd60b40a95db035e8aca.jpg","纵21.6厘米，横480.6厘米",[],{"id":7840,"slug":7841,"title":7842,"dynasty":18,"author":507,"museum":227,"description":7843,"tags":7844,"thumbUrl":7845,"material":217,"size":217,"collection":217,"collections":7846,"showCount":7819,"zanCount":1106,"manualWeight":48,"mainColor":2653},227687,"shen-long-jiu-xian-tu-juan-chen-rong-227687","神龙九现图卷","在中国文化中，“龙”可谓是至高无上的图腾。从龙身人首的伏羲、女娲，再到“黄帝龙轩辕氏龙图出河”。龙的传人们对这个腾云驾雾、翱翔九天神秘形象充满敬畏，而以为精神寄托。乃至进入互联网时代，亦有着诸多亲眼见真龙的都市传说广为流传。",[23,24,25,7,114,27,511,29,1071,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d3746f4b89b0a937e5719e8b89fb81.jpg",[],{"id":7848,"slug":7849,"title":7850,"dynasty":250,"author":6681,"museum":227,"description":6682,"tags":7851,"thumbUrl":7852,"material":442,"size":217,"collection":44,"collections":7853,"showCount":7819,"zanCount":48,"manualWeight":48,"mainColor":6686},223276,"luo-han-chang-juan-hong-yi-fa-shi-223276","罗汉长卷",[23,154,24,25,7,173,174,27,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5bdb6c55f2c12f941fbbee4339b485.jpg",[44],{"id":7855,"slug":7856,"title":7857,"dynasty":250,"author":7858,"museum":111,"description":7859,"tags":7860,"thumbUrl":7861,"material":7862,"size":7863,"collection":124,"collections":7864,"showCount":7819,"zanCount":48,"manualWeight":48,"mainColor":128},222632,"jiang-shan-wu-jin-tu-juan-gao-cen-222632","江山无尽图卷","高岑","创作年代不详，据此图之笔意推断，应是高岑年轻时期、即崇德顺治年间的作品。张跋诩之“云林之淡远，山樵之缜密”，并以“黄子久之山水烟云生动林壑虚闲”以为比拟，认定《江山无尽图》“堪为书画舫中第一珍玩”。\n高岑的山水画从宋元入手,并承明代吴门诸家之法,形成两种面貌:一种承继所谓“北宗”传统,从宋范宽到明唐寅;另一路山水,则远绍元代的黄公望、王蒙，近法明代沈周，文徵明。《千里江山图》就是高岑吸取了黄公望空灵简洁的勾线法和王蒙圆润细密的皴染法。",[23,24,25,7,114,27,118,29,482,483,34,117,35,115,64,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","设色纸本","26×455",[124,103],{"id":7866,"slug":7867,"title":7868,"dynasty":133,"author":1206,"museum":568,"description":4873,"tags":7869,"thumbUrl":7870,"material":40,"size":7871,"collection":44,"collections":7872,"showCount":7819,"zanCount":1106,"manualWeight":48,"mainColor":49},221770,"ren-ma-tu-ren-ren-fa-221770","人马图",[23,24,25,7,28,27,90,61,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476e55f8d28399ffef02dac57ac64f66.jpg","纵：50.6cm，横：36cm",[44,45],{"id":7874,"slug":7875,"title":7876,"dynasty":133,"author":534,"museum":20,"description":7877,"tags":7878,"thumbUrl":7879,"material":442,"size":7880,"collection":543,"collections":7881,"showCount":7819,"zanCount":1106,"manualWeight":48,"mainColor":128},220859,"lin-yu-zhen-lan-ting-zhao-meng-fu-220859","临玉枕兰亭","关于玉枕兰亭传说颇多，有言贾秋壑得一石枕，光莹可爱，使廖莹中以灯影缩小法刻于灵壁石上，宛如定武本，缺损处皆全，人称玉枕兰亭。\n缩临古帖，历来有之，似为携带方便，可以随时展玩，故有《玉枕兰亭》之传。明代更有将《兰亭》缩于方寸之间者，则已近乎后来的微型书法了。赵孟頫不仅有此《缩本兰亭》，还有一种将字体放大五、六倍的临本，明初书家宋克曾经见之，称之为“笔法位置全然相似，亦当世之名迹也”。可见，这种或放大、或缩小的临摹，可能是赵氏练习手眼的一种方式，也可能是勤学苦练过程中放松精神的一种“游戏”。但赵孟頫是落笔便作千古想的，所以 “虽戏写亦如欲刻金石”，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[119,120,60,193,7,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e32b4427919d25ac2c78252539055fa.jpg","纵7.1厘米，横26.2厘米",[543],{"id":7883,"slug":7884,"title":7885,"dynasty":133,"author":534,"museum":20,"description":7886,"tags":7887,"thumbUrl":7888,"material":7889,"size":7890,"collection":42,"collections":7891,"showCount":7819,"zanCount":48,"manualWeight":48,"mainColor":49},220842,"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[23,24,25,7,27,209,275,196,119,193,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 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形与质，大小不一，疏密，散落。有人生感和禅意。 是八大山人一贯的写意风格。",[23,154,24,25,7,114,272,120,193,1819,4191,1824,7975,7976,436],"蒜","黄瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b940c2439fdac30eea8813cf5a83875.jpg","28×206.5厘米",[],{"id":7981,"slug":7982,"title":7983,"dynasty":168,"author":3763,"museum":380,"description":7984,"tags":7985,"thumbUrl":7986,"material":442,"size":7987,"collection":217,"collections":7988,"showCount":5,"zanCount":1106,"manualWeight":48,"mainColor":49},232269,"gu-shi-si-tie-zhang-xu-232269","古诗四帖","通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。”今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”\n释文:东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问棘花。应逐上元酒，同来访蔡家。\n北阙临丹水，南宫生绛云。龙泥印玉简，大火练真文。上元风雨散，中天哥吹分。虚驾千寻上，空香万里闻\n谢灵运王子晋赞\n淑质非不丽，难之以万年。储宫非不贵，岂若上登天。王子复清旷，区中实哗嚣。喧既见浮丘公，与尔共纷翻。\n岩下一老公，四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不别可？其书非世教，其人必贤哲。\n备注:《古诗四帖》录文为四首诗赋。前两首分别是南北朝庾信的《道士步虚词》之六和之八，后两首是南朝谢灵运的《王子晋赞》和《岩下见一老翁四五少年赞》。\n《庾子山集》和《谢灵运集校注》分别录有原文如下：\n东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问枣花。上元应送酒，来向蔡经家。\n北阙临玄水，南宫生绛云。龙泥印玉策，大火炼真文。上元风雨散，中天歌吹分。灵驾千寻上，空香万里闻。\n谢灵运王子晋赞\n淑质非不丽，难以之百年。储宫非不贵，岂若登云天。王子爱清净，区中实骅嚣。喧既见浮丘公，与尔共纷翻。\n岩下见一老翁四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不可别。其书非世教，其人必贤哲。\n《古诗四帖》是否为张旭所作，尚有争议，但它是张旭笔法系统中一件重要的作品。它大部分线条不强调提按，而重视粗细均匀的线条中使转与速度的变化。中侧锋并用，笔锋常落在线条端部的一侧，但立即转为中锋；同时流畅中又往往生出圭角，如“年”、“别”等字，有不可端倪之感。左右部分衔接时，有时用粗重的线条。这一点在颜真卿《刘中使帖》中“期”、“将”的笔触也可看到，通过此点能看到颜、张的关系。\n狂草中的点画与其他书体中的点画不同。其一，狂草点画在连续运动中完成，而且较为快速，对控制用笔的敏捷、准确有很高要求；其二，其他书体字体中留驻、按顿等常用的方法在狂草中无法使用，只能更多地依靠手腕及其他关节的控制，因此在临习中一定要找到与点画形状相配合的运动方式。一种点画，书家可以用不同的笔法临写出大体相似的形状，但对狂草来说，只有自然而流畅地书写出这一形状才是可取的，其它操作方法不是把学习者和欣赏者引向另一种风格，而是引人离开草书。\n《古诗四帖》中有少量弱笔，但无损于整个作品的流动、敦厚，就大部分线条而言，已达到得心应手、落笔成趣的境界。草书中不离法则而随意驱运法则，这是高闲等人从来不曾梦想过的境地。\n“四帖”中真正使人感到意外的还是字结构。由于阅读与欣赏习惯的影响，“单字结构”总是欣赏者感觉中甩不掉的一个层面。与张旭其他作品相比，这件作品不符合他惯常的构字规则。\n《古诗四帖》属狂草。特点是较过去更为狂放，整体气势如长江大河一泻千里，急风骤雨，所以在草书发展史上是新突破。它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。\n《古诗四帖》，张旭自己并未书款，说它是张旭作品是根据董其昌鉴定， 后人多沿此说，但也颇有争议。\n张旭草书的章法大致可以分为单字界限清晰和单字界限不清晰这样两类。前者如《晚复帖》，后者如《古诗四帖》。两类作品书写时的心态有所不同。前一类作品书写时注意力可以主要放在字结构上，同时关注各字的连缀即可；后一类作品书写时以线条疏密及连续性的控制为首要目标。狂草中空间的疏密有时出现强烈的变化，但张旭的作品中，疏密变化都是逐渐发生的。换言之，由疏到密，或由密到疏，都有个过渡阶段，《肚痛贴》中从“肚痛”到“不可”这样突兀的变化只是个特例。\n《古诗四帖》笔法奔放不羁，如惊电激雷，倏忽万里，而又不离规矩。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。董其昌评说：“有悬崖坠，急雨旋风之势。”\n《古诗四帖》通篇气势奔放，运笔无往不收，如锥划沙，无纤巧浮华之笔。盛唐时期，以张旭为代表的一派草书风靡一时，它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。正如唐代文学家韩愈《送高闲上人序》中所云：“张旭善草书，不冶它技，喜怒窘穷，忧悲愉佚，怨恨，思慕，酣醉无聊，不平，有动于心，必于从草书焉发之。”\n《古诗四帖》早在北宋宋仁宗嘉佑年间已有刻本流传，墨迹进入北宋内府。“靖康之乱”散入民间，南宋后期为贾似道收藏。后转入南宋收藏家赵与勤家。明代归著名收藏家华夏的真赏斋，后又归项元汴，清时入内府。\n宋《宣和书谱》定为南北朝谢灵运书，元明时《云烟过眼录》、《珊瑚网书跋》、《平生壮观》均有记载，传至明朝中期，对作者产生怀疑，直到董其昌，才从诗韵变化揭示原说破绽并据草书肯定为张旭之作。《石渠宝笈初编》将此帖误断为赝品。\n关于是否是张旭真迹，明清均有争议，到现在仍有学者有不同意见。",[23,154,24,25,119,7,1892,193,27,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b552411f9ee44f8aa35e32c763c8a8.jpg","纵28.8厘米，横192.3厘米",[],{"id":7990,"slug":7991,"title":7992,"dynasty":18,"author":430,"museum":20,"description":7993,"tags":7994,"thumbUrl":7996,"material":40,"size":7997,"collection":217,"collections":7998,"showCount":5,"zanCount":791,"manualWeight":48,"mainColor":49},223475,"zhe-zhi-hua-hui-tu-yi-ming-223475","折枝花卉图","此卷画折枝海棠、栀子、芙蓉、梅花共四幅，枝页繁茂，花儿怒放。花瓣、花页用勾勒填色法。花之娇态、页之正反和明暗表现得恰到好处。图中用笔缜密严谨，但工而不板，设色艳而不俗。第一段海棠树干上署有「赵昌」二字款，从字迹、画风分析，此款伪，实为当时高手所作。画面钤有「乾隆御览之宝」、「嘉庆御览之宝」、「宣统御览之宝」等印玺。曾经陈自明、清内府收藏。不见著録。",[23,24,25,7,4315,28,27,7995,281,274,278,456,193],"折枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e760018d01b4d8788990c09188ef3fe.jpg","每段49.2x77.6cm",[],{"id":8000,"slug":8001,"title":3934,"dynasty":250,"author":8002,"museum":56,"description":8003,"tags":8004,"thumbUrl":8005,"material":8006,"size":8007,"collection":124,"collections":8008,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","张赐宁","群山环抱，两棵树耸立，水面平静，叶小舟去作画。和其他水墨画一样，这幅画用墨较多，有层次感。",[23,24,25,7,114,27,29,118,482,483,31,115,1298,35,468,690,786],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 水墨 设色","41.3 x274.0厘米",[124,103],{"id":8010,"slug":8011,"title":3781,"dynasty":54,"author":495,"museum":3782,"description":3783,"tags":8012,"thumbUrl":8013,"material":442,"size":3786,"collection":543,"collections":8014,"showCount":5,"zanCount":1106,"manualWeight":48,"mainColor":128},222000,"teng-wang-ge-xu-wen-zheng-ming-222000",[23,7,1229,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b095c13f4a79bfda9cd3f00c324864.jpg",[543],{"id":8016,"slug":8017,"title":8018,"dynasty":54,"author":495,"museum":1934,"description":8019,"tags":8020,"thumbUrl":8021,"material":384,"size":8022,"collection":124,"collections":8023,"showCount":5,"zanCount":914,"manualWeight":48,"mainColor":49},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,25,7,27,29,120,119,118,28,405,31,62,63,64,115,116,196,34,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[124,45],{"id":8025,"slug":8026,"title":8027,"dynasty":18,"author":430,"museum":1683,"description":8028,"tags":8029,"thumbUrl":8030,"material":442,"size":8031,"collection":42,"collections":8032,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,24,25,7,114,118,29,34,468,37,4864,482,483,404,654,116,196,2791,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[42,124,103],{"id":8034,"slug":8035,"title":1385,"dynasty":18,"author":1386,"museum":20,"description":8036,"tags":8037,"thumbUrl":8038,"material":40,"size":8039,"collection":217,"collections":8040,"showCount":5,"zanCount":914,"manualWeight":48,"mainColor":128},221676,"zhao-ling-liu-jun-tu-zhao-lin-221676","此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,24,25,7,27,28,90,61,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93242b603674493d0c3b514b8339e19.jpg","纵27.4厘米，横444.9厘米",[],{"id":8042,"slug":8043,"title":8044,"dynasty":18,"author":2005,"museum":20,"description":8045,"tags":8046,"thumbUrl":8047,"material":40,"size":8048,"collection":42,"collections":8049,"showCount":5,"zanCount":1106,"manualWeight":48,"mainColor":49},221628,"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[23,24,25,7,174,27,120,119,61,62,34,68,29,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[42,124,45],{"id":8051,"slug":8052,"title":8053,"dynasty":168,"author":5303,"museum":380,"description":8054,"tags":8055,"thumbUrl":8056,"material":442,"size":217,"collection":543,"collections":8057,"showCount":5,"zanCount":914,"manualWeight":48,"mainColor":128},221107,"qian-zi-wen-quan-juan-ou-yang-xun-221107","千字文全卷","《千字文》为南北朝时周兴嗣编纂，全文共1000字，四字成句，对仗工整，文句平白如话，易诵易记，是中国最重要的蒙学教材之一，并译有多语种传于海外。\n自《千字文》出，历代书家无有例外，必常年书写，终生不倦。据载，隋智永法师所书真草《千字文》800册，分送于当时浙东诸寺。又如赵孟頫、文徵明等书家一生所书《千字文》无数，无不尽思其妙，更有两体、四体、六体不同风貌。《千字文为》为历代书家所重，多做日常必修。近有于右任、王蘧常、黄宾虹、沈尹默等《千字文》作品名世。可见，《千字文》不该为当代所轻。\n《千字文》不仅以古代蒙学作为中国传统文化内容之一再提及，同时作为书法当今常规书写题材，都有着一定的意义。此系列专题意在飨有所好，若勤而常习，自有裨益。",[23,119,537,7,25,193,1229,3196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62dd6476b0650a40a9ab1d2aee27b171.jpg",[543],{"id":8059,"slug":8060,"title":8061,"dynasty":54,"author":3914,"museum":227,"description":8062,"tags":8063,"thumbUrl":8069,"material":8070,"size":8071,"collection":543,"collections":8072,"showCount":5,"zanCount":1106,"manualWeight":48,"mainColor":128},220966,"tao-yuan-ming-yin-jiu-shi-si-shou-juan-dong-qi-chang-220966","陶渊明饮酒诗四首卷","陶渊明对于后世书法家的影响不可谓不深远。明代的书陶者以“吴中三家”祝允明、文徵明、王宠的成就为最高，但在现存的针对“吴中三家”的研究文献中，对于王宠的研究为最少，论及陶渊明于王宠之影响者更少。在笔者看来，王宠书法承祝、文二家而自出机杼，书法中的禅趣古意实则为三家中最高者，实则获陶渊明之精髓。而随后的董其昌更是在理论的高度吸收了陶渊明的思想，提倡平淡率真的书法品格，对后世产生了巨大影响。但以往对董其昌与陶渊明关系的分析又多浮于表面，多数仅就意象、风格之相似或文辞用典的使用做文章。笔者旨在通过考查王宠、董其昌二人的书法、书论，来进一步阐述陶渊明对于中国文化的巨大影响。",[23,119,120,7,283,482,524,276,962,8064,8065,8066,8067,2662,195,8068],"霜","日夕","杯","林","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa855cec2eb1d059b8471f7fba71c89f4.jpg","行草","25x269厘米",[543],{"id":8074,"slug":8075,"title":649,"dynasty":250,"author":8076,"museum":56,"description":8077,"tags":8078,"thumbUrl":8079,"material":285,"size":8080,"collection":124,"collections":8081,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":128},220009,"xi-shan-xing-lv-tu-liu-yu-220009","柳堉","柳堉（1620—1689年以后），字公韩、公含，号愚谷，江宁（南京）诸生。工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。柳堉身在清代经济和文化发达的南京，受到广泛的艺术影响，众家风格的融合都体现在了这幅画上。作品中体积庞大的群山体反映受到了董其昌的影响。由黑色小叶子点缀的苍松、干燥的笔触表明了对安徽画派的熟悉，而奇妙的景观形态和深邃的远距离景观与惊人的特写镜头的大胆并置，显示了他对早期南京画家如吴彬的崇尚。",[23,24,25,7,114,118,29,63,64,115,116,196,230,62,419,117,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f721d9feb3a8cf66ea0346ad6bd077.jpg","26.4x508.6厘米",[124],{"id":8083,"slug":8084,"title":8085,"dynasty":54,"author":8086,"museum":8087,"description":8088,"tags":8089,"thumbUrl":8090,"material":78,"size":8091,"collection":124,"collections":8092,"showCount":5,"zanCount":1106,"manualWeight":48,"mainColor":49},219944,"jiang-shan-sheng-lan-tu-yan-zong-219944","江山胜览图","颜宗","香港中文大学文物馆","颜宗（1393—约1453）广东南海人，字学渊。永乐二十一年举人。授邵武知县，为政清明，以救荒悯旱为先。招抚邓茂七余部，全活甚众。景泰中擢兵部主事，署员外郎。奔母丧归，卒于途中。善画山水，时人有“颜老天趣不可及”之语，当时名画师如林良，视之尚有逊色。",[154,24,25,7,114,29,405,37,602,138,610,34,609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F366483a10fdb6cde35d65da1131e8083.jpg","35.5x610厘米",[124],{"id":8094,"slug":8095,"title":5001,"dynasty":18,"author":5002,"museum":227,"description":8096,"tags":8097,"thumbUrl":8101,"material":1050,"size":1051,"collection":217,"collections":8102,"showCount":8103,"zanCount":1106,"manualWeight":48,"mainColor":49},289105,"chi-bi-tu-yang-shi-xian-289105","宫廷画家杨士贤根据苏轼《赤壁赋》创作《前赤壁图》，亦从一个角度看出文人画对宫廷绘画审美观念的影响，文人画的某些价值、观念和精神内容已经不可避免影响到了中国绘画的各个方面，并作为后世中国画的主要特色、主导画风出现在历史的视野之中。",[23,154,24,25,7,29,114,118,602,8098,8099,115,8100],"怪石","古松","赤壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744ec93b40bc54ec26757c2c3d518075.jpg",[],59,{"id":8105,"slug":8106,"title":1681,"dynasty":18,"author":832,"museum":227,"description":8107,"tags":8108,"thumbUrl":8110,"material":1050,"size":1051,"collection":217,"collections":8111,"showCount":8103,"zanCount":914,"manualWeight":48,"mainColor":49},288324,"xi-yuan-ya-ji-tu-liu-song-nian-288324","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,154,24,7,25,27,28,61,29,63,64,117,5994,276,3948,281,1794,3477,8109,193],"赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],{"id":8113,"slug":8114,"title":2064,"dynasty":18,"author":415,"museum":227,"description":8115,"tags":8116,"thumbUrl":8117,"material":1050,"size":1051,"collection":217,"collections":8118,"showCount":8103,"zanCount":48,"manualWeight":48,"mainColor":128},230972,"wu-ma-tu-li-gong-lin-230972","此图画的是宋朝元佑初年天驷监中的五匹西域名马，马旁各有一名奚官或圉人执辔引领。画中无作者款印，前4马后，各有黄庭坚签题的马名、产地、年岁、尺寸，卷末有黄庭坚“李公麟作”题跋：这些由西域诸国进贡的骏马，马名依序是“凤头骢”、“锦膊骢”、“好头赤”、“照夜白”，第五匹马佚名，经考证可能为“满川花”。画中的5位马官，两位是汉人，其余的为外族，形貌、服饰、神情各不相同，但在气质上却有着微妙的类似之处。",[23,154,24,25,7,174,27,61,90,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec0ca19437f2221e38f8bcfaa50fb4.jpg",[],{"id":8120,"slug":8121,"title":6250,"dynasty":54,"author":8122,"museum":151,"description":8123,"tags":8124,"thumbUrl":8125,"material":140,"size":217,"collection":217,"collections":8126,"showCount":8103,"zanCount":48,"manualWeight":48,"mainColor":128},228368,"sou-shan-tu-juan-li-zai-228368","李在","苍松躯干虬结嶙峋，疤节错生尽显古拙雄健，松针攒簇如戟，苍劲之意溢出纸面。左侧群妖姿态怪诞灵动，或疾奔呼号，或惶然疾走，铁线白描勾勒出魑魅惊惶奔逃的身形，衣袂毛发皆带着仓皇动感，将神异妖物的惶遽神态刻画入微。\n\n淡墨晕染烘托出山林幽寂的荒蛮底色，笔力劲挺洗练，虚实相生间，搜山捉妖的紧张氛围跃然纸上，把这场神异搜山的诡谲张力诠释得淋漓尽致，尽显笔底风神，将山野间的奇幻荒怪之气铺陈开来。",[23,24,7,174,114,61,1009,230,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F243e48218103e4f5026b059cf667cf60.jpg",[],{"id":8128,"slug":8129,"title":3980,"dynasty":133,"author":1344,"museum":227,"description":8130,"tags":8131,"thumbUrl":8134,"material":217,"size":217,"collection":217,"collections":8135,"showCount":8103,"zanCount":48,"manualWeight":48,"mainColor":49},228316,"jin-hui-dui-tu-qian-xuan-228316","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[23,24,25,7,28,27,209,557,1550,2119,539,281,337,8132,3676,909,8133],"杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],{"id":8137,"slug":8138,"title":8139,"dynasty":18,"author":2084,"museum":227,"description":8140,"tags":8141,"thumbUrl":8142,"material":217,"size":217,"collection":217,"collections":8143,"showCount":8103,"zanCount":48,"manualWeight":48,"mainColor":128},227721,"ci-yue-fei-pi-da-juan-zhao-gou-227721","赐岳飞批剳卷","岳飞（1103~1142）字鹏举，汉族。北宋相州汤阴县永和乡孝悌里（今河南省安阳市汤阴县菜园镇程岗村）人。中国历史上著名战略家、军事家、民族英雄、抗金名将。岳飞在军事方面的才能则被誉为宋、辽、金、西夏时期最为杰出的军事统帅、连结河朔之谋的缔造者。同时又是两宋以来最年轻的建节封侯者。南宋中兴四将（岳飞、韩世忠、张俊、刘光世）之首。岳飞主要军工基本建立在南方，与之相对应的还有镇守四川的大将吴阶。",[119,120,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230ca8bf8edd33756c6f84022931725d.jpg",[],{"id":8145,"slug":8146,"title":8147,"dynasty":250,"author":8148,"museum":151,"description":8149,"tags":8150,"thumbUrl":8151,"material":470,"size":8152,"collection":124,"collections":8153,"showCount":8103,"zanCount":48,"manualWeight":48,"mainColor":128},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","董邦达","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,24,25,7,27,29,118,59,193,62,63,64,34,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[124],{"id":8155,"slug":8156,"title":8157,"dynasty":54,"author":6003,"museum":20,"description":8158,"tags":8159,"thumbUrl":8160,"material":8161,"size":8162,"collection":103,"collections":8163,"showCount":8103,"zanCount":48,"manualWeight":48,"mainColor":128},222167,"qi-shui-qing-feng-tu-xia-chang-222167","淇水清风图","夏昶（1388至1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，昆山（今江苏昆山）人。昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n有“夏卿一个竹，西凉十锭金”之谣。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学王绂兼学陈继，有自己的面目，声誉大大超过了他的老师。",[23,24,25,7,114,664,119,193,275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1e1ca00868d871f0471a4a53755cd6.jpg","纸本设","纵27.6CM 横98CM",[103],{"id":8165,"slug":8166,"title":8167,"dynasty":18,"author":7097,"museum":4758,"description":8168,"tags":8169,"thumbUrl":8170,"material":442,"size":8171,"collection":42,"collections":8172,"showCount":8103,"zanCount":48,"manualWeight":48,"mainColor":128},221449,"zhong-shan-chu-you-tu-juan-gong-kai-221449","中山出游图卷","《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面",[23,24,7,174,114,61,1047,90,3488,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8280b5c0f8df796c30604681cc79ff9.jpg","纵32.8厘米，横169.5厘米",[42,124,45],{"id":8174,"slug":8175,"title":8176,"dynasty":18,"author":415,"museum":4758,"description":8177,"tags":8178,"thumbUrl":8179,"material":40,"size":8180,"collection":42,"collections":8181,"showCount":8103,"zanCount":914,"manualWeight":48,"mainColor":49},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,154,24,25,7,174,114,27,61,29,34,35,115,64,116,120,537,283,275,196,654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 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该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[23,24,154,7,26,27,29,8225,8226,405,64,194,34,196,119,120,193],"春景","游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c745d85afcbc62c30de0087d4f06b8a.jpg",[],{"id":8230,"slug":8231,"title":8232,"dynasty":250,"author":8233,"museum":227,"description":8234,"tags":8235,"thumbUrl":8236,"material":217,"size":217,"collection":124,"collections":8237,"showCount":8218,"zanCount":48,"manualWeight":48,"mainColor":128},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[24,25,7,114,60,118,29,63,64,115,116,230,117,61,1298,2408,35,33,690,799],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[124],{"id":8239,"slug":8240,"title":8241,"dynasty":54,"author":8242,"museum":56,"description":8243,"tags":8244,"thumbUrl":8245,"material":1411,"size":8246,"collection":124,"collections":8247,"showCount":8218,"zanCount":48,"manualWeight":48,"mainColor":128},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,24,25,7,27,29,28,118,114,4422,62,63,64,116,196,117,34,37,61,854,654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 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卷首有乾隆皇帝御题“气吞云梦”四字。乾隆帝又于卷中两处分别题有一跋一诗，题咏不足，又在卷尾画了一丛竹子并有款识。卷后有同时代题跋五纸九人，九人分别为信斋葛郯（绍兴二十四年进士，卒于淳熙八年）、串斋张贵谟、蒙斋章深、淡斋葛郛（约1131—约1196）、可斋葛邲（约1131—约1196）、如斋彦章、愚斋张泉甫、筠斋（筠斋后接“随喜”二字，当非名字）、理窟，除“理窟”未署斋名外，其他均署斋号。一人写到：“大地山河是幻，画是幻幻，只今说幻亦幻”。其中葛郯以一句“一人惯行草路，未免荆棘参天。一人顺水推舟，不觉浪来头上”暗示云谷（或他的朋友）遭受不白之冤。\n潇湘是一个合称，具体指发源于中国湖南宁乡的潇水和发自广西兴安的湘水（或湘江）经衡阳、湘潭等地汇入洞庭湖流域，这里烟雨蒙蒙，景色轻灵别致，不异于人间仙境。唐宋的诗人骚客无不以造访此奇景，吟诗以赞人生幸事，文人画家也纷纷着墨渲染。一位早年云游四方的禅僧云谷圆照晚来久居吴兴，以未见潇湘奇景为憾，遂求各路名家为其画“潇湘图”以补此缺。其中仅有一幅画由“舒城李氏”所作的潇湘画作流传至今，即为《潇湘卧游图》。\n《潇湘卧游图》是对《潇湘八景》的一种阐释，但是画家或者赞助人意味深长的修改了它。这幅山水包括的主题有落雁、烟寺、山市、晾晒渔网的渔村，以及暗示“归帆”的鼓足的风帆，但是三幅晚景图——“暮雪”、“夜雨”、“秋月”却难以描绘。如果加以表现，它们会在朦胧云雾中格外黯淡不明\n《潇湘卧游图》作者运用晕染模糊了山峦的轮廓，将界限融入轻雾之中。绵延的手卷以柔和纤细的线条、精致的细节和半透明的晕染绘制而成。笔触所现之处，或为表现如桥、舟之类细节的细如发丝的线条，或为湿润点染以表现树叶的墨点。\n南开大学文艺美学博士生王鹤《流失的国宝：世界著名博物馆的中国珍品》：“此画中群山连绵不绝，其景其情令人感叹。感叹其境美中蕴壮美，也感叹画家高超的技法。”\n《潇湘卧游图》存于日本已经超过一个世纪，即使作者并非有名的画家，实际身份背景也不明确，这一幅历经劫难的山水画，作为十二世纪末，从北宋迈入南宋，富有融合与转型意义的“潇湘”主题山水画代表作品之一，仍受美术史学者的重视。学者分别探讨过该画作的构图、笔法、水墨表现、形式风格等等面向。其中，铃木敬教授在1973年—1979年作过详尽研究；Valerie Malenfer Ortiz女士的专书以《潇湘卧游图》为主轴，全面讨论其在中国山水画创作及鉴赏的历史进程中所呈现的特殊价值。",[23,24,25,7,114,29,118,119,120,193,690,3077,34,694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3264c38a117918d8cc34daaa95c49552.jpg","纵30.2厘米，横399.4厘米",[],{"id":8316,"slug":8317,"title":6857,"dynasty":250,"author":819,"museum":227,"description":8318,"tags":8319,"thumbUrl":8321,"material":217,"size":217,"collection":217,"collections":8322,"showCount":8305,"zanCount":1106,"manualWeight":48,"mainColor":128},228983,"tao-yuan-tu-shi-tao-228983","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[24,25,7,27,29,114,118,405,37,138,35,34,196,64,692,5563,194,8320,420,690,3863,61],"渔父","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],{"id":8324,"slug":8325,"title":8326,"dynasty":18,"author":294,"museum":227,"description":8327,"tags":8328,"thumbUrl":8332,"material":217,"size":217,"collection":217,"collections":8333,"showCount":8305,"zanCount":48,"manualWeight":48,"mainColor":128},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,154,24,25,7,28,114,27,193,1409,8329,8330,8331,1857,196,254,2929],"鸦","芦","雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],{"id":8335,"slug":8336,"title":6742,"dynasty":54,"author":3914,"museum":380,"description":6743,"tags":8337,"thumbUrl":8338,"material":3383,"size":8339,"collection":124,"collections":8340,"showCount":8305,"zanCount":48,"manualWeight":48,"mainColor":128},220954,"xiao-xiang-bai-yun-tu-dong-qi-chang-220954",[23,24,25,7,114,118,120,119,193,29,1071,34,35,690,2965,420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdc195369ed63e4dec9e5360e472cd.jpg","卷纵29.3厘米横340.8厘米",[124,103],{"id":8342,"slug":8343,"title":8344,"dynasty":133,"author":534,"museum":380,"description":8345,"tags":8346,"thumbUrl":8347,"material":442,"size":8348,"collection":543,"collections":8349,"showCount":8305,"zanCount":914,"manualWeight":48,"mainColor":128},220866,"qiu-sheng-fu-quan-juan-zhao-meng-fu-220866","秋声赋全卷","大字行书欧阳修《秋声赋》全文，用笔挺劲，中藏锋锷，英标劲骨，遒美俊逸，欲与秋声斗雄。\n行间茂密，丰容缛婉，为其书法风格的典型代表。\n书法既有晋魏名家，特别是二王本来面貌，又反映自家书法特点，是一件集前人大成之作。",[23,119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99fc940545db866cd864f26dc0271e3.jpg","书心纵4.8、横182.2厘米。",[543],{"id":8351,"slug":8352,"title":8353,"dynasty":54,"author":1030,"museum":20,"description":8354,"tags":8355,"thumbUrl":8356,"material":285,"size":8357,"collection":103,"collections":8358,"showCount":8305,"zanCount":791,"manualWeight":48,"mainColor":128},220132,"zhen-shou-tang-tu-juan-tang-yin-220132","贞寿堂图卷","图绘以平远、阔远之法，画青山秀水之畔，有堂屋两间筑于山坳回抱之处、松竹掩映，篱落曲折。堂内家人聚首，共叙天伦；堂侧隔桥一人正袖手而立，作静观之状。图中山石皴笔劲利，晕染轻淡；树法丰富，枝干俯仰有态，点叶、夹叶兼备，点景人物衣纹细劲，神态闲适。风格秀润，意境幽淡，为唐寅早期画作的佳制。",[23,24,25,7,114,27,118,120,119,29,62,230,404,63,64,116,61,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29da086db6e0222144fd39f45bbfb2d9.jpg","纵28.3厘米 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明初大画家，擅长山水，尤精枯木竹石，画竹兼收北宋以来各名家之长，具有挥洒自如、纵横飘逸、清翠挺劲的独特风格，人称他的墨竹是“明朝第一”。永乐元年(1403年)开始参与编纂《永乐大典》。",[23,24,7,114,275,2520,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd617ad53eaf3d96657bf7bcae45ca5.jpg","26.1 x 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水激流入江，屋舍茅亭、渔翁小舟、板桥雅士点缀其间。画面上云烟飘渺，草木华滋，笔法纵肆，神变万状，墨沈淋漓，苍茫浓郁，气韵生动。虽为仿米之作，却自具风貌。",[24,25,7,114,29,60,5792,37,34,117,419,116,64,690,799,8420],"苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纵14．8厘米横247．2厘米",[],{"id":8425,"slug":8426,"title":1217,"dynasty":54,"author":55,"museum":227,"description":8427,"tags":8428,"thumbUrl":8429,"material":1050,"size":1051,"collection":217,"collections":8430,"showCount":8406,"zanCount":1106,"manualWeight":48,"mainColor":128},228455,"du-le-yuan-tu-chou-ying-228455","《独乐园图》卷由明代仇英绘。画卷内容根据司马光的《独乐园记》立意，依次描绘了弄水轩、读书堂、钓鱼庵、种竹斋、采药圃、浇花亭、见山堂等景致。卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》及项禹揆等人题跋。",[23,24,25,7,27,28,59,61,62,63,64,116,34,1857,117,70,211,486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1edf8089fe9785596584cae9f689ef.jpg",[],{"id":8432,"slug":8433,"title":8434,"dynasty":133,"author":6461,"museum":227,"description":8435,"tags":8436,"thumbUrl":8437,"material":1050,"size":1051,"collection":217,"collections":8438,"showCount":8406,"zanCount":48,"manualWeight":48,"mainColor":128},228078,"jiu-ge-tu-juan-zhang-wo-228078","九歌图卷","《九歌图》是元代张渥于1346年创作的画作，此画现藏于吉林省博物馆。画上题记：至正六年，丙戌，即1346年。\n《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[154,24,25,7,174,61,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd703b650dbb12a74da0ce542b73749.jpg",[],{"id":8440,"slug":8441,"title":8442,"dynasty":168,"author":4820,"museum":227,"description":8443,"tags":8444,"thumbUrl":8445,"material":217,"size":217,"collection":217,"collections":8446,"showCount":8406,"zanCount":48,"manualWeight":48,"mainColor":128},227246,"shu-pu-sun-guo-ting-227246","书谱","《书谱》为唐代书法家孙过庭所著的书法理论著作。成书于武后垂拱三年，他亲自以草书书写全书。《书谱》共分两卷，内容主要为书学体验、书谱撰写要旨及学习书法的一些基本原则。一般认为本（上）卷为“序”，宋元明时分为两卷，入严嵩之手时，装为一卷。下卷为“谱”，作者生前未能完成，现仅存第一卷。\n\n孙过庭（活动于七世纪后期），一说名虔礼，字过庭，河南陈留人，一说名过庭，字虔礼，浙江富阳人。根据本卷自题，为吴郡人，名过庭。出身寒微，迟至不惑之年始出任率府录事参军之职，以性高洁遭谗议而去官。之后，遂专注于书法研究。",[23,119,1892,7,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d82f903b6926ec8c08c003e56a13f9.jpg",[],{"id":8448,"slug":8449,"title":8450,"dynasty":250,"author":430,"museum":56,"description":8451,"tags":8452,"thumbUrl":8455,"material":217,"size":8456,"collection":217,"collections":8457,"showCount":8406,"zanCount":48,"manualWeight":48,"mainColor":49},223357,"fang-dong-yuan-jiang-nan-yan-luan-tu-juan-yi-ming-223357","仿董源江南烟峦图卷","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。\n画面上有山峦复叠、烟树沙川的夏日景致。画面中央山峦起伏连绵，上方水面空阔回转；一道道沙川和坡丘在水上和岸边延伸推展，两人泛舟水上；岸上树木丛生，百草丰茂，其间有牛羊悠闲吃草，有农人从容劳作；一道一道的冈峦，苍苍茫茫由近向远渐渐推展开去，忽明忽暗，层峦叠嶂，极具自然掩映的趣味。",[24,25,7,114,60,118,29,37,34,115,31,8453,1197,8454,2479],"丘陵","丛竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff949cfedb91c38ffe9314bf3c1e04eb8.jpg","30x600厘米",[],{"id":8459,"slug":8460,"title":8461,"dynasty":54,"author":110,"museum":20,"description":8462,"tags":8463,"thumbUrl":8465,"material":442,"size":8466,"collection":261,"collections":8467,"showCount":8406,"zanCount":48,"manualWeight":48,"mainColor":128},222129,"xin-yi-mo-cai-tu-juan-shen-zhou-222129","辛夷墨菜图卷","第一段：本幅无款，右下钤印“启南”（朱文）。另有吴宽题诗：“半含成木笔，本号是辛夷。一树石庭下，故园增我思。”钤印“延州来季子后”（朱文）。另钤“项元汴印”（朱文）等鉴藏印多方。此幅采用没骨法绘折枝辛夷，以苍秀古拙之笔画花卉枝干，以不同水分的色墨画出花瓣叶片，色泽浓淡分明，层次丰富，再用重墨劲细之笔勾画叶筋。构图疏密有致，设色清妍秀雅，富于蕴蓄之致。\n第二段：本幅无款，右下钤“启南”朱文印。另有吴宽题诗：“翠玉晓茏葱，畦间足春雨。咬根莫弄叶，还可作羹煮。”钤“原博”朱文印。另钤项元汴“平生真赏”朱文印等鉴藏印多方。画中运用干笔的飞白、水墨的渲染和重笔浓墨的点写将一棵普普通通的白菜表现得栩栩如生。此画突出了书法用笔的特点，粗放率意，转折自然，用墨亦变化多端，颇具逸致，天趣盎然。",[23,7,114,27,272,8464,1821,281,1550,193,119],"辛夷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36497ff253f3762a4bf12e6f7a25d7a3.jpg","第一段，纸本，设色，纵34.9厘米，横58.8厘米；第二段，纸本，墨笔，纵34.9厘米，横58.8厘米。",[261,103],{"id":8469,"slug":8470,"title":8471,"dynasty":18,"author":2005,"museum":190,"description":8472,"tags":8473,"thumbUrl":8474,"material":140,"size":8475,"collection":42,"collections":8476,"showCount":8406,"zanCount":914,"manualWeight":48,"mainColor":49},221451,"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,154,24,25,7,174,27,120,193,119,61,62,64,63,116,230,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[42,124,45],{"id":8478,"slug":8479,"title":8480,"dynasty":18,"author":8481,"museum":20,"description":8482,"tags":8483,"thumbUrl":8484,"material":40,"size":8485,"collection":42,"collections":8486,"showCount":8406,"zanCount":48,"manualWeight":48,"mainColor":49},221436,"jiang-shan-fang-mu-tu-juan-qi-xu-221436","江山放牧图卷","祁序","本幅无款，上有清高宗弘历御题五律诗一首。前隔水有金章宗完颜璟瘦金体书题签：“祁序江山放牧图”。清梁清标书签：“北宋祁序江山放牧图蕉林珍藏”。鉴藏印有金章宗“内殿珍玩”、“明昌”、“明昌宝玩”、“御府宝绘”；清耿昭忠“耿昭忠信公氏一字在良别号长白山长收藏书画印记”，梁清标“蕉林”、“观其大略”以及乾隆、嘉庆、宣统诸帝之玺。\n此图为平远式构图，取景开阔。图绘初春时节，牧童们在湖泽坡岸间牧牛的情景，是典型的宋代风俗小品画。作品表现了各种情态的牛，或低头饮水，或昂首举目，或扭身顾盼，或侧身前行，皆神态生动，富有情趣，显示出作者娴熟的笔墨技法和准确的造型能力。图中点景的树木具有宋人李唐刻画粗简的遗风，树干以粗线条勾勒轮廓，润墨皴擦，显现出苍健之态、虬曲之美；树叶用笔致细腻的夹叶法表现，中锋行笔，线条圆润工整，展现出树木丰润华滋之美。堤岸坡石的表现别具匠心，以曲折弯转的墨线勾边，再以石绿色晕染坡面，亮丽的色彩不仅丰富了画面的色调，也为全幅增添了万物复苏的春之气息。作者将悠闲惬意的牛与风和日丽的环境有机地融为一体，画面中洋溢着浓郁的乡土风情。\n此幅是祁序流存至今的唯一一件作品，原藏清宫内府，宣统年间为溥仪运出宫，存于长春的小白楼内，后为周觉民获得。1983年9月由周觉民之妻李倩玉捐献给故宫博物院。\n著录于清内府《石渠宝笈初编》。",[23,154,24,25,7,114,118,29,91,61,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7be5f835fcaeb89d01f42e584182ea.jpg","纵47.3厘米，横115.6厘米",[42],{"id":8488,"slug":8489,"title":8490,"dynasty":168,"author":8491,"museum":227,"description":8492,"tags":8493,"thumbUrl":8494,"material":8495,"size":8496,"collection":543,"collections":8497,"showCount":8406,"zanCount":1106,"manualWeight":48,"mainColor":49},221085,"shan-jian-lv-guo-quan-221085","善见律","国诠","国诠，初唐经生，生平不详。此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。此卷则为千年传世之本，首尾俱全。卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,119,540,537,7,193,1973,6048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6d148a7b0d6cda68adfb7b22af8e2c.jpg","国诠书，纸本","纵22.6厘米，横468.8厘米",[543,1013],{"id":8499,"slug":8500,"title":8501,"dynasty":225,"author":8502,"museum":20,"description":8503,"tags":8504,"thumbUrl":8506,"material":8507,"size":8508,"collection":543,"collections":8509,"showCount":8406,"zanCount":1106,"manualWeight":48,"mainColor":128},221018,"chu-shi-song-suo-jing-221018","出师颂","索靖","《出师颂》是古代流传的一幅章草体书法作品。原文作者是东汉史岑，书法作者存疑，据传为西晋索靖书。此作是存世书法作品中为数不多的古章草书作之一，书法笔势险峻，字体古朴简洁，具有很高的历史和艺术价值。",[119,7,8505,193,539],"章草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd5ac14567e428f1703c50bf72472b9b.jpg","纸本，章草书","纵21.2cm，横127.8cm",[543],{"id":8511,"slug":8512,"title":5990,"dynasty":54,"author":6373,"museum":20,"description":8513,"tags":8514,"thumbUrl":8516,"material":122,"size":8517,"collection":44,"collections":8518,"showCount":8406,"zanCount":1106,"manualWeight":48,"mainColor":128},219059,"yu-le-tu-zhou-chen-219059","周臣（生卒年不详），字舜卿，号东村，吴县（今江苏苏州）人。画山水师陈暹（1405－1496年），摹古于宋人李成、郭熙、马远、夏圭，用笔纯熟，所谓“行家”意胜耳。何良俊以为，与戴进（1388－1462年）并驱，则互有所长，亦是院体中一高手。兼工人物，古貌奇姿，绵细萧散，各极意能。 　　图绘江南水乡渔人作业生活的场景。作者细腻地捕捉渔人们各种动作，扣鱼、撒网、垂钓、捞虾、织网等，以及他们天真自然的神态，表现他们淳朴的性情和一种于生计中寻找乐趣的生活态度，刻画入微，生动明快。同时，传达出文人心目中渔隐的回归思想。绘画技法上，人物以勾写塑其形廓，薄色淡染，衣纹施镢头描，水画波线显其动态，坡石以湿墨皴染，笔法纯熟率逸，出自宋人写实的绘画风格。",[23,24,7,114,28,61,115,254,31,985,765,118,89,8515],"渔具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091dcc3a0f131e4c9e7d128fe9d0850c.jpg","纵32厘米，横239厘米",[44],{"id":8520,"slug":8521,"title":8522,"dynasty":250,"author":7088,"museum":111,"description":8523,"tags":8524,"thumbUrl":8528,"material":78,"size":8529,"collection":44,"collections":8530,"showCount":8406,"zanCount":1106,"manualWeight":48,"mainColor":128},218248,"ke-zhai-ji-gu-tu-juan-shang-ren-xun-218248","愙斋集古图卷-上","这部作品有两卷：上卷和下卷。上卷由艺术家任薰绘制，下卷由胡祥和陆恢合作完成。\n任薰的这幅画描绘了坐在客人对面的吴氏。他盘腿坐在沙发上，周围都是珍贵的古董，古董铜器被逐一命名。",[23,24,7,27,28,61,8525,8526,158,8527],"青铜器","礼器","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed9fef0b9a8c954811340da2b17afad5.jpg","41.5x160.5",[44],{"id":8532,"slug":8533,"title":2271,"dynasty":18,"author":716,"museum":227,"description":8534,"tags":8535,"thumbUrl":8536,"material":1050,"size":1051,"collection":217,"collections":8537,"showCount":8538,"zanCount":48,"manualWeight":48,"mainColor":49},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[23,154,24,25,7,114,27,118,29,115,116,605,419,602,468,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7674380b1a209bd4836ce4ffa81e0.jpg",[],55,{"id":8540,"slug":8541,"title":8542,"dynasty":54,"author":430,"museum":227,"description":8543,"tags":8544,"thumbUrl":8545,"material":1050,"size":1051,"collection":217,"collections":8546,"showCount":8538,"zanCount":48,"manualWeight":48,"mainColor":49},288163,"fang-liu-song-nian-shan-zhong-dao-jiao-yi-ming-288163","仿刘松年山中道教","此作铺陈出一方仙山灵境，层峦叠嶂深秀苍润，林泉蜿蜒幽致，尽显洞天福地的静谧出尘。线条清劲工致，勾勒出山岩硬朗肌理与林木舒展之态，绢色因年深沉凝古雅，晕染出静穆古意。\n仙宇楼阁隐于云壑林麓间，道侣幽栖往来，将道家山水问道的意涵融于丘壑烟岚之中。仿院体精工之法，兼具清雅文气，把“天人合一”的哲思寄寓笔墨间，虽历经岁月晕染，出尘之韵依旧盎然，是兼具叙事性与山水意境的道释佳制。",[23,154,24,7,25,173,6986,29,60,27,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6f6bbb0e3beaf0268d2544a8cf99d1.jpg",[],{"id":8548,"slug":8549,"title":4260,"dynasty":18,"author":294,"museum":227,"description":1621,"tags":8550,"thumbUrl":8551,"material":1050,"size":1051,"collection":217,"collections":8552,"showCount":8538,"zanCount":48,"manualWeight":48,"mainColor":49},288117,"xie-sheng-ling-mao-tu-zhao-ji-288117",[23,154,24,7,28,27,209,196,337,4262,281,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa279f39fe2fa81aa6da60077492747c2.jpg",[],{"id":8554,"slug":8555,"title":8556,"dynasty":168,"author":3763,"museum":227,"description":8557,"tags":8558,"thumbUrl":8559,"material":1050,"size":1051,"collection":217,"collections":8560,"showCount":8538,"zanCount":48,"manualWeight":48,"mainColor":128},287312,"gu-shi-si-tie-quan-juan-gao-qing-zhang-xu-287312","古诗四帖全卷(高清)","张旭（685年？—759年？），字伯高，一字季明，苏州吴县（今江苏苏州）人，唐代书法家，擅长草书，喜欢饮酒，世称“张颠”，与怀素并称“颠张醉素”，与贺知章、张若虚、包融并称“吴中四士”，又与贺知章等人并称“饮中八仙”，其草书则与李白的诗歌、裴旻的剑舞并称“三绝”。\n张旭出生于一个门第不低的家庭，曾向堂舅陆彦远学习书法，学有所成后为吴道子、颜真卿等钦慕；年长后通过应举或荐举、征辟而入仕，释褐为常熟县尉；先后任左率府长史、金吾长史，因而被世人称为“张长史”；大约在乾元二年（759年）逝世，享年大约七十五岁。\n在书法方面，张旭勤于观察客观事物，善于将客观的自然物象与个人的主观情感结合起来，既继承传统，又勇于创新，在继承前人书法成就并加以创新而使得自身的狂草艺术在盛唐时期达到了一个高峰。",[23,154,25,119,1892,1229,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb590f99a59fc1546923afae596439327.jpg",[],{"id":8562,"slug":8563,"title":8564,"dynasty":3660,"author":8565,"museum":227,"description":8566,"tags":8567,"thumbUrl":8568,"material":217,"size":217,"collection":217,"collections":8569,"showCount":8538,"zanCount":1106,"manualWeight":48,"mainColor":49},239655,"li-da-zhi-du-lun-juan-an-hong-song-239655","隶大智度论卷","安弘嵩","此卷行草相间，通篇气脉贯通，千言笔墨一气呵成。起笔收锋间兼具写经的端谨虔诚与随性挥洒的灵动，墨色枯润相映，线条粗细交叠，带着六朝书法特有的清逸古雅。字里行间既有抄写佛典的肃穆沉静，又藏着书写者自然流露的文人笔致，章法绵密却不觉壅塞，字字顾盼有情，将宗教的沉静意趣与书法的飞扬神采相融，尽显写经书风的独特韵味，笔底沉潜着书写时的专注与敬虔。",[23,119,5432,540,1973,7,3196,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e0dd9043d1aa7ac02bebd03554ef95.jpg",[],{"id":8571,"slug":8572,"title":8573,"dynasty":250,"author":1791,"museum":20,"description":8574,"tags":8575,"thumbUrl":8577,"material":40,"size":8578,"collection":217,"collections":8579,"showCount":8538,"zanCount":48,"manualWeight":48,"mainColor":49},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","此图卷描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同的享乐生活。布局巧妙，境界幽曲，将人物、山水、楼台亭阁、春夏秋冬的不同树木花卉及其景色容于一卷。精心刻划，形象生动，笔墨工细，赋彩随类，颇为自然。人物虽小，然曲尽各种姿态，形神俱备，景物虽繁，然疏密有度，为烘托人物的各种游乐活动而恰到好处。确是精心经营的佳作。\n姚文瀚，号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画，《石渠宝笈》著录其曾作《仿清明上河图》卷，文瀚于群工角艺之时，胸具别裁，画成缩本，乾隆喜而题诗并注：“此卷较择端原本尺幅纵横倍减，而临摹毕肖，人物益小，尤见精能。”尝画《梧阴清暇图》轴、《春朝婴戏图》轴、《岁朝欢喜图》轴、《观音像》轴、《文殊像》轴等。乾隆十七年（1752）尝作《仿宋人文会图》卷，二十六年（1761）作《紫光阁锡宴图》卷。\n传世作品有《四序图》卷，绢本，设色，描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同之悠闲生活、构思巧妙，意境幽曲，刻画细腻，形象生动，笔墨工整，设色典雅。此作人物虽小，然曲尽姿态，形神兼备，现藏故宫博物院。",[23,24,7,27,28,59,61,62,29,34,555,73,70,117,610,4923,5564,69,2144,486,8576],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","纵31．5厘米，横318厘米",[],{"id":8581,"slug":8582,"title":8583,"dynasty":54,"author":8584,"museum":227,"description":8585,"tags":8586,"thumbUrl":8587,"material":217,"size":217,"collection":217,"collections":8588,"showCount":8538,"zanCount":1106,"manualWeight":48,"mainColor":128},234176,"hua-hui-juan-lu-zhi-234176","花卉卷","鲁治","鲁治，号岐云，东吴人。善画花卉、翎毛。设色妍丽，得宋人之法。广东省博物馆藏《百花图卷》。",[23,24,25,7,28,27,209,274,282,275,283,278,279,194,280,434,555],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3035c745deb8cf52d925ad006c15ad2b.jpg",[],{"id":8590,"slug":8591,"title":8592,"dynasty":133,"author":534,"museum":56,"description":8593,"tags":8594,"thumbUrl":8595,"material":384,"size":8596,"collection":124,"collections":8597,"showCount":8538,"zanCount":1106,"manualWeight":48,"mainColor":49},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,154,24,25,7,4050,27,28,61,90,64,34,639,117,8207,420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","横28.1厘米，纵155.5厘米",[124],{"id":8599,"slug":8600,"title":8601,"dynasty":133,"author":2701,"museum":151,"description":8602,"tags":8603,"thumbUrl":8604,"material":696,"size":2705,"collection":217,"collections":8605,"showCount":8538,"zanCount":914,"manualWeight":48,"mainColor":128},231334,"lu-yu-peng-cha-tu-yuan-dai-ji-jin-zhi-liu-zhao-yuan-231334","陆羽烹茶图－元代集锦之六","此图绘山水清远,茅檐数座,屋内峨冠博带、倚坐榻上者即为陆羽,前有一童子焙炉烹茶。本幅有作者自题:“陆羽烹茶图”。画面图文并茂,铸造了士大夫烟霞痼疾与泉石膏肓的精神世界,从一个侧面折射了元代的社会思潮。此图山石皴法的侧锋圆转,树点墨法的粗重厚实,无不着意经营,缺少空灵虚旷、自然无为的韵致,特别是湿笔淡墨的运用,还未能打破宋人的陈式。本幅有窥班诗题,还有乾隆皇帝的御题诗。\n图绘远山起伏，水面辽阔，临溪筑有草阁，丛树掩映。阁内一人坐于榻上，当为陆羽，一童子拥炉烹茶。陆羽为唐代学者，闭门著书，不愿为官，以嗜茶闻名，有《茶经》传世。此图表现了文人隐居闲适的生活。远山近坡用披麻皴，皴笔圆转虬曲，颇多侧锋，树法书落，学董巨而有变化。[画师今赵元，东吴谅无双]是当时对赵原绘画的评价。[画师]是对职业画家的称谓，元代职业画家的绘画题材、画风都不同程度地受到文人画家的影响，于此图可见一斑",[24,25,7,114,118,29,116,34,64,61,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8860eaa9c2ef53a43976d02ab2796f0.jpg",[],{"id":8607,"slug":8608,"title":8609,"dynasty":250,"author":430,"museum":227,"description":8610,"tags":8611,"thumbUrl":8612,"material":217,"size":217,"collection":217,"collections":8613,"showCount":8538,"zanCount":1106,"manualWeight":48,"mainColor":49},230305,"fang-han-gong-chun-xiao-tu-yi-ming-230305","仿汉宫春晓图","此作铺展深宫春日盛景，亭台楼阁勾描工致，柳石花木晕染雅致，将宫苑春意揉进朱廊翠荫里。仕女们或临窗研墨、凭栏观戏，或蹴鞠扑蝶、闲庭信步，娇柔百态鲜活灵动，把深院中的松弛雅兴尽数铺陈。设色明丽柔婉，线条秀润细腻，复刻出原作的绮靡雅致，将宫廷日常的闲逸温婉晕染绢上，让旧日宫苑的春日烟火气扑面而来，尽显古典仕女画的柔美韵致与院体工笔的精妙意趣。",[24,25,7,154,28,27,59,60,61,155,62,70,34,117,211,731,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6489682bcd338587262df0a3fe163436.jpg",[],{"id":8615,"slug":8616,"title":8617,"dynasty":18,"author":430,"museum":227,"description":8618,"tags":8619,"thumbUrl":8620,"material":1050,"size":1051,"collection":217,"collections":8621,"showCount":8538,"zanCount":1106,"manualWeight":48,"mainColor":128},227903,"pan-long-tu-shou-juan-yi-ming-227903","盘龙图手卷","此作以暖褐素缎为地，银线盘绣双龙矫健灵动，鳞爪细密有致，正探爪逐戏焰珠，龙目圆睁、口部大张，尽显威猛神姿。\n祥云遍铺画面，粉紫青绿晕染出柔婉层次，托衬出瑞龙腾跃云海的磅礴意境。绣法精巧入微，以针线复刻出龙的刚劲体态，将传统祥瑞意象融于丝缕之间，静展于卷上，亦能让人感知龙游九霄的浩荡生机，尽显传统刺绣工艺的精妙意趣。",[23,24,25,7,28,27,511,1071,6798],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e12dea5004fd750f6246f53d4c6e6d.jpg",[],{"id":8623,"slug":8624,"title":8625,"dynasty":133,"author":2740,"museum":56,"description":8626,"tags":8627,"thumbUrl":8628,"material":353,"size":8629,"collection":44,"collections":8630,"showCount":8538,"zanCount":914,"manualWeight":48,"mainColor":49},221862,"xian-xian-tu-juan-zhao-yong-221862","先贤图卷","赵雍，字仲穆，吴兴（今浙江湖州）人，元代书画家，赵孟頫之子。擅山水画，尤精人物鞍马，亦作界画。书法善长正书，行书，草书和篆书，精通鉴赏。",[23,24,25,7,27,28,61,29,90,254,255,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8403e17bbe756dab1b941b50b1cce0ba.jpg","纵29.3厘米，横208.7厘米",[44,45],{"id":8632,"slug":8633,"title":8634,"dynasty":18,"author":2980,"museum":151,"description":8635,"tags":8636,"thumbUrl":8637,"material":217,"size":217,"collection":42,"collections":8638,"showCount":8538,"zanCount":1106,"manualWeight":48,"mainColor":49},221421,"da-jiang-tu-yan-wen-gui-221421","大江图","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,24,25,7,114,118,29,602,66,62,63,34,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c21e1641668e9acb1a358f7b09ffe9f.jpg",[42,124,103],{"id":8640,"slug":8641,"title":8642,"dynasty":18,"author":8643,"museum":20,"description":8644,"tags":8645,"thumbUrl":8647,"material":40,"size":8648,"collection":42,"collections":8649,"showCount":8538,"zanCount":48,"manualWeight":48,"mainColor":49},221419,"lu-ting-mi-xue-tu-quan-juan-liang-shi-min-221419","芦汀密雪图全卷","梁师闵","此卷为梁师闵的传世孤品，描绘严冬时节的沙渚平川，坡石竹枝已尽为白雪覆盖，丛丛干枯的芦草在阴沉晦暗的背景下瑟瑟隐现。清寂之中，一池湖水尚未封冻，两只鸂鶒（音xī chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[23,24,25,7,28,27,985,1185,115,196,8646,7114,29,193,120,119],"寒沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[42,124,103],{"id":8651,"slug":8652,"title":8653,"dynasty":18,"author":832,"museum":1270,"description":8654,"tags":8655,"thumbUrl":8656,"material":78,"size":8657,"collection":543,"collections":8658,"showCount":8538,"zanCount":1106,"manualWeight":48,"mainColor":49},219554,"san-sheng-tu-liu-song-nian-219554","三生图","画中所绘的情景，正是李源在侍从的陪同下前去赴约，已长成十三岁的今生骑牛牧童即前世园泽，唱着歌谣徐徐而来，是为“三生”也。",[23,154,24,25,7,28,27,118,61,29,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306c01041dc84d596efb145b5bd7b859.jpg","24x100厘米",[543,44],{"id":8660,"slug":8661,"title":2140,"dynasty":54,"author":430,"museum":651,"description":8662,"tags":8663,"thumbUrl":8664,"material":78,"size":217,"collection":124,"collections":8665,"showCount":8538,"zanCount":48,"manualWeight":48,"mainColor":49},217977,"wang-chuan-tu-yi-ming-217977","辋川图采用了中国传统的山水画风格，画面中展示了辽河流域的山峦、河流、村庄和城市。画中还有许多人物，展示了当时这一地区的生活方式和文化。\n\n辋川图因其精美的绘画技巧和对历史文化的精准再现而闻名，是中国山水画史上的珍贵艺术品。目前，辋川图被认为是中国古代山水画的杰作，具有极高的艺术价值和文化意义。",[23,154,24,7,763,59,27,405,64,62,34,61,115,138,3823],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d11196376a0cf5547e83905727dc07.jpg",[124],{"id":8667,"slug":8668,"title":8669,"dynasty":18,"author":8670,"museum":227,"description":8671,"tags":8672,"thumbUrl":8673,"material":1050,"size":1051,"collection":217,"collections":8674,"showCount":8675,"zanCount":1106,"manualWeight":48,"mainColor":49},288733,"xiao-xiang-ba-jing-tu-juan-si-wang-hong-288733","潇湘八景图卷四","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[154,24,7,114,763,230,5744,405,4002,468,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034d632a84422ddb4076996f3fafebb4.jpg",[],54,{"id":8677,"slug":8678,"title":8679,"dynasty":250,"author":6239,"museum":227,"description":8680,"tags":8681,"thumbUrl":8682,"material":1050,"size":1051,"collection":217,"collections":8683,"showCount":8675,"zanCount":48,"manualWeight":48,"mainColor":49},288402,"han-xiang-yun-zui-mian-shao-yao-chou-sun-wen-288402","憨湘云醉眠芍药绸","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。",[23,24,28,27,61,155,5744,2144,556,3477,922,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c0ad93722cfabe4eaa249ff739d37d.jpg",[],{"id":8685,"slug":8686,"title":8687,"dynasty":149,"author":430,"museum":227,"description":8688,"tags":8689,"thumbUrl":8690,"material":217,"size":217,"collection":217,"collections":8691,"showCount":8675,"zanCount":48,"manualWeight":48,"mainColor":49},239547,"huang-quan-xie-sheng-zhen-qin-tu-juan-yi-ming-239547","黄筌写生珍禽图卷","此作写实功底极尽精微，将十余类禽鸟、虫豸与灵龟一一铺陈。画师以淡墨细勾轮廓，随类施色晕染，禽鸟绒羽纤毫毕现，虫翼轻薄通透，龟甲纹理凹凸逼真。每一只生灵都形神兼备，振翅的雀鸟、爬行的甲虫、静立的水禽，皆定格住最鲜活的瞬间，尽显对自然万物的入微体察。\n\n虽为写生稿的合集，却处处彰显工笔花鸟的极致功底，将生灵的鲜活神韵凝于绢素之上，尽显五代写实工笔的隽永魅力。",[24,154,25,7,28,27,209,196,440,1529,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332fee9c6e6f4bf61e5511d43efcaedc.jpg",[],{"id":8693,"slug":8694,"title":8695,"dynasty":250,"author":8696,"museum":227,"description":8697,"tags":8698,"thumbUrl":8699,"material":217,"size":217,"collection":217,"collections":8700,"showCount":8675,"zanCount":48,"manualWeight":48,"mainColor":49},234249,"bai-shou-tu-hua-yan-234249","百兽图","华嵒","华喦[yán]，清朝人。他生于康熙，卒于乾隆，经历“康乾盛世”，却一生贫苦。\n他年轻时因被乡绅羞辱，拒绝他为宗族祠堂作画。他一气之下，连夜在祠堂墙壁上画下高山云鹤、水国浮牛、悬崖青松、倚马题诗四幅画作，然后愤然离乡出走。\n他中年辗转于江南各地，与“扬州八怪”交往密切，成为扬州画派的代表人物，传世佳作皆被世人奉若珍宝。\n他晚年书、画、诗俱全，被称为“三绝”，人物、花鸟走兽、山水自然无不精通，终成一代名家。乃至后来者如吴昌硕、齐白石、徐悲鸿等大师也学习他绘画技法。\n在这里要特别提到的是，他笔下的画作，和别的艺术大师有些不同。\n嵒，通“岩”。华喦，人如其名。他的艺术成就如同山峰一般耸立在清代画坛，令无数后来者敬仰。自古以来善画走兽者甚多，但很少有人能画出百兽图。因此珍藏于北京故宫博物院的一幅《百兽图》便显得格外珍贵，它的作者便是华喦。\n此作为长卷画作，画面自右向左依次出现狗、牛、羊、马、鹿、狼、虎、猴、熊等动物，而一头老虎位居画面正中却面露囧态。画面中的动物们被华喦描绘的生动传神，栩栩如生，各具亮点。每一处局部独立展示便是一幅小品佳作，而纵览全画便犹如置身深山老林之中，处处散发着自然的生命力。\n画面最右侧，首先映入眼帘的是人类生活中常见的狗、牛、羊、马。\n接下来画面中来到河畔旁的草地上，一众动物在枫叶美景中悠闲地嬉戏打闹，但河对岸一只麋鹿正此刻正和一只灰狼对峙，凭添了几分紧张的气息。\n镜头继续向左转移，一只老虎在山坡的另一侧独自矗立。虽说老虎是百兽之王，可它此刻的面部表情却十分窘迫，甚至引得巨石上的猴子驻足观看。想来应该是它在头疼这森林的管理问题吧。\n随着我们的视角不断向左深入，画面中山石林立，藤叶纷飞，显得更加原始。而这里的主角变成了一群热闹的猴子，和两只争食的黑熊。\n整幅画作的最左侧，两只大黑熊在互相夺食，而另一只小黑熊却呆在山洞里悠闲地睡着懒觉，顿时令观者啼笑皆非。\n值得一提的是，华喦这幅《百兽图》除开陆地上生活的一群动物外，空中无鸟，水中无鱼。本应威武凶狠的老虎虽出画面正中心，却毫无威仪感，甚至显得有些窘迫。不知作者当时为何会如此创作。",[23,24,7,27,28,118,29,1009,5861,91,254,255,256,196,3487,5814,6219],"https:\u002F\u002Foss.chuangqi.store\u002F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年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,154,24,25,7,27,28,277,1820,524,2929,439,985,8749,1823,8750,8751,8752,8753,3529,281,483,8754,196],"水藻","白鹭","红鱼","水生植物","莲叶","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],{"id":8759,"slug":8760,"title":8761,"dynasty":133,"author":1344,"museum":56,"description":8762,"tags":8763,"thumbUrl":8765,"material":442,"size":8766,"collection":217,"collections":8767,"showCount":8675,"zanCount":48,"manualWeight":48,"mainColor":128},221713,"wang-xi-zhi-guan-e-tu-quan-juan-qian-xuan-221713","王羲之观鹅图全卷","《王羲之观鹅图》是描写东晋书圣王羲之观白鹅的情景。此图画法，笔画简约，千墨燥锋，似是枯瘦格调，而其皴山石、立屋宇，却是较为精密且有顿挫有致的用笔技巧。山石皴笔时见飞动与疏密有致，笔划松动而老辣，空灵而沉着。\n此画为长卷，画面开阔。远景为平远山水景色，中景为一片宽阔河水，水面开阔平如镜，有几只白鹅正在河面上戏水，使谧静的河上略见生气：近处为村落，下面为坡石，坡石间和平地上，丛生松林杂树，树的后边为一座较大的屋宇水榭，水榭中站着两人，高者为此画主人公王羲之，正在凝视前方河面上戏水的鹅群，神情专一，仔细观看鹅群戏水的多姿多态。王羲之的身后为幼童，似乎也随着主人正在观看一群白鹅。\n在画面左侧，作者有一首七言题诗： “修竹林间爽致多，闲庭坦腹意如何。为书道德遗方士，留得风流一爱鹅。”\n画卷隐居题签为乾隆御笔：“钱选《观鹅图》真迹，内府御玩。”下钤“神品”、“御赏”二玺。在画卷引首部分书有“山阴逸兴”四字，上钤“乾隆御笔”玺。画心左上方有乾隆丙寅御笔诗：“墓高风有足多，独推书圣却云何。行云流水参神韵，笔阵传来只白鹅。”画心上部钤“稽古右文之玺”，上有“苍”字，与之配套的有内府五玺：“三希堂精鉴玺”， “宜了孙”、 “乾隆鉴赏”、 “乾隆御览之宝”与“石渠宝笈”玺",[23,24,25,7,27,28,120,193,29,61,116,275,34,8764],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31301d79c761a30f82e35acb1616dd0c.jpg","23.2X92.7厘米",[],{"id":8769,"slug":8770,"title":8771,"dynasty":18,"author":1598,"museum":1514,"description":8772,"tags":8773,"thumbUrl":8774,"material":442,"size":8775,"collection":42,"collections":8776,"showCount":8675,"zanCount":48,"manualWeight":48,"mainColor":128},221503,"yuan-pu-gui-fan-tu-mu-xi-221503","远浦归帆图","《远浦归帆图》为《潇湘八景图》之一。“潇湘”这一意象在中国画中具有特殊的地位。“潇湘山水”的出现，或许是与宏大的帝国山水对立的，它具有更强烈的私人属性，属于性灵的山水篇章。潇湘山水并非是指今天的“潇湘洞庭”，而是泛指一种江湖的情调与雅趣。牧溪和尚以“潇湘”为旨，融禅理于画，可谓画中有禅，禅中有画。今读《远浦归帆图》，只为见本心。",[23,24,114,29,7,115,34,196,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1af47130223d09239906eae4799cb.jpg","32.5*112.7CM",[42,124,103],{"id":8778,"slug":8779,"title":8780,"dynasty":18,"author":1761,"museum":56,"description":4070,"tags":8781,"thumbUrl":8782,"material":384,"size":4073,"collection":42,"collections":8783,"showCount":8675,"zanCount":48,"manualWeight":48,"mainColor":49},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷",[23,24,25,7,29,118,27,117,34,37,610,2520,420,5564,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg",[42,124,103],{"id":8785,"slug":8786,"title":8787,"dynasty":18,"author":8788,"museum":227,"description":8789,"tags":8790,"thumbUrl":8791,"material":140,"size":8792,"collection":42,"collections":8793,"showCount":8675,"zanCount":48,"manualWeight":48,"mainColor":128},221322,"shi-yong-tu-quan-juan-zhang-xian-221322","十咏图全卷","张先","此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。\n南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。\n张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。\n这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。\n此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。\n1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”",[23,24,25,7,27,29,62,116,64,115,34,117,61,193,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43225b3fa18322ee72418abdc181ec0.jpg","画心纵52厘米，横125.4厘米",[42,124,103],{"id":8795,"slug":8796,"title":8797,"dynasty":133,"author":534,"museum":151,"description":8798,"tags":8799,"thumbUrl":8800,"material":442,"size":8801,"collection":124,"collections":8802,"showCount":8675,"zanCount":48,"manualWeight":48,"mainColor":128},220889,"zhong-jiang-die-zhang-juan-zhao-meng-fu-220889","重江叠嶂卷","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。卷首仅存“嶂图”二字，余字残缺。",[24,25,7,114,118,29,923,30,468,34,690,4865,3004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f892218196d47fd9afe5964f960f54.jpg","该幅28.4x176.4公分；隔水一 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）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。",[23,7,28,27,119,193,90,1009,254,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57852e2c7d3771acfec8f2e8b15502eb.jpg","16.8x87厘米",[44,45],{"id":8813,"slug":8814,"title":8815,"dynasty":18,"author":2005,"museum":1270,"description":8816,"tags":8817,"thumbUrl":8818,"material":78,"size":8819,"collection":42,"collections":8820,"showCount":8675,"zanCount":914,"manualWeight":48,"mainColor":49},219730,"chen-feng-tu-ma-he-zhi-219730","陈风图","陈国始封于西周初年，建都于今淮阳县，前后延续了500多年。该国以鸟为崇拜对象，简礼仪而重巫祠，其俗善歌舞，民风浪漫开放，这些都在《诗经·陈风》中得以体现。马和之创作的这组《陈风图》以浅显易懂的绘画语言解读了当时的文化与礼仪。《诗经》爱好者一定不能错过。马和之是南宋画家，为南宋宫廷画院中官品最高的画师，居御前画院十人之首。擅长人物、佛像、山水，其绘画风格与唐代吴道子相仿，人称“小吴生”。",[23,24,25,7,174,27,29,61,62,116,34,63,64,120,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459c29b66cb238c23aa756f3463369ea.jpg","纵26.8、横731.5厘米",[42],{"id":8822,"slug":8823,"title":8824,"dynasty":18,"author":7097,"museum":416,"description":8825,"tags":8826,"thumbUrl":8827,"material":1604,"size":8828,"collection":261,"collections":8829,"showCount":8675,"zanCount":1106,"manualWeight":48,"mainColor":128},218938,"jun-gu-tu-gong-kai-218938","骏骨图","《骏骨图》绘一匹老马，瘦骨嶙峋，低首漫步风中，无辔头、缰绳，鬓尾在风中微动，腰间15条肋骨历历可数，铜骨铁臀，精神矍铄，仍有千里之志。",[23,24,25,7,174,114,90,119,120,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2baa8be9cf7b52aad181b30341ca78.jpg","纵29.9厘米，横56.9厘米",[261,543,103],{"id":8831,"slug":8832,"title":8833,"dynasty":54,"author":495,"museum":151,"description":8834,"tags":8835,"thumbUrl":8836,"material":442,"size":8837,"collection":217,"collections":8838,"showCount":8839,"zanCount":48,"manualWeight":48,"mainColor":128},234187,"wen-zheng-ming-jiang-nan-chun-tu-bing-shu-ci-juan-wen-zheng-ming-234187","文徵明江南春图并书辞卷","本图纸本轴装，纵106厘米，横30厘米。文徵明（1470-1559）自题：“江南春”（八分书）；并书追和云林先生词二首（行草书）。此图成于嘉靖二十六年丁未春二月（1547），作者时年78岁，画中的图像，平远湖山，绿树高耸，高士乘舟横过，远处临水人家，这是江南太湖景色。",[23,24,7,25,120,114,29,34,117,35,63,64,196,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b1c1a838314382435f0ddc9dcfafa8.jpg","106.00×30.00cm",[],53,{"id":8841,"slug":8842,"title":8843,"dynasty":54,"author":8844,"museum":20,"description":8845,"tags":8846,"thumbUrl":8847,"material":696,"size":217,"collection":217,"collections":8848,"showCount":8839,"zanCount":48,"manualWeight":48,"mainColor":128},234167,"song-zhu-mei-juan-chen-jia-yan-234167","松竹梅卷","陈嘉言","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[23,154,24,25,7,114,664,193,119,276,275,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb706e263f815b90ab97a1bb3c330a393.jpg",[],{"id":8850,"slug":8851,"title":8852,"dynasty":18,"author":430,"museum":56,"description":8853,"tags":8854,"thumbUrl":8856,"material":140,"size":8857,"collection":217,"collections":8858,"showCount":8839,"zanCount":1106,"manualWeight":48,"mainColor":49},232878,"gua-guo-cao-chong-tu-juan-yi-ming-232878","瓜果草虫图卷","宋代绘画是中国传统艺术当之无愧的颠峰，形成了琳琅满目的各式题材与流派，而它最具代表的特点是画家深入的观察与细腻的表达，因此产生出叹为观止的精妙画作。这既源于宋代兴起的理学精神，强调“格物”；亦源于宋代人对于生活的热爱，使他们乐于描绘世界的细微处——例如一类以瓜果作为题材的花鸟画作品。",[23,24,25,7,27,28,209,8855,336,337,908,3676,909,1949],"瓜果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51b48aaaf0d6e93f2e0fb70756a9d19.jpg","41x197.3厘米",[],{"id":8860,"slug":8861,"title":8862,"dynasty":149,"author":8863,"museum":4758,"description":8864,"tags":8865,"thumbUrl":8866,"material":140,"size":8867,"collection":217,"collections":8868,"showCount":8839,"zanCount":48,"manualWeight":48,"mainColor":49},232620,"fan-bu-xue-wei-tu-juan-hu-qian-232620","番部雪围图卷","胡虔","胡瓌与胡虔父子的生卒年均不详，他们父子熟悉草原生活，专绘游牧民族形形色色的生活场景，内容包括卓歇、牧马、射骑、按鹰、撬幕、汲泉等，创作丰富，描绘极为传神生动。\n[五代·后唐]镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,24,25,7,28,27,61,90,1009,1123,230,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb672acb1f1813c352c1c5db3e6cbe11.jpg","28.8×117厘米",[],{"id":8870,"slug":8871,"title":8872,"dynasty":54,"author":55,"museum":227,"description":8873,"tags":8874,"thumbUrl":8875,"material":1050,"size":1051,"collection":217,"collections":8876,"showCount":8839,"zanCount":48,"manualWeight":48,"mainColor":128},228438,"lin-guan-xiu-bai-miao-luo-han-tu-juan-chou-ying-228438","临贯休白描罗汉图卷","所绘罗汉,有的庞眉大目,有的高颧隆鼻,面貌都是“胡貌梵相”,这种奇异之相,立意免俗。",[23,24,25,7,174,60,173,61,7958,4337,5861,1009,117,1071,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f322aff8127d791c2c05a48d900a610.jpg",[],{"id":8878,"slug":8879,"title":8880,"dynasty":18,"author":507,"museum":227,"description":3109,"tags":8881,"thumbUrl":8882,"material":217,"size":217,"collection":217,"collections":8883,"showCount":8839,"zanCount":1106,"manualWeight":48,"mainColor":185},227689,"shi-long-tu-juan-chen-rong-227689","十龙图卷",[23,24,25,7,114,511,29,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6cf259cdc833e34e4a030ea74ea01f.jpg",[],{"id":8885,"slug":8886,"title":8887,"dynasty":54,"author":7586,"museum":151,"description":4106,"tags":8888,"thumbUrl":8889,"material":384,"size":8890,"collection":45,"collections":8891,"showCount":8839,"zanCount":48,"manualWeight":48,"mainColor":128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，上方云气翻涌，龙形或探爪怒目，或摆尾盘空，姿态迥异，威灵毕现。作者以浓淡墨色区分虚实，云气晕染朦胧变幻，龙身勾勒精细，鳞爪筋骨分毫可见，将神龙的谲诡威严与天地交融的磅礴气韵尽数铺展。仿佛能听闻隐隐龙吟，见云浪随龙势翻涌，把神龙隐现于云水间的神秘感完美呈现，尽显画龙技法的高妙，营造出幽玄雄浑的意境，摄人心魄。",[23,24,7,114,511,1071,8952,1045,60],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f6fc04f8b5ebd0e26fc878861835af.jpg",[],{"id":8956,"slug":8957,"title":8958,"dynasty":54,"author":8959,"museum":227,"description":8960,"tags":8961,"thumbUrl":8964,"material":1050,"size":1051,"collection":217,"collections":8965,"showCount":8945,"zanCount":1106,"manualWeight":48,"mainColor":128},287414,"lin-li-gong-lin-wu-bai-luo-han-tu-juan-wu-bin-287414","临李公麟五百罗汉图卷","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,154,24,25,7,27,1044,8962,7958,571,258,8963,117,4714,60],"宗教画","猕猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649847a4103d91e1042f3e8d8a5d52a4.jpg",[],{"id":8967,"slug":8968,"title":8969,"dynasty":250,"author":819,"museum":20,"description":8970,"tags":8971,"thumbUrl":8972,"material":696,"size":217,"collection":217,"collections":8973,"showCount":8945,"zanCount":1106,"manualWeight":48,"mainColor":128},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[23,24,7,114,118,120,174,29,61,115,117,34,2408,1298,420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg",[],{"id":8975,"slug":8976,"title":8977,"dynasty":18,"author":716,"museum":8978,"description":8979,"tags":8980,"thumbUrl":8981,"material":442,"size":8982,"collection":217,"collections":8983,"showCount":8945,"zanCount":1106,"manualWeight":48,"mainColor":49},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,154,24,25,7,27,29,118,28,482,483,115,254,116,196,63,64,765,61,404,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":8985,"slug":8986,"title":8987,"dynasty":133,"author":1867,"museum":151,"description":8988,"tags":8989,"thumbUrl":8990,"material":442,"size":8991,"collection":217,"collections":8992,"showCount":8945,"zanCount":48,"manualWeight":48,"mainColor":128},231338,"an-chu-zhai-tu-yuan-dai-ji-jin-zhi-san-ni-zan-231338","安处斋图－元代集锦之三","《安处斋图》，近景一脉土坡，树三五株，草屋一座，中间上方空白，以示淼淼湖波，山脉淡淡，天宇明朗，前所未有的调调。右下倪瓒题诗：“湖上斋居处士家。淡烟疎柳望中赊。安时为善年年乐。处顺谋身事事佳。竹叶夜香缸面酒。菊苗春点磨头茶。幽栖不作红尘客。遮莫寒江卷浪花。十月望日。写安处斋图。并赋长句。倪瓒。”不隐不仕，漂泊江湖，这“安处斋”可是云林心之安顿处?\n此图右上乾隆爷题款。乾隆爷爱题款，没办法，这画曾经是人家家藏的，随手拿来就写了。而且，当时，没有人说他没倪瓒写得好。可是如今，这画安在，这画中人，都去了哪里?",[154,24,25,7,114,29,118,120,193,690,3730,1123,1286,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1742d69b49bcf6d9e560d192602cca.jpg","纵33cm 横89.4cm",[],{"id":8994,"slug":8995,"title":8996,"dynasty":18,"author":430,"museum":227,"description":8997,"tags":8998,"thumbUrl":9002,"material":217,"size":217,"collection":217,"collections":9003,"showCount":8945,"zanCount":48,"manualWeight":48,"mainColor":128},227561,"mo-zhou-fang-gong-ji-diao-qin-tu-quan-juan-yi-ming-227561","摹周昉宫妓调琴图全卷","《调琴啜茗图》，又名《弹琴仕女图》、《宫妓调琴图》，传为周昉所作，并为其仕女画的代表之作。图绘三位坐于庭院的贵妇，在两位侍女的陪伴下，或把弹调音、或托盏品茶，表现出贵族妇女闲散恬静的生活。《调琴啜茗图》现存多幅摹本，如纳尔逊-阿特金斯艺术博物馆收藏的完成于宋代的绢质摹本、弗利尔美术馆收藏的绘制于明代的纸质摹本、京都国立博物馆收藏的带有仇英款的绢质摹本。极为巧合的是辽宁省博物馆收藏有两卷《调琴啜茗图》，一件为清宫旧藏，曾经《石渠宝笈》续编著录，署款“周昉”，实为后人仿本。另一件则为清代扬州画家管希宁所摹。两件与前述作品均作同一主题内容，今展出者为清宫旧藏之本。",[23,24,154,7,60,28,27,61,155,8999,157,9000,404,254,193,297,9001],"宫妓","琴","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a8be6ac76555b6613aa727cae2fb3c.jpg",[],{"id":9005,"slug":9006,"title":9007,"dynasty":18,"author":4114,"museum":227,"description":9008,"tags":9009,"thumbUrl":9012,"material":217,"size":217,"collection":217,"collections":9013,"showCount":8945,"zanCount":48,"manualWeight":48,"mainColor":49},227519,"yan-jiang-die-zhang-wang-shen-227519","烟江叠嶂","《烟江叠嶂图》是宋代画家王诜创作的一幅设色画，现藏于上海博物馆。\n《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。",[23,24,763,9010,7,26,118,405,2560,37,9011,605,9007],"设色画","溪瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4632dd73f474257bd583fa36c4a4a423.jpg",[],{"id":9015,"slug":9016,"title":9017,"dynasty":54,"author":8400,"museum":380,"description":9018,"tags":9019,"thumbUrl":9020,"material":442,"size":9021,"collection":543,"collections":9022,"showCount":8945,"zanCount":914,"manualWeight":48,"mainColor":128},222527,"hua-guan-yin-shu-jin-gang-jing-he-bi-quan-juan-wang-fu-222527","画观音书金刚经合璧全卷","画卷右侧绘观音画像，观音打坐念经，一旁的童子双手合十；长卷左侧以行楷书写《金钢金》全篇，字体工整温润，雅致平和。王绂，一作芾，又作黻，号九龙山人，明代画家。",[23,154,24,25,7,173,540,114,537,61,275,29,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F493d6433218fdef685f94add11b08e75.jpg","24.6x78",[543],{"id":9024,"slug":9025,"title":9026,"dynasty":54,"author":9027,"museum":151,"description":9028,"tags":9029,"thumbUrl":9030,"material":27,"size":9031,"collection":124,"collections":9032,"showCount":8945,"zanCount":1106,"manualWeight":48,"mainColor":128},222321,"qian-li-jiang-cheng-tu-juan-2-zhou-long-222321","千里江程图卷-2","周龙","周龍（明熹宗天啟一年（1621））",[24,7,114,118,29,61,4714,117,64,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc925b21d2ce211694c8fee93765b8769.jpg","该幅32.2x825.7厘米，隔水一11厘米，隔水二10.4厘米",[124,45],{"id":9034,"slug":9035,"title":9036,"dynasty":18,"author":716,"museum":20,"description":9037,"tags":9038,"thumbUrl":9040,"material":40,"size":9041,"collection":217,"collections":9042,"showCount":8945,"zanCount":48,"manualWeight":48,"mainColor":49},221582,"chang-xia-jiang-si-tu-li-tang-221582","长夏江寺图","该图描绘了长江岸上群峰罗列，寺观丛林，互相映带。江水粼粼，风帆出没于其间，气势雄伟壮阔。\n用笔方硬坚重，山石峭丽雄浑，气魄雄伟，境界浩莽，用墨善用墨沉沉的、浓厚的墨韵，厚实而滋润。",[23,154,24,25,7,27,29,118,34,405,602,9039],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F855261dbfdf4c3b113712ec8417c0e89.jpg","纵：44厘米，横：249厘米",[],{"id":9044,"slug":9045,"title":9046,"dynasty":18,"author":9047,"museum":4279,"description":9048,"tags":9049,"thumbUrl":9050,"material":442,"size":9051,"collection":543,"collections":9052,"showCount":8945,"zanCount":48,"manualWeight":48,"mainColor":128},221463,"xie-chang-yuan-zuo-you-zi-jing-ci-wen-tian-xiang-221463","谢昌元座右自警辞","文天祥","谢昌元座右辞卷，全称“文天祥书《谢昌元座右自警辞》”长卷，南宋 书，纸本。\n纵6.7厘米，横5.7厘米。\n草书，71行596字，计（自警辞）正文44行15字，天祥跋文27行281字。\n钤“文天祥氏”朱文印，卷后有王应麟书赞语、元代蒋岩、明代万韫辉、郝智、廖驹、程启充跋文及谢昌元后人谢源小楷书谢昌元《行实》。\n以行书在此卷包首题签“文天祥书谢昌元座右铭。\n内府鉴藏。\n”下钤“神品”、“乾隆宸翰”之印。\n文天祥（126－128），原名云孙，字宋瑞，又字履善，号文山。\n吉州庐陵（今 ）人。\n南宋杰出的民族英雄和爱国诗人。\n宝祐四年（1256）年进士第一，因父丧未受官职。\n开庆 初年（1259）蒙古军攻鄂州（今 ）， 董宋臣请理宗迁都以避敌锋，文天祥上疏请斩董宋臣，以振奋人心，并献御敌之计，未被采纳。\n后历任刑部郎官，知瑞州等职。\n咸淳六年（127），因得罪奸相贾似道而遭到罢斥。\n德祐元年（1275）正月，闻元军东下，文天祥在赣州组织义军，开赴临安（今杭州，当时南宋的京城）。\n次年被任为右丞相兼枢密使。\n其时元军已进逼临安，被派往元营中谈判，遭扣留，押往北就。\n二月底，天祥与其客杜浒等十二人，夜亡入真州。\n复由海路南下，至福建与张世杰、陆秀夫等坚持抗元。\n景炎二年（1277），进兵 ，收复州县多处。\n不久，为元重兵所败，妻子儿女皆被执，将士牺牲甚众，天祥只身逃脱，乃退 继续抗 。\n后因叛徒引元兵袭击，同年十二月，在五坡岭（今广东海丰县）被俘。\n元将张弘范迫其招降张世杰，乃书《 》诗以诉之。\n末句云：“人生自古谁无死，留取丹心照汗青。\n”次年，被押送大都（今北京），囚禁四年，经历种种严酷考验，始终不屈。\n于128年从容就义，年仅47岁。\n文天祥创作了大量的诗、词和散文作品。\n其中诗作达百余首，成就很高。\n有《 》，其中有《过零丁洋》、《正气歌》等千古绝唱。",[23,119,7,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b38d55b9a799e7ddfed90fa50dcef5.jpg","纵36.7厘米，横335.7厘米",[543],{"id":9054,"slug":9055,"title":9056,"dynasty":133,"author":534,"museum":9057,"description":9058,"tags":9059,"thumbUrl":9061,"material":9062,"size":9063,"collection":543,"collections":9064,"showCount":8945,"zanCount":914,"manualWeight":48,"mainColor":128},220836,"bei-long-geng-yun-shu-juan-zhao-meng-fu-220836","北陇耕云书卷","亳州市博物馆","该帖行草相间，其气势如大河波涛，滚滚直下，神采照人，其用笔如龙飞凤舞，转折自如，百炼刚化，为绕指柔，实为罕见，代表着赵孟頫行草书的最高水平，反复谛观，时时令人动临池之兴。",[23,25,7,120,119,114,193,1071,9060,29],"陇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7104a163641e42f4f36ddf0344ee4184.jpg","青石","纵29厘米，横222厘米",[543],{"id":9066,"slug":9067,"title":9068,"dynasty":54,"author":269,"museum":1100,"description":1429,"tags":9069,"thumbUrl":9071,"material":285,"size":1432,"collection":217,"collections":9072,"showCount":8945,"zanCount":48,"manualWeight":48,"mainColor":128},220097,"shi-er-mo-hua-tu-juan-1-xu-wei-220097","十二墨花图卷-1",[24,25,7,114,272,209,1892,193,9070],"墨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b62eb182373bb75f2464f99871c93e.jpg",[],{"id":9074,"slug":9075,"title":9076,"dynasty":168,"author":430,"museum":1514,"description":9077,"tags":9078,"thumbUrl":9079,"material":285,"size":9080,"collection":543,"collections":9081,"showCount":8945,"zanCount":1106,"manualWeight":48,"mainColor":128},219859,"shi-shuo-xin-shu-juan-di-liu-can-juan-yi-ming-219859","世说新书卷第六残卷","《世说新书》是笔记小说集的一种，为中国六朝时代的南朝刘宋文学家临川王刘义庆（403—444）著，将东汉末年到东晋间名士的言行或逸事，以三十八个部门分别集录，并由南朝梁的文学家刘峻（字孝标，462—521）作注。",[23,6048,7,537,119,1973,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa56aa6c1c5966b809f57b2827d750550.jpg","纵27.1cm，横397.0cm",[543],{"id":9083,"slug":9084,"title":7126,"dynasty":18,"author":430,"museum":151,"description":9085,"tags":9086,"thumbUrl":9091,"material":78,"size":9092,"collection":42,"collections":9093,"showCount":8945,"zanCount":48,"manualWeight":48,"mainColor":49},219014,"mu-niu-tu-yi-ming-219014","小河两岸溪流纵横，在树荫下草木茂盛，是放牧的好地方。牛群由六头牛组成，其中三头牛在争吵后相互厮打。而另外两个牧童则坐在牛背上，静静地交谈。笔力强劲，墨色厚重，画面没有标记，日期较晚。",[23,24,25,114,27,28,7,91,1009,6599,34,639,117,63,420,29,3642,118,195,9087,2564,486,7835,692,9088,9089,9090,8068],"野趣","幼兽","动态","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dd986111c132cf50382a2bc3bf6d21.jpg","68.2x140.3",[42],{"id":9095,"slug":9096,"title":9097,"dynasty":18,"author":333,"museum":111,"description":9098,"tags":9099,"thumbUrl":9101,"material":217,"size":217,"collection":217,"collections":9102,"showCount":8945,"zanCount":48,"manualWeight":48,"mainColor":9103},202725,"cao-chong-hua-die-tu-juan-yan-yan-nv-shi-202725","草虫花蝶图卷","长卷铺展间，草木葳蕤，群芳竞艳，蝶舞虫鸣似跃然绢上。工笔线条细腻婉转，设色清雅古艳，花瓣的柔润、蝶翅的轻透、虫豸的灵动皆刻画入神，尽显宋代花鸟画的写实风骨与雅致意趣。古朴绢本衬得花叶愈发鲜活，蜂蝶穿梭间仿佛可闻草木清香，将自然之趣凝于一卷，流露着画家对生命的细腻体察与精湛笔墨功底。",[24,154,7,28,27,209,336,4359,278,9100],"写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e19a8ad65d10fa60a01b79f888a5e80.jpg",[],"80715e",{"id":9105,"slug":9106,"title":9107,"dynasty":54,"author":55,"museum":227,"description":9108,"tags":9109,"thumbUrl":9113,"material":1050,"size":1051,"collection":217,"collections":9114,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},287413,"jie-bo-tu-juan-chou-ying-287413","揭钵图卷","此图系佛教故事画，描绘佛世尊为惩治鬼子母而将其幼子宾伽罗扣于钵下，鬼子母遣众小鬼意欲揭钵救子的情景。图中佛世尊神态安然地趺坐在莲花座上，众天神手执兵器耀武扬威地护其左右，正藐视地静观众小鬼徒劳无功的揭钵场面。小儿于钵中哭叫着张手求救，小鬼们不遗余力地用尽各种方法抢救，鬼子母面带忧色地被众孩儿团团围住，她显然已为解救幼子而心力交瘁。",[23,154,24,7,27,28,61,173,6818,9110,7378,3488,9111,540,119,193,9112],"佛陀","战马","战争场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932dc5ed50526f84734c179fdbbe4024.jpg",[],{"id":9116,"slug":9117,"title":9118,"dynasty":54,"author":9119,"museum":20,"description":9120,"tags":9121,"thumbUrl":9122,"material":1411,"size":217,"collection":217,"collections":9123,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":128},234188,"xun-yang-pi-pa-xing-tu-juan-li-shi-da-234188","浔阳琵琶行图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,25,7,27,28,114,29,61,115,64,34,90,4645,2560,230,116,654,2153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],{"id":9125,"slug":9126,"title":9127,"dynasty":133,"author":760,"museum":151,"description":9128,"tags":9129,"thumbUrl":9131,"material":9132,"size":9133,"collection":217,"collections":9134,"showCount":184,"zanCount":914,"manualWeight":48,"mainColor":49},231333,"zhong-shan-tu-yuan-dai-ji-jin-zhi-si-wu-zhen-231333","中山图-元代集锦之四","《中山图》绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。\n吴镇的艺术精髓在这副平淡无比的画作中体现无遗，《中山图》平铺直叙的描绘了再平凡不过的景象：七座山头大致左右对称簇拥一座主峰，即画题中的“中山”。较高大的山峰全都是特殊的平顶圆锥形，侧面微微隆起，这是吴镇绘画典型的造型。这几座山峰周边散布着山峦丘陵起起伏伏，一如荡漾的波浪；无论大小浓淡全都只有几种简单的形状；山峦没有真正的远近之别。谷间的树木被描绘得相当大，还有山头上灌木丛，几座山峰相形之下也显得不那么高峻。\n画中没有溪流、瀑布、人物、屋宇，甚至小径等等点缀。画面也没有表现任何能够显示季节和气候的特征，更没有云雾这种“通山川之气”的物象可以暗示流动或变化，全画沉浸在一种永恒的沉寂之中。即使在元代绘画之中也很难找到另外一幅画比《中山图》更显平静的。画中疏朗闲放的笔法，反复出现的简单物象在视觉上安抚镇定的效果，充分体现了平淡的境界。",[24,25,114,29,118,482,9130,34,1298,7],"峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75ab4b46854a6856c1d08010e0d4333.jpg","纸本 墨笔","26.4cmx90.7cm",[],{"id":9136,"slug":9137,"title":9138,"dynasty":54,"author":430,"museum":151,"description":9139,"tags":9140,"thumbUrl":9141,"material":384,"size":9142,"collection":217,"collections":9143,"showCount":184,"zanCount":1106,"manualWeight":48,"mainColor":49},223375,"chu-jing-tu-yi-ming-223375","出警图","此卷全本共两件，《出警图》和《入跸图》，皇帝出京称出警，回京称入跸。此图卷描绘明世宗由陆路谒陵的情景。庞大的皇家谒陵队伍，由北京城得胜门出发，画家沿途舖设，盛大的卫仪阵容，直至皇帝谒陵的目的地。",[23,24,25,7,27,28,61,90,29,34,4139,3164,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba7555859181efb34e956d465f1006b.jpg","92.1×2601.3cm",[],{"id":9145,"slug":9146,"title":9147,"dynasty":54,"author":9148,"museum":56,"description":9149,"tags":9150,"thumbUrl":9151,"material":9152,"size":9153,"collection":124,"collections":9154,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":128},222053,"hou-chi-bi-tu-juan-zhang-rui-tu-222053","后赤壁图卷","张瑞图","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[23,24,25,7,114,118,119,120,29,230,1123,117,404,116,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f9fcd5c11225b554a4e27bb19095e1.jpg","绫本水墨","27.9×320厘米",[124,103],{"id":9156,"slug":9157,"title":9158,"dynasty":18,"author":9159,"museum":20,"description":9160,"tags":9161,"thumbUrl":9162,"material":442,"size":9163,"collection":217,"collections":9164,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":128},221232,"dao-fu-zan-juan-quan-juan-di-yi-duan-fan-zhong-yan-221232","道服赞卷全卷-第一段","范仲淹","此帖是范仲淹为同年友人“平海书记许兄”所制道服撰写的一篇赞文，称友人制道服乃“清其意而洁其身”之举。宋代文人士大夫喜与道士交往，“道家者流，衣裳楚楚。君子服之，逍遥是与。”穿着道服，遂成一时风气。此卷行笔清劲瘦硬，结字方正端谨，风骨峭拔。时人称此帖“文醇笔劲，既美且箴。”为范仲淹晚年书。。",[23,154,25,7,537,119,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bcbaa000d4b623b9df17446a27bebd.jpg","34.8*47.9cm",[],{"id":9166,"slug":9167,"title":9168,"dynasty":168,"author":1305,"museum":20,"description":2877,"tags":9169,"thumbUrl":9170,"material":442,"size":9171,"collection":543,"collections":9172,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":2653},221055,"zheng-zuo-wei-tie-cang-ben-quan-juan-yan-zhen-qing-221055","争座位帖藏本全卷",[23,119,120,2917,7,1229,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19720981560762221af62aac56dad7b8.jpg","38x370cm",[543,1013],{"id":9174,"slug":9175,"title":9176,"dynasty":250,"author":430,"museum":651,"description":9177,"tags":9178,"thumbUrl":9180,"material":78,"size":9181,"collection":44,"collections":9182,"showCount":184,"zanCount":791,"manualWeight":48,"mainColor":49},219453,"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[23,24,7,27,28,61,90,29,34,640,9179,2520,1009],"狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[44,124],{"id":9184,"slug":9185,"title":9186,"dynasty":18,"author":430,"museum":111,"description":9187,"tags":9188,"thumbUrl":9189,"material":78,"size":9190,"collection":44,"collections":9191,"showCount":184,"zanCount":914,"manualWeight":48,"mainColor":49},218588,"ren-wu-gu-shi-tu-juan-ying-luan-tu-yi-ming-218588","人物故事图卷（迎銮图）","南宋佚名作家所作的《迎銮图》是一幅以描绘历史事件为选材的作品。这幅现藏于上海博物馆的作品，表现了南宋抗金战争中的一件重要历史事件——韦后南归。",[23,24,154,25,7,27,28,61,90,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8a11479e4109b860eb40b23814c4d0.jpg","横142.2厘米，纵26.7厘米",[44],{"id":9193,"slug":9194,"title":9195,"dynasty":133,"author":1344,"museum":227,"description":9196,"tags":9197,"thumbUrl":9198,"material":1050,"size":1051,"collection":217,"collections":9199,"showCount":9200,"zanCount":914,"manualWeight":48,"mainColor":128},290959,"lan-ting-guan-e-tu-qian-xuan-290959","兰亭观鹅图","宋钱选兰亭观鹅图卷：传说东晋大书法家王羲之生性喜鹅，曾见一道士有白鹅甚可爱，因书《黄庭经》以换之。此图即钱选据传说附会而成。近景树木蓊郁，竹林茂密，亭台掩映，白鹅戏水，王羲之凭栏观望。远山苍翠，村庄隐现于雾霭山林间。境界秀雅明润，风格古拙高逸。青绿设色，画法直追唐人。钱选（公元1239─1301年），浙江吴兴人。字舜举，宋景定间乡贡进士。为“吴兴八俊”之一。入元不仕，流连诗画以终其身。山水、人物、花鸟无不擅长。",[154,24,25,7,26,27,29,116,62,61,275,34,8764,64,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e36723340126cf3064bb0ea8d3c7df5.jpg",[],50,{"id":9202,"slug":9203,"title":9204,"dynasty":133,"author":4323,"museum":227,"description":9205,"tags":9206,"thumbUrl":9209,"material":1050,"size":1051,"collection":217,"collections":9210,"showCount":9200,"zanCount":1106,"manualWeight":48,"mainColor":49},283620,"chu-jiang-jun-chu-lie-tu-juan-wang-meng-283620","楚将军出猎图卷","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,7,27,61,9179,90,1009,9207,117,1123,9208],"猎犬","荒草","https:\u002F\u002Fos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厘米",[42,261],{"id":9313,"slug":9314,"title":9315,"dynasty":168,"author":7190,"museum":20,"description":9316,"tags":9317,"thumbUrl":9318,"material":140,"size":9319,"collection":543,"collections":9320,"showCount":9200,"zanCount":48,"manualWeight":48,"mainColor":49},221087,"lan-ting-shi-quan-juan-liu-gong-quan-221087","兰亭诗全卷","《兰亭诗》卷释文\n本幅无款印。\n卷前引首清乾隆皇帝行书题“笔谏遗型”，题签“兰亭八柱第四”，题记一段。又有瘦金体题签“唐柳公权书群贤诗”。\n卷后有宋邢天宠、杨希甫、习之、蔡襄（后添）、李处益、孙大年、王易、黄伯思（伪）、宋适，金王万庆，明王世贞（两段）、莫是龙、文嘉、张凤翼，清王鸿绪等题跋和观款。\n此书传为柳公权所书东晋穆帝永和九年（353年）三月三日，王羲之与谢安、孙绰等人在会稽（今浙江绍兴）兰亭修禊时与会者所赋的37首诗及诗序。\n本卷笔法僵硬粗糙，且多枯锋，但较自然率易。卷后宋代黄伯思尾题（伪）中云“传柳书”，细观之，个别字的用笔明显不是出自柳书，如：孙统四言诗中的“希”字、庾友四言诗中的“则”字、王涣之四言诗中的“足”字等末笔写的非常丑怪，字的结体亦多不够沉稳，失于浮躁，与柳氏所书王献之《送梨帖》后之题跋墨迹对比不但笔法不类，连结体也无丝毫相同之处。从诗文看，颇有不通处，如：把孙绰四言诗“怀彼伐木”误书为“怀彼代水”，把谢安四言诗“伊昔夫子”误书为“伊昔先子”。“伐木”是《诗经》中语，“夫子”是指孔丘，说明书写者是一位文墨不够精通之人。无论从艺术特征还是艺术水平来分析，该卷决非柳公权之笔。\n此卷断为宋以前抄本。从所录37首诗中可看出，个别用字不避宋讳，如谢安诗中“契慈玄执，寄教林丘”的“玄”字、王肃之诗中“嘉会欣时游，豁朗畅心神”的“朗”字等都没有避北宋始祖皇帝赵玄朗之讳。另外从书法的主体风格看，推测应写于唐代，与杜牧墨迹《张好好诗卷》大略相近，并且是信笔直书，不是临仿得来。作为唐抄古本，此卷与敦煌遗书中《文选·陆机短歌行等残卷》（伯2554）、《玉台新咏卷第二残卷》（伯2503）有同样的文学价值。\n宋《宝章待访录》，明《东图玄览》、《清河书画舫》、《清河见闻表》，清《珊瑚网书凭》、 《式古堂书画汇考》、《大观录》、《石渠宝笈·续编》、《石渠随笔》著录。",[23,25,119,7,120,537,193,114,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8d7f88a916d9db75382a5a25a16e8.jpg","纵26.5厘米，横365.3厘米",[543,1013],{"id":9322,"slug":9323,"title":9324,"dynasty":168,"author":2838,"museum":227,"description":9325,"tags":9326,"thumbUrl":9327,"material":442,"size":9328,"collection":543,"collections":9329,"showCount":9200,"zanCount":1106,"manualWeight":48,"mainColor":128},221071,"zhuan-lun-sheng-wang-jing-quan-juan-zhong-shao-jing-221071","转轮圣王经全卷","自从佛教传入中土以后，写经书法应运 而生，以至于成为除壁画、造像艺术之外又一 绚丽夺目的宗教文化胜景。\n《 转轮圣王经》此卷前后题跋共有十八处，从中可以看出，欣赏者不乏知名人物，如元代仇远，明代韩逢禧，清代梁章钜、张之洞、李文田、吴大 澂、赵之谦等。而在元人题跋中有一条曰：“……虎林盛彪……钱塘仇远、同郡曹良史， 至元甲午二月十一日同观于困学斋。”困学斋 属鲜于枢斋名。虽难以据此认定此物即是鲜于枢的藏品，但至少可以说它曾为鲜丁枢寓目过。\n\n今观此卷书法，上承陈隋正楷遗风，兼收欧、虞两家笔韵，超凡脱俗，引人入定。其用笔匀净遒劲，结体疏密开合适度，允称初唐写经之精品，堪与《善见律》、《灵飞经》等媲美。学书者问津于此，必当豁然开朗，收事半功倍之效。",[23,540,119,537,7,25,173,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231f989d1c27f5c29d4ea13a79322f01.jpg","23.5x289.5",[543,1013],{"id":9331,"slug":9332,"title":9333,"dynasty":168,"author":321,"museum":151,"description":9334,"tags":9335,"thumbUrl":9339,"material":217,"size":9340,"collection":543,"collections":9341,"showCount":9200,"zanCount":1106,"manualWeight":48,"mainColor":128},221063,"shi-ba-xue-shi-yu-zhi-ning-shu-zan-juan-yan-li-ben-221063","十八学士于志宁书赞卷","唐太宗在做秦王时建“文学馆”，收聘贤才，以杜如晦、房玄龄、于志宁、苏世长、姚思廉、薛收、褚亮、陆德明、孔颖达、李玄道、李守素、虞世南、蔡允恭、颜相时、许敬宗、薛元敬、盖文达、苏勗十八人并为学士。复命画家阎立本为十八学士画像， 即为《十八学士写真图》，褚亮题赞。当时获唐太宗选入文学馆者称为“登瀛洲”，后人有所谓“十八学士登瀛洲”，又因唐太宗常与门下十八学士弈棋，后人因此画有《十八学士弈棋图》。",[119,120,114,7,25,61,442,3196,9336,9337,9338,5125],"人物题材","书卷形式","笔墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f296a09018a42795a522f41118a330.jpg","29.7x475",[543,1013],{"id":9343,"slug":9344,"title":9345,"dynasty":54,"author":3914,"museum":227,"description":9346,"tags":9347,"thumbUrl":9348,"material":7,"size":9349,"collection":543,"collections":9350,"showCount":9200,"zanCount":1106,"manualWeight":48,"mainColor":185},220959,"zi-jia-shi-juan-dong-qi-chang-220959","紫茄诗卷","《董其昌书法经典鉴赏》是216年四川美术出版社出版的图书，作者是周世闻。\n董其昌，明代书画家。\n书法出入晋唐，自成一格，能诗文，刻有《戏鸿堂帖》。",[23,25,7,119,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf60a44922b4e634d8287b3b643ba82e.jpg","长414厘米、高24．5厘米",[543],{"id":9352,"slug":9353,"title":9354,"dynasty":54,"author":7606,"museum":8087,"description":9355,"tags":9356,"thumbUrl":9357,"material":9358,"size":9359,"collection":543,"collections":9360,"showCount":9200,"zanCount":48,"manualWeight":48,"mainColor":217},220716,"xing-shu-jie-quan-wang-chong-220716","行书借券","王宠字履仁，后更字履吉，号雅宜山人，吴县（今苏州）人。出生于业商家庭，父王贞雅好收藏古器物书画，并与文征明等贤达时相往来，情谊甚笃。王宠早年与兄王守在苏州太湖洞庭山随蔡羽求学，既而读书石湖之上，二十年中「非岁时省侍，不数数入城。」王宠生平以名节着闻，关于他性情高洁的记述屡见于文词，其洒然出尘的隐者形象深入人心。自正德庚午（1510）至嘉靖辛卯（1531）间，王宠共参加了八次科考，但皆以失败告终，最后一次赴试离他去世只有两年，可想见其终生都在为科名繁忙。\n\n嘉靖七年（1528）四月，王宠请文彭作中，向袁褒借银五十两。文物馆所藏王宠借券，为是次告贷的一纸票据。全券行书八行六十八字，尺幅细小，但历经累世题咏，已成一帧长手卷。券中，双方约定以二分起息，并于同年十二月连本带利偿还，券末有王宠与文彭署名及花押，从内容到形式适合于市井借贷的常例。尽管如此，此券是否真为一件当时借贷的凭据，历来意见不一，从卷后各家的题跋可以窥其大端。质疑者认为，王宠与袁氏交情素厚，借五十金本不必有券，即使有券，亦不必言利，因而仅以「游戏之笔」视之。不过因嘉靖七年是王宠第七次赴科试之年，不少人有见于王宠当时的经济状况和赴考花销，认为借贷之举应是确有其事，虽则王、袁有通财之谊，但既属借贷，王宠也就按著成规，正式立下了借据。\n\n此券后为好事者藏去，数经转徙，甚至一度险付劫灰，而终得以保全，三四百年中代有名贤题咏赞赏，考据二氏生平及往来唱酬之风雅韵事，盖皆当日诸君无从料想之事。惜天不假年，王宠得寿仅四十。虽然人生短暂，其生前的艺术成就已为他赢得书法史上重要的一席。明中期书法以吴门为盛，年轻书家辈出，而唯有王宠得与祝允明、文征明二巨公并称「三家」而无异议。王宠书艺成熟得较早，二十多时已初具规模，大体规摹永兴、大令，高蹈晋法，后虽日臻成熟，其初衷无改。此帧借券书于三十五岁时，属「晚期」之作，即呈现出他那种为世所知的书风。虽然在王宠的传世书作中，此借券不甚起眼，且非「用意之作」，却得后世跋者如林，有为之歌咏作长篇者，有详悉考之成文章者，实洋洋大观，是知王宠书迹可贵，不独以艺事之工。而此券的流传，无疑又为后世提供了「书以人重」的又一典范。",[23,119,25,7,120,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a5c0832584c8de37372e723ca0e418.jpg","水墨,纸本,手卷","24.3 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21.5厘米",[543],{"id":9362,"slug":9363,"title":9364,"dynasty":18,"author":430,"museum":227,"description":9365,"tags":9366,"thumbUrl":9367,"material":78,"size":217,"collection":44,"collections":9368,"showCount":9200,"zanCount":1106,"manualWeight":48,"mainColor":49},218380,"feng-yuan-dang-xiong-tu-juan-yi-ming-218380","冯媛当熊图卷","殿宇的静穆被熊咆撕碎，尘雾里冯媛挺身挡在御座前。她衣袂轻扬却身姿如松，直面鬃毛贲张的猛兽——利爪前探的寒芒，映在她凝定的眼眸里。身侧嫔妃敛袖疾退，裙裾纷乱间露惶然神色；侍御持械却难掩惊惶，唯有她的身影如砥柱般屹然。御座上的帝王扶案屏息，目光锁在那抹决绝的背影上。\n\n古卷设色沉雅，线条流转间将刹那的紧张凝固：猛兽的凶戾、众人的惊惧、冯媛的无畏，在绢素上交织成一曲勇气的绝唱。笔墨不刻意渲染却动人心魄，于鬓发的微颤、衣褶的飘转处见风骨，让千年后的观者仍能触到那份临危不乱的赤诚——不是张扬的豪壮，是静水流深般的担当，在古雅的色调里静静发光。",[23,154,24,25,7,28,27,61,1009,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a9c747976af01358494e9c913d07cb.jpg",[44],{"id":9370,"slug":9371,"title":9372,"dynasty":18,"author":9373,"museum":111,"description":9374,"tags":9375,"thumbUrl":9376,"material":217,"size":217,"collection":42,"collections":9377,"showCount":9200,"zanCount":48,"manualWeight":48,"mainColor":9378},202162,"ben-du-tu-juan-liang-tu-shan-202162","奔犊图卷","梁秃山","画面以简括笔墨勾勒奔牛动态，牛身墨色浓淡相间，肌肉张力隐现，四蹄腾空似奋力疾奔，尾梢甩动更添动感。旁侧小兽身形小巧，与壮牛形成对比，衬出牛之奔势。背景树木枝干疏朗，坡石以淡墨晕染，留白处尽显空濛，营造出野逸之境。整幅画作笔墨极简却意趣盎然，于瞬间动态中捕捉生命活力，尽显南宋文人画的写意精神与自然意趣。",[24,114,7,91,1009,34,6774,118,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6883540eba2ef1d4626cdca1f141cd96.jpg",[42],"a0855e",{"id":9380,"slug":9381,"title":9382,"dynasty":18,"author":8670,"museum":227,"description":8671,"tags":9383,"thumbUrl":9384,"material":1050,"size":1051,"collection":217,"collections":9385,"showCount":9386,"zanCount":1106,"manualWeight":48,"mainColor":49},288939,"xiao-xiang-ba-jing-yu-cun-luo-zhao-wang-hong-288939","潇湘八景-渔村落照",[24,25,154,7,114,29,606,2153,115,230,2993,7005,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc3334d2253ee018f96ae13d2a02c85.jpg",[],49,{"id":9388,"slug":9389,"title":9390,"dynasty":18,"author":716,"museum":227,"description":9391,"tags":9392,"thumbUrl":9393,"material":1050,"size":1051,"collection":217,"collections":9394,"showCount":9386,"zanCount":48,"manualWeight":48,"mainColor":49},288471,"jiang-shan-xiao-jing-tu-quan-juan-li-tang-288471","江山小景图全卷","此卷并无李唐签款，有一方祥哥刺吉公主的残印在画卷末缘上端。此卷中描绘一段沿江的山水景观，山中有各式建筑与山径穿绕，江上亦见船帆往来，人物活动丰富多样。画中山体以深浓轮廓线勾勒，藉石青与石绿烘染质面，间以简略皴笔构成凹凸，营造出坚实的山石效果。此一画风特色虽是与两宋之际李唐、萧照相近，但用笔更近阎次平，推测是近于第二代南宋院体画风之作。",[23,154,24,25,7,763,118,27,4347,605,602,115,62,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dff97c40d039455fddefa58f3ab617d.jpg",[],{"id":9396,"slug":9397,"title":9398,"dynasty":133,"author":430,"museum":227,"description":9399,"tags":9400,"thumbUrl":9402,"material":217,"size":217,"collection":217,"collections":9403,"showCount":9386,"zanCount":48,"manualWeight":48,"mainColor":128},238130,"qian-xuan-ba-hua-tu-juan-yi-ming-238130","钱选八花图卷","此作以淡墨轻勾花叶轮廓，设色清妍柔润，晕染细腻自然，依次绘就八种折枝花木：水仙挺秀清逸，冰姿玉骨；海棠秾艳温婉，娇蕊含露；梅枝疏朗俏立，花苞嫣红。各花神采独具，鲜活灵动，尽展草木清致。\n画面配行书题跋，书画合璧，兼具院体花鸟的精工雅致与元人简淡的文人意趣。绢色经岁月晕染泛黄，更添沉静古意，尽显元代写生花鸟的精妙造诣，将折枝花卉的生机与清雅神韵尽数铺陈，是设色花鸟中的上乘之作。",[23,24,7,209,28,27,280,194,1923,1924,3755,283,9401],"腊梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84d35e5ec06aaca0c1139e0bd88396b.jpg",[],{"id":9405,"slug":9406,"title":8583,"dynasty":250,"author":994,"museum":227,"description":9407,"tags":9408,"thumbUrl":9410,"material":217,"size":217,"collection":217,"collections":9411,"showCount":9386,"zanCount":1106,"manualWeight":48,"mainColor":128},234158,"hua-hui-juan-zhu-da-234158","八大山人花鸟承袭陈淳、徐渭写意花鸟画的传统，发展为阔笔大写意画法，其特点是通过象征寓意的手法，并对所画的花鸟、鱼虫进行夸张，以其奇特的形象和简练的造型，使画中形象突出，主题鲜明，甚至将鸟、鱼的眼睛画成“白眼向人”，以此来表现自己孤傲不群、愤世嫉俗的性格，从而创造了一种前所未有的花鸟造型。",[23,24,25,7,114,272,119,193,120,281,276,9409,3948,277,209],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10690432eee4f9791878f7dce4625503.jpg",[],{"id":9413,"slug":9414,"title":9415,"dynasty":250,"author":9416,"museum":227,"description":9417,"tags":9418,"thumbUrl":9419,"material":217,"size":9420,"collection":217,"collections":9421,"showCount":9386,"zanCount":48,"manualWeight":48,"mainColor":128},234137,"xi-hu-zai-he-tu-xiang-juan-xie-bin-234137","西湖载鹤图像卷","谢彬","谢彬，字文侯，上虞人，为曾鲸高足，善画人物，兼长山水，清朱彝尊云：“谢彬学曾鲸氏而有得者也。”所作《朱葵石像》录于《中国绘画史图录》，《颜修来题壁图像》册页录于《中国书画过目汇考附目》，《渔乐图》录于《赖古堂书画集》。张学曾，字尔唯，号学庵，会稽人，自幼好画，为“画中九友”之一，山水师董源，喜仿元人笔，苍秀疏简，妍而不甜，枯而不涩，传世作《仿倪云林山水图》，藏故宫博物院，《秋兴诗意图》册录于《虚斋名画录》，《赠别图》录于《中国绘画史册》。金古良，字射堂，山阴人，善画人物，作《无双谱》，集书、画、诗为一体，甚杰出，称誉海内。李因，字今生，号是庵，会稽人，女画家，工花卉禽鸟，画多水墨，苍老无闺阁气，精于写生，点染生动，大幅更佳，亦善刻，曾刻其师陈白阳像奉之，传世作《墨花鸟》卷藏故宫博物院，《鸟竹图》扇面，录于《铁琴铜剑楼藏扇集锦》，《荷花鸳鸯图》藏南京博物院。李因之夫葛无征，亦善山水。",[23,24,154,25,7,27,26,28,29,62,63,64,115,196,116,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349f77f272eba5b173d116e21d035d63.jpg","横：419.3cm，纵：16.7cm",[],{"id":9423,"slug":9424,"title":9425,"dynasty":133,"author":4788,"museum":20,"description":9426,"tags":9427,"thumbUrl":9428,"material":442,"size":9429,"collection":217,"collections":9430,"showCount":9386,"zanCount":48,"manualWeight":48,"mainColor":128},233810,"mu-dan-tu-juan-wang-yuan-233810","牡丹图卷","两幅画里的杜鹃、桃花却是点虱而成，虽然只是简单的用笔，却也表现出花朵的墨色变化。这些花鸟因用水墨表现出来，显得素洁安静给人以超凡脱俗之美。王渊的画是从淡彩晕染演绎出淡彩渲染，似乎是要通过淡彩画出五色绚烂的效果。而淡彩渲染又服从于总体效果，又有了浓墨渲染便有了墨色浓淡的层次。王渊的墨彩之所以能够如此绚丽，不得不归功于另一个重要因素——纸。中国画是离不开绢和纸的，就像笔离不开墨一样。绢和纸决定了一幅画的描绘，虽然有相同处，然而在具体的用笔用墨、气质上格调上还是有本质区别的。宋以前的画一般都是用绢，绢是丝织品，透明而有光泽，不散墨，可以一遍遍的描绘，更好的塑造形象。宋以后的画包括著色画一般是用纸来完成的。纸是植物制品，而绢是丝织品，性质不同就注定用两者作画会有不一样的效果。绢的运用在绘画上做出了辉煌的贡献，已经达到了极致，而纸的使用使笔墨发生了变化，使画有了另一种味道，因此也有了流派上的变迁。元代的画纸是一种质地坚硬、半生半熟的纸，一般水墨会停留在纸面上，遵循着配合到描绘对象的写实原则，水墨落在纸上就会出现似化非化的效果，线条会有一种渴润的韵致，墨色也会更加有苍茫之感。而中国古代画家用的纸都是精心取材，按着严谨的制造程序来做的，因此无论纸还是绢都是非常好的。而现代制纸大都没那么考究，或是有些制造经验已经失传了。",[24,154,25,7,114,28,209,278,193,2119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb9ec2e52112fc99757bf6c16e4be0f.jpg","纵37.7cm、横61.6cm",[],{"id":9432,"slug":9433,"title":9434,"dynasty":18,"author":716,"museum":227,"description":9435,"tags":9436,"thumbUrl":9437,"material":217,"size":217,"collection":217,"collections":9438,"showCount":9386,"zanCount":48,"manualWeight":48,"mainColor":49},227966,"gui-qu-lai-xi-tu-juan-li-tang-227966","归去来兮图卷","此作将陶潜归田之思铺陈于绢素之上，前段平远旷阔，烟波轻笼田舍村墟，农人往来、隐者凭栏，尽显乡居安闲意趣；后段峰峦崔嵬，林木蓊郁，幽涧流泉间高士策杖寻幽。\n笔墨糅合北宋山水的雄浑与苍劲院体笔法，勾勒简括，皴染厚重，丘壑幽邃与田园清逸相融。搭配纵逸题笔，诗书画印浑然一体，把守拙归园、寄情山水的林下襟怀淋漓展现，萧散静穆的隐逸气象扑面而来。",[154,24,25,7,114,27,29,61,62,63,64,116,254,117,1070,119,193,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5cc3cee1ceef518ee7b74df05ac966.jpg",[],{"id":9440,"slug":9441,"title":6961,"dynasty":250,"author":9442,"museum":1934,"description":9443,"tags":9444,"thumbUrl":9445,"material":9446,"size":9447,"collection":261,"collections":9448,"showCount":9386,"zanCount":48,"manualWeight":48,"mainColor":128},223124,"shui-xian-tu-song-si-ren-223124","宋思仁","几簇长卷水仙花，散落在峭壁、岩石、泥土上，叶片长长，花朵艳丽，一派生机勃勃的风沙。宋思人，名雅若，名如和，是山东两道官员。能诗，善戏，善识古人，精篆刻，多古篆。他画山水、花草树木，尤其是兰花。",[23,24,25,7,114,280,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e0da0bdc665e81096b22d4695c855d.jpg","绢本 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(1629)闰四月三日李流芳卒于檀园，享年五十五岁。钱谦益作《李长蘅墓志铭》，程嘉燧书丹，宋珏篆盖，侯峒曾作《祭李长蘅先生文》。清嘉定诗人林大中有诗夸其“忆当晚明时，官途亦多术。高士多鄙之，坚卧独不出。诗笔能清真，画品亦超轶。不拜千古事，名言殊简质。孝廉忧国家，呕血遂以卒。”大书画家董其昌曰：“其人千古其艺千古！”",[23,24,25,7,114,118,29,482,483,34,35,138,74,690,3863,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[124,103],{"id":9468,"slug":9469,"title":9470,"dynasty":18,"author":2035,"museum":227,"description":9471,"tags":9472,"thumbUrl":9473,"material":27,"size":9474,"collection":42,"collections":9475,"showCount":9386,"zanCount":48,"manualWeight":48,"mainColor":49},221486,"hao-shan-wu-shu-tu-juan-mi-you-ren-221486","好山无数图卷","全景以留白的云霭，穿梭于峰峦叠翠间，重山翠岭连绵不绝，自左而右、渐行空远。技法上以“米点”墨色铺陈山峦及树石，另以较为浅淡的墨色晕染沙渚岸边；工笔浓墨装点枝干、独桥及扁舟。画家铺陈山景的风格及技法，与其父米芾颇有相通之处，故《画继》中称其所作山水“点滴烟云，草草而成，而不失天真，其风气肖乃翁(芾)也”，故画史上有“大米”及“小米”之称。此幅充满诗意、适时应景的画题，可溯自其父米芾，甚而宋迪“萧湘八景”图。它旨在将游历山景的心境投射于画境中，透过米点皴染表现出来，诗画合一。",[23,154,24,25,7,114,118,119,193,29,482,1071,483,115,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[42,124,103],{"id":9477,"slug":9478,"title":9479,"dynasty":18,"author":415,"museum":1100,"description":9480,"tags":9481,"thumbUrl":9482,"material":78,"size":9483,"collection":42,"collections":9484,"showCount":9386,"zanCount":1106,"manualWeight":48,"mainColor":49},220333,"yuan-ming-gui-yin-tu-li-gong-lin-220333","渊明归隐图","本画将《归去来兮辞》原文分为七段配以相应的绘本，完整描绘渊明归去来的一连串情节，画面热闹，用笔工整讲究，但与《归去来兮辞》中所描写的略有出入，倒有些像是辞官后富贵还乡的场景。",[23,24,7,174,27,119,120,193,61,29,116,115,196,34,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68210320aa225634ebd2bcf13157b263.jpg","37.0x521.5",[42],{"id":9486,"slug":9487,"title":9488,"dynasty":54,"author":5285,"museum":1270,"description":9489,"tags":9490,"thumbUrl":9491,"material":720,"size":217,"collection":124,"collections":9492,"showCount":9386,"zanCount":48,"manualWeight":48,"mainColor":128},219893,"zhou-jin-tang-ji-chen-chun-219893","昼锦堂记","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[23,24,25,7,120,1892,664,114,27,61,62,63,64,115,116,254,117,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[124,543],{"id":9494,"slug":9495,"title":9496,"dynasty":18,"author":861,"museum":227,"description":9497,"tags":9498,"thumbUrl":9500,"material":1050,"size":1051,"collection":217,"collections":9501,"showCount":9502,"zanCount":48,"manualWeight":48,"mainColor":2653},288988,"gu-bai-tu-su-shi-288988","古柏图","苏轼（1037年1月8日—1101年8月24日），字子瞻，一字和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙、坡仙，汉族，眉州眉山（今四川省眉山市）人，祖籍河北栾城，北宋文学家、书法家、美食家、画家，历史治水名人。\n嘉祐二年（1057年），苏轼进士及第。宋神宗时在凤翔、杭州、密州、徐州、湖州等地任职。元丰三年（1080年），因“乌台诗案”被贬为黄州团练副使。宋哲宗即位后任翰林学士、侍读学士、礼部尚书等职，并出知杭州、颍州、扬州、定州等地，晚年因新党执政被贬惠州、儋州。宋徽宗时获大赦北还，途中于常州病逝。宋高宗时追赠太师；宋孝宗时追谥“文忠”。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛”；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。李志敏评价：“苏轼是全才式的艺术巨匠。”\n作品有《东坡七集》《东坡易传》《东坡乐府》《潇湘竹石图》《枯木怪石图》等。",[24,154,114,7,25,9499,230,6007,404,193,118],"古柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a070c6607dcc35014c7ddfa1ae14d46.jpg",[],48,{"id":9504,"slug":9505,"title":9506,"dynasty":54,"author":55,"museum":227,"description":1503,"tags":9507,"thumbUrl":9508,"material":1050,"size":1051,"collection":217,"collections":9509,"showCount":9502,"zanCount":48,"manualWeight":48,"mainColor":128},288005,"bai-miao-luo-han-tu-juan-xia-bu-chou-ying-288005","白描罗汉图卷（下部）",[23,154,24,25,7,174,114,61,29,230,117,173,7958],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170319a288dca7837131a3e85962f9be.jpg",[],{"id":9511,"slug":9512,"title":9513,"dynasty":149,"author":886,"museum":227,"description":9514,"tags":9515,"thumbUrl":9516,"material":1050,"size":1051,"collection":217,"collections":9517,"showCount":9502,"zanCount":48,"manualWeight":48,"mainColor":49},287427,"xia-jing-shan-kou-dai-du-tu-juan-hua-xin-dong-yuan-287427","夏景山口待渡图卷画心","用笔气势停匀，疏密浓淡，层层生发，甚为自然，笔笔皆活。其皴笔结体紧密，与冈峦的体势相生，融而为一。且有水晕墨章之妙，水坡之上，林木繁茂，而坡上浓淡，时以淡墨渲染，林间如透出阳光，极为生动。皴笔入骨，透于绢素，用笔一势，具方向感，运笔与气势，节奏相依存，为圆熟之境了。值得注意的还在于在其远山峰顶用笔有虚实、淡浓、隐现，极生动地表现了烟云出没，阳光明灭的空气感和空间感，真切地表现了夏山丽日下的神韵。与沈括所形容的董源《落照图》“远峰之顶，宛有反照之色，此妙处也”或米芾形容董源“峰顶不工”、“率多真意”，可以对看，一样佳妙。",[23,154,24,25,7,763,114,118,32,405,605,115,609,890,4804,9090],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32afd29366d0913db08119a85bdb0e2a.jpg",[],{"id":9519,"slug":9520,"title":9521,"dynasty":133,"author":2780,"museum":227,"description":7774,"tags":9522,"thumbUrl":9524,"material":1050,"size":1051,"collection":217,"collections":9525,"showCount":9502,"zanCount":48,"manualWeight":48,"mainColor":49},287305,"long-chi-jing-du-tu-wang-zhen-peng-287305","龙池竞渡图",[23,154,24,7,59,114,62,63,64,4803,61,193,119,7776,9523],"宫廷园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d18a1215d8f0edb9c0cf295fdfa17c.jpg",[],{"id":9527,"slug":9528,"title":9529,"dynasty":18,"author":2980,"museum":227,"description":2981,"tags":9530,"thumbUrl":9531,"material":1050,"size":1051,"collection":217,"collections":9532,"showC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《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,25,7,27,29,31,66,3874,6490,34,117,193,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg",[261,124,45],{"id":9689,"slug":9690,"title":2859,"dynasty":18,"author":9691,"museum":227,"description":9692,"tags":9693,"thumbUrl":9694,"material":217,"size":217,"collection":217,"collections":9695,"showCount":9652,"zanCount":1106,"manualWeight":48,"mainColor":2653},231022,"xia-shan-tu-qu-ding-231022","屈鼎","此作以全景铺展夏景山水，层峦叠嶂间烟岚轻萦，将盛夏山野的湿润苍翠晕染开来。山脚林木蓊郁繁茂，涧水穿林漱石，奔涌有声；江面波平水阔，帆影悠悠漾开水乡清宁。\n笔墨兼南北之妙，山石以硬朗勾勒配浅淡皴擦，既塑出雄奇山势，又以水墨晕染衬出山岚水汽的空濛柔润。整体意境兼具山野深幽与江天开阔，将盛夏山林的蓬勃生机与静谧空寂相融，尽显山水间的诗意野趣，藏着宋画写实又写意的隽永意韵。",[23,154,24,25,7,114,27,29,30,34,31,115,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923d6bb1796e097af3fbb0e3372b8990.jpg",[],{"id":9697,"slug":9698,"title":53,"dynasty":250,"author":9699,"museum":151,"description":9700,"tags":9701,"thumbUrl":9703,"material":470,"size":9704,"collection":103,"collections":9705,"showCount":9652,"zanCount":48,"manualWeight":48,"mainColor":128},224351,"qing-ming-shang-he-tu-shen-yuan-224351","沈源","此画以水墨为主，在用色上，只用赭色稍加勾染，充满清新淡雅之味。在画法上，明显借鉴了当时传入宫廷的西洋“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“布影由阔而狭，以三角量之”的立体效果。虽然受中国审美传统的限制，这种画法在图中有所淡化，但与传统的建筑画相比，三维景物的表现能力确实有了相当大的提高。",[23,154,24,7,114,27,59,62,9702,61,34,75],"街巷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856157ebafdded9d3904ea94b7eb62d2.jpg","34.8×1185.9厘米",[103],{"id":9707,"slug":9708,"title":9709,"dynasty":18,"author":2980,"museum":227,"description":8635,"tags":9710,"thumbUrl":9711,"material":140,"size":9712,"collection":42,"collections":9713,"showCount":9652,"zanCount":48,"manualWeight":48,"mainColor":49},221423,"mo-tang-wang-you-cheng-jiang-gan-xue-ji-tu-juan-yan-wen-gui-221423","摹唐王右丞江干雪霁图卷",[23,154,24,25,7,60,29,118,64,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F502e8ef62b5bf7a6eef655aaac89f06e.jpg","25.7x144cm",[42,124,103],{"id":9715,"slug":9716,"title":9717,"dynasty":168,"author":1721,"museum":111,"description":1722,"tags":9718,"thumbUrl":9720,"material":140,"size":9721,"collection":44,"collections":9722,"showCount":9652,"zanCount":48,"manualWeight":48,"mainColor":49},221084,"gao-yi-tu-mu-ke-sun-wei-221084","高逸图木刻",[23,24,25,7,28,27,61,404,34,193,119,120,297,9719],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff531a3b611b3a21aa2db9603ee4a93f9.jpg","45.2*168.7cm",[44,45],{"id":9724,"slug":9725,"title":8053,"dynasty":168,"author":4820,"museum":380,"description":9726,"tags":9727,"thumbUrl":9728,"material":442,"size":9729,"collection":543,"collections":9730,"showCount":9652,"zanCount":48,"manualWeight":48,"mainColor":128},221082,"qian-zi-wen-quan-juan-sun-guo-ting-221082","孙过庭（活动於七世纪後期），一说名虔礼，字过庭，河南陈留人，一说名过庭，字虔礼，浙江富阳人。根据本卷自题，为吴郡人，名过庭。出身寒微，迟至不惑之年始出任率府录事参军之职，以性高洁遭谗议而去官。之後，遂专注於书法研究。",[23,25,7,1892,119,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb478245946dbc530b0f20c7fa56686df.jpg","25.7cmX82.5cm",[543,1013],{"id":9732,"slug":9733,"title":9734,"dynasty":54,"author":1030,"museum":1270,"description":9735,"tags":9736,"thumbUrl":9737,"material":285,"size":9738,"collection":124,"collections":9739,"showCount":9652,"zanCount":48,"manualWeight":48,"mainColor":128},219799,"xi-shan-cao-tang-tu-tang-yin-219799","西山草堂图","这幅手卷名为《西山草堂》。它描绘了暮色朦胧中的山水风光。河岸青山连绵起伏。在画面前方，一位学者坐在他的乡村小屋里，享受着乡村隐居生活。打开手卷，可以看到更多的山水景色。将手卷展开，从左方一弯水路映入眼帘。这幅画有唐寅的亲笔题词。乾隆皇帝曾经也拥有过这幅画，画上有乾隆皇帝在公元1751年的题词。在山水画的下方有后来的收藏者和鉴赏家留下的11段文字，他们对画作或画家进行了评论。",[24,7,114,27,29,3398,34,35,33,690,118,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412ecac14e5fb577bdedc689f4edd938.jpg","32x876.8cm",[124],{"id":9741,"slug":9742,"title":9743,"dynasty":54,"author":9744,"museum":111,"description":9745,"tags":9746,"thumbUrl":9747,"material":122,"size":9748,"collection":44,"collections":9749,"showCount":9652,"zanCount":1106,"manualWeight":48,"mainColor":128},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,54,24,25,7,27,28,120,119,193,61,62,116,34,117,70,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[44,543],{"id":9751,"slug":9752,"title":1099,"dynasty":54,"author":430,"museum":1100,"description":9753,"tags":9754,"thumbUrl":9756,"material":285,"size":9757,"collection":124,"collections":9758,"showCount":9652,"zanCount":1106,"manualWeight":48,"mainColor":128},217955,"lian-she-tu-yi-ming-217955","《莲花社》说了慧远的故事：东晋元兴年间，慧远在庐山东林寺与十八位专修净土的圣人一起，寻求脱离污秽之地，希望往生极乐世界。",[23,154,24,7,25,173,6818,61,119,120,9755],"莲社","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15dee5dc0c3904ed22a998b96f72a044.jpg","30.1x595.8cm",[124,44],{"id":9760,"slug":9761,"title":1460,"dynasty":18,"author":650,"museum":227,"descr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同光十三绝重彩图卷","沈蓉圃","此作工笔重彩刻画入微，将十三位梨园宗师的神采风骨定格于卷上。生旦净丑各行当扮相俱全，衣饰纹样繁丽精工，珠翠翎毛分毫毕现。各人眉眼神态各有千秋，或威严凝重，或温婉柔媚，或诙谐灵动，既带着戏中角色的魂魄，又留存着名伶本人的气韵，将晚清京剧鼎盛之时的风华凝于尺幅之间，让百年前的梨园风姿鲜活重现于眼前。",[23,154,24,25,7,27,9799,28,61,9800,156],"重彩","戏曲人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a6d01122cb40fed604a2d2815de271.jpg",[],{"id":9804,"slug":9805,"title":9806,"dynasty":149,"author":9807,"museum":227,"description":9808,"tags":9809,"thumbUrl":9811,"material":1050,"size":1051,"collection":217,"collections":9812,"showCount":9766,"zanCount":48,"manualWeight":48,"mainColor":49},226153,"xie-sheng-zhen-qin-quan-juan-huang-quan-226153","写生珍禽全卷","黄筌","黄筌是五代时期最有名的宫廷画家，一个在前蜀、后蜀画院任职40年的大画家，入宋后，又得到宋太祖的激赏。入宋百年一直把他的笔法当作画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[23,24,154,7,28,27,1818,209,196,9810,1529,557,193],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f2cb06acdd7b030fbea827f9f0e.jpg",[],{"id":9814,"slug":9815,"title":9816,"dynasty":250,"author":3062,"museum":568,"description":9817,"tags":9818,"thumbUrl":9819,"material":3973,"size":9820,"collection":124,"collections":9821,"showCount":9766,"zanCount":48,"manualWeight":48,"mainColor":128},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[23,24,25,7,114,27,29,118,119,120,193,482,483,1298,62,34,404,692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg","纵25cm，横236cm",[124,103],{"id":9823,"slug":9824,"title":9825,"dynasty":54,"author":9561,"museum":380,"description":9826,"tags":9827,"thumbUrl":9828,"material":353,"size":9829,"collection":124,"collections":9830,"showCount":9766,"zanCount":48,"manualWeight":48,"mainColor":128},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[24,25,7,27,29,118,114,405,468,34,420,37,63,138,404,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[124,45],{"id":9832,"slug":9833,"title":9834,"dynasty":54,"author":9561,"museum":1934,"description":9835,"tags":9836,"thumbUrl":9840,"material":3865,"size":9841,"collection":124,"collections":9842,"showCount":9766,"zanCount":48,"manualWeight":48,"mainColor":128},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[23,24,7,27,118,29,117,34,62,116,63,64,37,690,3863,605,9837,5564,2038,420,9130,8420,3888,9838,9839],"丘壑","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[124,45],{"id":9844,"slug":9845,"title":9846,"dynasty":133,"author":1206,"museum":20,"description":9847,"tags":9848,"thumbUrl":9849,"material":40,"size":9850,"collection":44,"collections":9851,"showCount":9766,"zanCount":48,"manualWeight":48,"mainColor":49},221773,"zhang-guo-jian-ming-huang-tu-quan-juan-ren-ren-fa-221773","张果见明皇图全卷","此卷是元代画家任仁发人物故事画的代表作。图绘传说中的“八仙”之一张果老及其弟子谒见唐明皇的故事。画面截取张果老施法术于明皇前的片断。图右侧一老者坐绣墩上，着青衣，双掌向上，面带微笑作言语状。身前一小童于布袋中放出鞍辔皆全的小驴，驴作奔跑状。左侧一人着黄袍，戴幞头，坐于椅上，头略低，对所发生的一切表现出关注的神情。此人身材壮伟，面相庄严，显然是唐玄宗李隆基。其身后站立的四名侍从神情各异。全图设色明丽古雅，人物表情生动细腻，瞬间的动态表现得极为成功，小驴的奔跑构成了全图的视觉中心，将所有人的目光集中于此，增强了画面的故事性。张果老的沉着自如，唐玄宗略带惊讶的神情，表现得恰到好处，体现了元代人物画高超的艺术水平。\n本幅左下款署：“云间任仁发笔。”下钤“任氏子明”印。画面中部有清弘历题七言诗一首，末款“甲申夏六月上浣御题。”",[23,24,25,7,27,28,61,193,119,156,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534612c4c5adfdb60bcc11e1eab2da2b.jpg","纵41.5cm，横107.3cm",[44,45],{"id":9853,"slug":9854,"title":9855,"dynasty":250,"author":7438,"museum":20,"description":9856,"tags":9857,"thumbUrl":9858,"material":122,"size":9859,"collection":124,"collections":9860,"showCount":9766,"zanCount":48,"manualWeight":48,"mainColor":128},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,154,24,25,7,114,118,29,34,37,31,115,690,2965,38,420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[124,45],{"id":9862,"slug":9863,"title":9864,"dynasty":18,"author":1344,"museum":20,"description":9865,"tags":9866,"thumbUrl":9868,"material":122,"size":9869,"collection":44,"collections":9870,"showCount":9766,"zanCount":48,"manualWeight":48,"mainColor":128},219623,"xi-hu-yin-qu-tu-qian-xuan-219623","西湖吟趣图","钱选（1239—1299），宋末元初时期的遗民画家，字舜举，号玉潭，晚年更号溪翁，吴兴（今浙江省湖州市）人。南宋景定（1260—1264年）年间乡贡进士，入元后隐居不仕，寄情于山水书画。画学颇为庞杂，花鸟、山水、人物无一不精，且成就极高，当时有“老钱丹青当世无”的美誉。元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,25,7,27,28,120,193,61,29,404,274,257,9867],"书桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac8c107ddfec1798c83c917d3f07d59.jpg","纵25cm，横72.5cm",[44],{"id":9872,"slug":9873,"title":9874,"dynasty":18,"author":415,"museum":56,"description":9875,"tags":9876,"thumbUrl":9877,"material":720,"size":5322,"collection":44,"collections":9878,"showCount":9766,"zanCount":914,"manualWeight":48,"mainColor":128},216770,"xiao-jing-tu-chang-juan-li-gong-lin-216770","孝经图长卷","李公麟的孝经形象在宋代以来的各种作品中被反复提及，而且大多以不止一种形式流传。",[23,154,24,25,7,174,114,61,254,255,116,3457,2097,6840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52813534dd45106294016e482651eab3.jpg",[44],{"id":9880,"slug":9881,"title":8390,"dynasty":18,"author":3525,"museum":416,"description":9882,"tags":9883,"thumbUrl":9884,"material":78,"size":8394,"collection":261,"collections":9885,"showCount":9766,"zanCount":1106,"manualWeight":48,"mainColor":49},216666,"ju-yuan-tu-yi-yuan-ji-216666","此图水墨画群猿在山壑丛树间的情景：画面的背景为嶙峋山石，高低不一，山石起伏，山峦亘连，山间树木丛生，有的生长在山脚下，有的生长在山缝处，充满着顽强的生命力，遍布整个山石。山谷间溪水潺潺流淌，游息其间的二十余只猿猴，只只生动活泼，姿态各异，或坐立、或攀援、或倒挂、或跳跃、或嬉戏、或食饮、或亲昵、或爱抚。\n画卷结尾有元钱选跋，图中则分别钤有南宋贾似道、清耿昭忠、安岐及清内府等鉴藏印，画上并有清乾隆皇帝弘历旧题。",[23,154,24,25,7,28,118,114,5861,2791,230,117,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1efaf0c1e4d20ece3e0235e08d4dc5e.jpg",[261],{"id":9887,"slug":9888,"title":3343,"dynasty":250,"author":430,"museum":227,"description":9889,"tags":9890,"thumbUrl":9891,"material":1050,"size":1051,"collection":217,"collections":9892,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},287929,"qing-ming-shang-he-tu-ju-bu-yi-ming-287929","这幅局部以虹桥为核心，铺陈出鲜活的旧时市井盛景。木质飞虹横跨汴河，桥上人流如织，挑担货郎、乘轿仕人、驻足闲人摩肩接踵，神态各异地沉浸在春日市集的喧嚷里。桥下漕船正穿桥而过，船夫们躬身撑篙、呼喊呼应，将漕运的繁忙具象尽显。\n\n画面线条细腻工整，设色古雅沉稳，复刻出宋本原作风韵的同时，带着清代绘事的规整质感，将汴梁城漕运商贸的繁盛、闾巷百姓的日常烟火凝于卷上，让千年前的春日繁喧仿佛跃然眼前，尽显旧时都会的鲜活生机。",[154,24,7,27,28,61,63,62,64,90,89,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e33ae4f04a3a44f84910b66851ed29.jpg",[],{"id":9894,"slug":9895,"title":9896,"dynasty":54,"author":9897,"museum":227,"description":9898,"tags":9899,"thumbUrl":9900,"material":1050,"size":1051,"collection":217,"collections":9901,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":128},287863,"ren-wu-tu-juan-shi-liu-shen-xian-zhou-dian-287863","人物图卷－十六神仙","周颠","周颠（？－？），明朝初年颠僧，建昌（今江西永修）人。本名不详，因为行事疯癫，人称周颠。\n朱元璋讨陈友谅时，周颠一直来求见，朱元璋很反感，于是把他处以烹杀，但是烧不死他，于是朱元璋将他寄养于蒋山寺。《明史·方伎传》以《周颠仙传》为根据收录他的传记。朱元璋亲著《周颠仙传》，纪周颠仙事迹。内有太祖御制《祭天眼尊者文》一首，《群仙诗》及《赤脚僧诗》各一首。\n民间相传，朱元璋病时，梦见一个佛坐在龙椅上念经，随即降下一个彗星，火焚宫殿。于是从庐山找来周颠发问，是不是亡国之兆。周颠说：“佛在龙座上，宫殿又有火，象征国号‘大明’，是国家昌盛之意。”朱元璋说：“彗星是不是周公辅政？”周颠却笑着说：“不是周公，就是召公。这个佛不是被召公赶走，就是要帮助召公。”周颠就走了。朱元璋一直不理解，到自己死前才突然理解了，把年轻时穿过的一套袈裟与一柄匕首包好，拿给建文帝，说：“我本来出身就是和尚，有困难的时候，你也知道该怎么办。”",[23,24,7,25,174,114,61,5016,173,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9f1aff475a20d5d17b1bd203533867.jpg",[],{"id":9903,"slug":9904,"title":9905,"dynasty":18,"author":415,"museum":227,"description":4097,"tags":9906,"thumbUrl":9908,"material":1050,"size":1051,"collection":217,"collections":9909,"showCount":127,"zanCount":1106,"manualWeight":48,"mainColor":49},287701,"lan-ting-xiu-qi-tu-juan-li-gong-lin-287701","兰亭修契图卷",[23,24,7,154,27,61,29,605,117,9907,1794,664,120,119],"兰亭修禊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046924a3ed3772eda7257e744e0eb0d8.jpg",[],{"id":9911,"slug":9912,"title":9913,"dynasty":250,"author":994,"museum":20,"description":9914,"tags":9915,"thumbUrl":9916,"material":9917,"size":9918,"collection":543,"collections":9919,"showCount":127,"zanCount":1106,"manualWeight":48,"mainColor":128},240307,"shu-tao-hua-yuan-ji-juan-zhu-da-240307","书桃花源记卷","释文：\n晋武陵人渔，忘路之远近，忽逢桃花夹岸，数百步中无杂林，落英缤纷。渔人甚异之，复前行，欲穷其林。尽水源，得一山，山有小口，初极狭，才通人。复行数十步，豁然开朗。土地平旷，屋舍俨然，有良田、美池、桑竹之属。阡陌交通，鸡犬相闻。其中往来耕作，男女衣着，悉如外人。黄发垂髫，并怡然自乐。见渔人，乃大惊，问所从来，具答之。便要还家，设酒杀鸡作食。村中闻此人，咸来问讯。自云先世避秦时乱，率妻子邑人来此绝境，遂不复出焉，既与外人间隔。问今是何世，乃不知有汉，无论魏、晋。此人一一具言所闻，皆叹惋。余人各复延至其家，皆出酒食。停数日，辞去。此中人语云：“不足为外人道也。”既出，得其舟，便扶向路，处处志之。及郡下，诣太守，说如此。太守即遣人随其往，寻向所志，遂迷不复得路。南阳刘子骥，高尚士也。欣然规往，未果。后遂无问津者。丙子六月既望，纳凉在芙山房书，八大山人。\n下钤“可得神仙”、“八大山人”、“遥属”等4印。书前配有清无名氏山水画一段，尾纸有近代陈师曾、齐白石题跋二则。\n此为朱耷书录东晋陶渊明《桃花源记》之作。《桃花源记》系东晋隐逸诗人陶渊明之代表作。当时东晋朝廷腐败，内乱不止，陶渊明不欲从仕，一心归隐，故书此篇。\n朱耷身为前明宗室，面对家国之悲，民族之恨，却无力抗争，只得出家为僧。他习静修真，参研书画，以此抚慰内心的亡国之痛，故朱耷深爱《桃花源记》，时常书之，以表达其誓不与清廷合作而追求世外桃源生活之意。\n据署款，此书写于清康熙三十五年（1696年），作者时年71岁。该书学东晋王献之，兼融小篆之体，笔法纯朴圆润，笔势流畅，意尽笔止，有傲岸之情态和奇妙之格调。此作品为朱氏晚年佳作。",[23,24,25,7,114,120,29,61,4118,194,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aeebef5d9d61f7776caf9efc2c0472.jpg","纸本，行草书","纵26厘米，横211厘米",[543],{"id":9921,"slug":9922,"title":9923,"dynasty":250,"author":9924,"museum":20,"description":9925,"tags":9926,"thumbUrl":9927,"material":217,"size":217,"collection":44,"collections":9928,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},237550,"shang-rui-xiu-gu-song-chun-tu-juan-shang-rui-237550","上睿绣谷送春图卷","上睿","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文",[24,25,7,27,28,118,29,62,61,34,117,1298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d5b813ae5e5ea9f4cfb1e7bcd2096a.jpg",[44],{"id":9930,"slug":9931,"title":9932,"dynasty":54,"author":7421,"museum":227,"description":7422,"tags":9933,"thumbUrl":9934,"material":217,"size":217,"collection":217,"collections":9935,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":128},234219,"mo-zhu-juan-feng-qi-zhen-234219","墨竹卷",[23,24,25,7,114,275,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450002a1adc819ad44c3454e667ea.jpg",[],{"id":9937,"slug":9938,"title":9939,"dynasty":54,"author":3914,"museum":20,"description":9940,"tags":9941,"thumbUrl":9942,"material":9943,"size":9944,"collection":217,"collections":9945,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},234171,"zhong-jia-shan-yin-wang-ping-yuan-cun-jing-tu-juan-dong-qi-chang-234171","钟贾山阴望平原村景图卷","画中山石用中锋细笔勾写轮廓，继以短笔浓点或卧笔长皴表现其阴阳向背。画树运笔率意，注重枝枒曲直姿态。构图平远开阔，呈现出江山无尽的悠远之趣。董其昌将历史上的山水画家分为南北两个派系，自己崇“南”抑“北”，追求笔墨沉稳雅致。董氏以自己提倡的南方山水画名家惠崇、巨然的笔意绘制此图，愈加体现出从容恬静中蕴含的冲淡平和的文人气息。",[23,24,25,7,114,29,118,119,193,174,34,3066,63,64,690,986,35,1298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d659f24b6f6cd77b8ff45c08be3e4a9.jpg","金笺，墨笔","纵28.2厘米，横252厘米",[],{"id":9947,"slug":9948,"title":9949,"dynasty":149,"author":9950,"museum":20,"description":9951,"tags":9952,"thumbUrl":9953,"material":40,"size":9954,"collection":217,"collections":9955,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},233964,"gao-shi-tu-juan-wei-xian-233964","高士图卷","卫贤","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。",[24,25,7,28,59,27,118,29,61,62,34,117,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F808ff35be6fd1a88daf86e0d0ff1dac1.jpg","纵134.5厘米，横52.5厘米",[],{"id":9957,"slug":9958,"title":4798,"dynasty":133,"author":430,"museum":151,"description":9959,"tags":9960,"thumbUrl":9961,"material":40,"size":9962,"collection":217,"collections":9963,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},233115,"long-zhou-duo-biao-tu-juan-yi-ming-233115","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。\n他曾先后两次画过《金明池夺标图》卷，描绘的是北宋崇宁年间（112-116年），每年三月三日皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。\n由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七八本之多。\n此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。\n殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。\n正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[24,25,154,7,174,61,4803,34,90,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe290f2a56042ec07c31d9aaf702c8382.jpg","该幅 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着清代宫廷的仪制尊荣，是中西绘法融合的经典肖像佳作，将帝后群像的雍容气度凝固于绢本之上。",[23,24,154,7,28,27,61,156,4282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a89e21b664b7586cc2499e512566ef0.jpg",[],{"id":10177,"slug":10178,"title":10179,"dynasty":54,"author":1030,"museum":227,"description":10180,"tags":10181,"thumbUrl":10182,"material":217,"size":217,"collection":217,"collections":10183,"showCount":10125,"zanCount":48,"manualWeight":48,"mainColor":49},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[23,154,24,25,7,114,27,763,118,119,120,193,29,254,35,61,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":10185,"slug":10186,"title":10187,"dynasty":18,"author":716,"museum":227,"description":10188,"tags":10189,"thumbUrl":10190,"material":217,"size":217,"collection":217,"collections":10191,"showCount":10125,"zanCount":1106,"manualWeight":48,"mainColor":49},227965,"qi-zi-du-guan-tu-juan-li-tang-227965","七子度关图卷","此卷以苍林古道铺展荒寒底色，将避乱行旅的群像铺陈于绢素。旅人或策驴徐行、或驻马待发，仆从牵驮辎重、神色仓皇，将乱世迁客的羁旅劳顿藏在蹙额的神情、驱驰的动态之间，写实工细又带着沉郁的氛围感。\n\n卷后篆额古拙雄奇，行书题跋笔墨隽秀，书画合璧晕开史事余韵。既有宋画的精工写实，又兼具文人画幽远意趣，将乱世怆然与丹青雅致融于一卷，尽显古画的厚重底蕴与迁客流离的沉痛感怀。",[23,24,25,7,28,27,61,90,254,117,654,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd484ab2362b165a1f08fdab816e5527.jpg",[],{"id":10193,"slug":10194,"title":10195,"dynasty":18,"author":1682,"museum":227,"description":10196,"tags":10197,"thumbUrl":10198,"material":217,"size":217,"collection":217,"collections":10199,"showCount":10125,"zanCount":1106,"manualWeight":48,"mainColor":49},227818,"chun-you-fu-shi-tu-juan-ma-yuan-227818","春游赋诗图卷","《春游赋诗图·溪山无尽图》是216年中信出版集团、中信出版社出版的图书，作者是马远。\n《春游赋诗图》描绘乡间春景：枝头萌绿，万象更新，柳条飘拂，新竹摇曳，溪水潺湲，小桥连岸。\n路上有驮物的驴马，水中有渔归的小舟，但在廊前溪边，已有三三两两的踏青者。\n古松下的案桌前，更是围满了人，文人学子即兴赋诗，一人执笔而书，周旁还有妇人幼童嬉戏。\n山间泉源，几个小童在洗杯煮茶，一派平和融乐的场景。\n《溪山无尽图》全卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。\n山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。\n马远（约114－约1225后），字遥父，号钦山，祖籍河中（今山西永济），生长在钱塘（今浙江杭州）。\n出身绘画世家，南宋光宗、宁宗两朝画院待诏。\n擅画山水，取法李唐，能出新意，下笔遒劲严整，设色清润。\n山石以带水笔做大斧劈皴，方硬有棱角；树叶有夹笔，树干浓重，多横斜之态；楼阁界画精工，且加衬染。\n喜作边角小景，世称“马一角”。\n又工画水，兼精人物、花鸟。\n与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,25,7,28,118,61,34,63,64,117,69,90,115,922,1298,1123,31,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafce01da288b5c16fd5d96849da68c3d.jpg",[],{"id":10201,"slug":10202,"title":10203,"dynasty":18,"author":1133,"museum":227,"description":10204,"tags":10205,"thumbUrl":10206,"material":217,"size":217,"collection":217,"collections":10207,"showCount":10125,"zanCount":1106,"manualWeight":48,"mainColor":49},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,25,24,154,7,26,27,28,118,119,193,29,61,62,63,64,115,116,404,298,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":10209,"slug":10210,"title":3158,"dynasty":18,"author":3159,"museum":227,"description":10211,"tags":10212,"thumbUrl":10213,"material":217,"size":217,"collection":217,"collections":10214,"showCount":10125,"zanCount":48,"manualWeight":48,"mainColor":49},227691,"wen-ji-gui-han-tu-chen-ju-zhong-227691","故宫收藏的这幅《文姬归汉》，并没有作者的签名或者印记，旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,24,154,7,28,27,61,90,193,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b0b01bd2a87126fc14abc0b1bfe988.jpg",[],{"id":10216,"slug":10217,"title":10218,"dynasty":168,"author":2497,"museum":227,"description":10219,"tags":10220,"thumbUrl":10221,"material":217,"size":217,"collection":217,"collections":10222,"showCount":10125,"zanCount":48,"manualWeight":48,"mainColor":49},227255,"xian-shan-lou-guan-tu-li-zhao-dao-227255","仙山楼观图","李昭道，生卒年未详。字希俊，唐代画家。唐朝宗室，彭国公李思训之子，长平王李叔良曾孙。甘肃天水人。曾为太原府仓曹、直集贤院，官至太子中舍人。擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。曾作《秦王独猎图》。画作有《海岸图》、《摘瓜图》等六件，著录于《宣和画谱》。传世作品有《春山行旅图》轴，图录于《故宫名画三百种》；《明皇幸蜀图》卷，现藏台北故宫博物院。",[23,24,7,26,27,59,28,29,62,34,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81db047a39ded106ecbb49adcb1c8b56.jpg",[],{"id":10224,"slug":10225,"title":10226,"dynasty":250,"author":9924,"museum":227,"description":10227,"tags":10228,"thumbUrl":10229,"material":217,"size":217,"collection":217,"collections":10230,"showCount":10125,"zanCount":1106,"manualWeight":48,"mainColor":128},223691,"xie-qin-fang-you-tu-shang-rui-223691","携琴访友图","，画作，清代上睿作。\n画心纵28.1厘米，横17.厘米。\n纸本，设色。\n画中一位有琴童跟随的琴家，已离开自己的住舍，走上木桥，正在向闲卧在梧竹幽居中的知音友人那里进发。\n全图景物按排聚散合度，虚实相生。\n以极其纤美的笔触对环境进行铺垫描绘，收到了烘托人物的活动和突出主题的良好效果。\n款署“癸酉小春用文太史笔意为友桐先生补图。\n蒲室子睿。\n”钤“目存”印。\n清宫宝玺有“乾隆鉴赏”、“嘉庆御览之宝”、“宣统御览之宝”等。\n曾经清内府庋藏。\n《秘殿珠林石渠宝笈续编》著录。\n旅顺博物馆收藏。",[23,24,25,7,27,28,29,61,63,64,34,613,1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既有李成之清雅，又兼李思训之富丽。\n此图凄迷的诗意化山水景致，充满着丧失爱情、希望与友谊的悲痛之情，表达了他于惨遭放逐期间内心荒寂的梦幻世界。\n此图平远布局，起首浅岸一隅，江面辽阔，波心渔舟泛泛如鸥。中幅峰峦迭起，前后拱揖，呈奇耸秀。山间烟云缭绕，百道飞泉，萦林络石，下赴谷口。楼阁隐现于白云青峰之间。后段烟水迷蒙。全图表现出“江上愁心干叠山，浮空积翠如云烟”、“春风摇江天漠漠，暮云卷雨山娟娟”的清空深秀意境。用笔结合唐人勾斫法和李成的颖利笔法，凝练清劲。树木参用勾叶、点叶多种方法，层次参差，显得葱倩郁密。山峦敷染青绿重色，花青染叶，深墨渍涧，色泽鲜丽厚实，将唐人的古朴和宋人的精密融成一体，开创出青绿山水的新格调。\n在构图上，远近疏离，似有一透视感，远山隐映于云雾之中，悠远秀丽。\n作者用笔凝炼，骨法端重而不板刻，山石用墨笔勾皴，不方不圆，似行似隶，因而画中的气韵十分生动；此图用青绿着色，重彩复皴，再用花青运墨点苔，益见山色之奇丽多姿。画树多夹叶或点笔，著色有石青，石绿、浅绿及赭红等。苍翠之中愈见青葱鲜丽，无煊耀之燥气，又有静穆的庄严。以深墨渍出山涧，留白以状飞瀑，形成了黑白相映的反差。青山间有白云缭绕，用工笔浅描，线划空明，使重叠的山峦在炯云中时显时隐。石皴不方不圆之间，山石形态各异。界画工整的楼阁、屋宇，隐显于青山白云之间，极富雅趣。作者以诸种手法以表现，使北宋山水画达到了神妙的境界",[23,154,24,25,7,29,114,27,118,10237,923,30,34,37],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df1d52102b8e94aadf1789685e44f7d.jpg","纵45.2厘米，横166厘米",[],{"id":10242,"slug":10243,"title":10244,"dynasty":18,"author":861,"museum":151,"description":10245,"tags":10246,"thumbUrl":10247,"material":442,"size":10248,"collection":543,"collections":10249,"showCount":10125,"zanCount":1106,"manualWeight":48,"mainColor":128},221306,"song-si-jia-tao-sheng-qie-zhong-hua-qi-xun-ren-du-hai-su-shi-221306","宋四家:陶生,惬中,花气熏人,渡海","《花气薰人帖》是中国宋代书法家黄庭坚的小品之作，一首二十八个字的小诗，以随意自在的笔法写来，把平日严谨的中锋线和草书中的宛转结合起来，构成一幅完美的小品，是欣赏书法不可多得的佳作。帖上有南宋「缉熙殿宝」的印，入过南宋内府。也有清代朝鲜人安仪周的收藏印安歧是当时最著名的大收藏家。此帖现藏台北故宫博物院。",[23,119,25,7,120,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dcca8709989e4feb06bb6f1620632e.jpg","30.7×43.2cm",[543],{"id":10251,"slug":10252,"title":8914,"dynasty":54,"author":3914,"museum":568,"description":8915,"tags":10253,"thumbUrl":10254,"material":696,"size":8918,"collection":124,"collections":10255,"showCount":10125,"zanCount":48,"manualWeight":48,"mainColor":128},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905",[23,24,25,7,114,60,118,119,193,29,30,34,64,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg",[124,45],{"id":10257,"slug":10258,"title":10259,"dynasty":133,"author":534,"museum":1934,"description":10260,"tags":10261,"thumbUrl":10262,"material":10263,"size":10264,"collection":543,"collections":10265,"showCount":10125,"zanCount":978,"manualWeight":48,"mainColor":49},220893,"gao-shang-da-dong-yu-jing-zhao-meng-fu-220893","高上大洞玉经","趙孟頫的作品為歷代書家所重，其小楷書風主要得益於二王、鍾繇以及東晉道士楊羲。元代書法家鮮于樞在趙孟頫《過秦論》卷後跋云：“子昂篆、隸、正、行、顛草 俱 為當代第一，小楷又為子昂諸書第一”。\n《高上大洞玉經》是趙孟頫小楷代表作之一。紙本 卷，縱29.7釐米，橫457釐米，共276行，全卷近4700字，書於大德九年（1305）。 卷中鈐有明代著名收藏家項元汴的收藏印記。卷首有“乾隆御覽之寶”“乾清宮鑑藏寶”鑑藏印，可知此卷曾為清宮舊藏，現藏於天津藝術博物館。\n書寫此卷時，書家年已五十有二，正值壯年。加之虔心向佛，書法勁健圓暢，結體妍麗， 用筆遒勁，一筆不苟；略呈行意，宏觀見結構，十足耐看。著名書畫鑑定家徐邦 達先生稱此卷 “精勁渾厚，字字珠璣，全卷洋洋灑灑小楷數千言，而首尾精力充沛，似一氣呵成，著實驚人。”誠是一件傳世精品之作。",[23,119,540,7,537,114,173,193,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4003d5f3f30ddffa391ebf4005d664bb.jpg","纸本,墨迹","縱29.7釐米，橫457釐米",[543],{"id":10267,"slug":10268,"title":10269,"dynasty":133,"author":10270,"museum":651,"description":10271,"tags":10272,"thumbUrl":10273,"material":285,"size":10274,"collection":124,"collections":10275,"showCount":10125,"zanCount":1106,"manualWeight":48,"mainColor":128},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","方从义","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,154,24,25,7,114,29,118,193,120,405,37,34,610,420,690,3077,691,38,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[124],{"id":10277,"slug":10278,"title":10279,"dynasty":18,"author":430,"museum":227,"description":10280,"tags":10281,"thumbUrl":10282,"material":217,"size":217,"collection":217,"collections":10283,"showCount":10284,"zanCount":1106,"manualWeight":48,"mainColor":128},239659,"mi-fei-san-zha-juan-yi-ming-239659","米芾三札卷","这卷行书尺牍合集，尽显米氏刷字风神。笔势纵逸跌宕，提按转折间萧散俊朗，点画粗细变幻、字形欹侧相生，带着晋人帖学的流丽韵味。\n\n信札皆是日常絮语，性情全融笔墨之中，或舒展或紧敛，枯湿浓淡相映，章法错落天成，全无匠气排布，尽是随手挥写的真趣。卷内钤印琳琅，与笔墨相映，流转着古雅的收藏脉络，尽显宋代文人信手挥毫的随性雅致，将尺牍书法的抒情性与艺术性融为一体，潇洒笔底尽是一代书家的自在风骨。",[23,25,119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0728347595c279efbc3ddf6abec3fa9b.jpg",[],43,{"id":10286,"slug":10287,"title":10288,"dynasty":54,"author":932,"museum":20,"description":10289,"tags":10290,"thumbUrl":10291,"material":442,"size":217,"collection":217,"collections":10292,"showCount":10284,"zanCount":1106,"manualWeight":48,"mainColor":128},234107,"wen-dao-tu-juan-chen-hong-shou-234107","问道图卷","陈洪绶字章侯，号老莲，浙江诸暨人，明末清初画坛奇才。他的画既继承传统，又自辟乾坤，富有革新精神和独创风格，与当时居于北京的崔子忠齐名，有“南陈北崔”之称。他的人物画创作，上承六朝、盛唐的优良传统，又不为传统所囿，大胆创新，使衰微了近六百年的中国人物画再度复兴，打破了明末清初以山水花鸟画为主的格局，不仅在当时画坛独放异彩，其画风还深刻影响了此后近三百年的中国绘画。又以绣像人物插图闻名于世，所作《水浒叶子》《博古叶子》等酒牌，在民间广为流传，是古代版画史上的传世名作。",[24,154,25,7,28,174,61,29,34,468,1857,1298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0aead138bc40c60ea9bc5ee98fc06ec.jpg",[],{"id":10294,"slug":10295,"title":10296,"dynasty":54,"author":5161,"museum":20,"description":10297,"tags":10298,"thumbUrl":10299,"material":10300,"size":10301,"collection":217,"collections":10302,"showCount":10284,"zanCount":1106,"manualWeight":48,"mainColor":128},233701,"wu-ling-chun-tu-juan-wu-wei-233701","武陵春图卷","图中女子武陵春的面部和衣纹均以细匀的淡墨线条绘成，只在眼眸、发髻处用重墨点染，这种特殊的用墨方法不仅形成了生动的墨韵，同时也令画面清雅秀润，更贴切地表现出女主人的纤秀文静之美。此外，吴伟在创作上还采用了借物言志的艺术手法，以石桌上陈设的琴、笔、砚等文房用具揭示出武陵春内在的文化修养，以石桌左侧的盆景梅花象征武陵春心志如梅的高尚情操。以这些带有寓意性的物品作为衬景点缀画面，无疑在充实武陵春形象的同时也丰富了画面的视觉感受。吴伟凭藉其精湛的艺术造诣曾分别于明成化和弘治年间奉召进京供奉宫廷。他性情孤傲，不慕权势，为朝廷内外的恶浊环境所排斥。返回江南后，他常以饮酒狎妓遣释郁闷的心境，所以，他对青楼女子的生活有一定的接触和了解。当他闻知富有文采的武陵春身在青楼而不受所处境地的影响、对爱情忠贞不渝时，为之深深感动，遂援笔作此图，以示对武陵春的同情与敬仰。清吴麒《图绘宝鉴续纂》认为吴伟“画人物落笔健壮，白描尤佳”。此幅便是吴伟晚期白描画中的精品。吴伟的白描人物宗法唐代吴道子和宋代李公麟，强调线条自身婉转流动的韵律感和塑造形象的精确性。",[24,25,7,174,114,61,155,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c183031801a15d9b56e62fc7c52ea46.jpg","纸本，白描","纵27.5厘米，横93.9厘米",[],{"id":10304,"slug":10305,"title":10306,"dynasty":54,"author":567,"museum":227,"description":10307,"tags":10308,"thumbUrl":10310,"material":217,"size":217,"collection":217,"collections":10311,"showCount":10284,"zanCount":914,"manualWeight":48,"mainColor":49},228325,"xiang-shan-jiu-lao-tu-juan-chang-juan-xie-huan-228325","香山九老图卷（长卷）","【文物现状】现藏美国克利夫兰美术馆 绢本，设色，长卷，纵：29.8厘米，横：148.2厘米。\n现藏美国克利夫兰美术馆，是明代画家 的人物画中代表性作品之一。\n“ ”指的是唐代文人胡杲、吉玫、刘贞、郑据、卢贞、张浑、白居易及李元爽、禅僧如满九位老者。\n他们因志趣相投，结为九老会。\n此图绘唐武宗会昌五年（公元845年）三月二十四日，九老在白居易之居处欢聚，既醉且欢之际赋诗画画的情景 。\n根据 香山九老会诗序》的内容可知，对九老雅集的描绘早已有之，到了南宋时期，此题材在画院中也非常兴盛；而明代的宫廷画家在承袭南宋画院风格时，对此种具有历史典故的题材又较好的继承下来。\n对于这幅表现文人聚会的长卷，在构图上作者选择了从围墙上方往墙内俯视的角度来描。\n画中一条蜿蜒的碎石小径贯穿整个画面，形成一条横轴线，人物及景物均围绕着石径展，画面从左边开始：一身着便服的文人携一童仆正缓缓地向画面中心的厅堂走来，他似乎并不急于赴会，而是悠闲地欣赏着园内的景致。\n沿着他走的路径向右看，在石径一侧，有两人站在梅树前，一人一边指着着梅树一边好像对旁边的人说着什么，看那人恭敬的样子，也许正在聆听长者论道吧。\n再往后，便是画的中心，这是画面内容的主体：只见一宽大的厅堂里，几案分明，案上盆景、花瓶摆放有序；厅中有一桌，三个文人正围着桌子看一位长者写着什么，或是画着什么。\n四个人物的神态各不相同，均刻画精微：长者面露喜悦，挥毫泼墨；三位围观者，有的若有所思，有的凝神静观。\n堂前石径上，有一仆人正端着盘子向右行，把观者的视线引向画面的结尾部分，有两位文人正在苍松翠柏下吟诗赏画，旁边的几位童仆，有的在煮茶温酒，备办佳肴；有的在侍侯笔墨，抱琴侍立。\n整个场面以石径为主线，中间穿插以厅堂楼榭，假山叠石，古松，梅树，瑞鹤等景物，把画面的几个部分联成一个有机的整体。\n整体上看，瑞松摇曳，梅花绽放，祥鹤唳鸣，环境清幽淡远，实为人间的“桃源仙境”。\n在刻画人物形象方面，作者着重于对人物表情的描绘。\n人物布局上聚散都非常富于变化。\n笔法工整严谨，衣纹线条准确，挺拔而秀逸，极富质感，色彩鲜艳、古拙。\n在景物刻画上也非常严谨，小径上的碎石，亭台、屋宇等一笔一笔地描绘出，松柏，梅树，竹叶也细细地勾勒，显示出画家精谨细密的功夫，具有李唐、刘松年的遗风，属于院体一派。\n谢环，字庭循，明永嘉（今浙江温州）人，善画山水、人物，远承荆浩、关仝，以及南宋李唐、刘松年，近师元人。\n成祖永乐(14-1424）中征入画院。\n谢环还擅长文学，画史上说他“知学问，喜赋诗”，有《梦吟堂集》世，时人称他“清瑾有文”。\n传世作品有《 》等。",[23,24,7,27,28,61,116,34,571,10309,70,298,524],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3901b4a9861a664f281876e2c023104.jpg",[],{"id":10313,"slug":10314,"title":10315,"dynasty":133,"author":8363,"museum":227,"description":10316,"tags":10317,"thumbUrl":10319,"material":217,"size":217,"collection":217,"collections":10320,"showCount":10284,"zanCount":914,"manualWeight":48,"mainColor":128},228179,"xiu-ye-xuan-tu-juan-zhu-de-run-228179","秀野轩图卷","淡墨轻岚晕染平远丘壑，山峦温润迤逦，洲渚间林木蓊郁，秀野轩临水静立，溪岸萦回、浅汀横斜，尽显江南山居的清寂野趣，将湖山灵秀与林下幽居的隐逸意趣相融。\n\n引首榜书沉雄苍劲，后接数十段题跋，行楷秀逸舒展，笔致清和雅致。诗书画印一体，以画绘景，以诗述怀，书法映托山水雅韵，尽显元代文人寄情林泉、雅集酬唱的林下襟怀，淡墨间晕开幽远诗意，是元人山水画中诗画合璧的经典之作。",[23,24,154,7,114,118,29,34,35,10318,690,3077,120,193],"亭轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a06906c63a6a83703b85153edd1ffe.jpg",[],{"id":10322,"slug":10323,"title":10324,"dynasty":18,"author":10325,"museum":227,"description":10326,"tags":10327,"thumbUrl":10328,"material":217,"size":217,"collection":217,"collections":10329,"showCount":10284,"zanCount":48,"manualWeight":48,"mainColor":49},226559,"zhuo-xie-tu-juan-hu-gui-226559","卓歇图卷","胡瓌","《卓歇图》是五代 创作的一幅绢本设色画，现收藏于北京故宫博物院。\n纵观整幅图，前半段为立歇部分，马背上的猎物点缀了人马刚从追逐和喧闹中转入静态，在马群的尽头是走向乐舞场地的捧花女，把歇息和乐舞两段有机地结合起来。\n舞蹈者在音乐的伴奏下跳跃，构成全图的高潮，充分显示了画家处理大场面中人马动静、聚散的艺术能力，充满了浓厚的北方草原民族的生活气息。\n全画可分为三大段，第一、第二段，一大群密密匝匝的人马占据了画面的大半部分。\n主要是画狩猎归来，人马嘈杂的场面及骑士们滚马下鞍牵马准备休息时互相交谈的场面。\n他们有的席地而坐，静静地休息。\n有的整理马鞍，马鞍上驮着鹅雁等猎物还未曾卸下，也有的伫立交谈，形态各异。\n整幅画面中的骑士虽然众多，他们或聚或散地占据了大半画面，但并不是画中的主角。\n画卷最后一段描述宴饮的场面才是真正的主角，画幅中的契丹大汗正端坐在豪华地毯上饮酒观舞，大汗服饰华丽，神态悠闲，看面容似乎被舞者美妙的舞姿所吸引，正凝神观望，颇为陶醉。\n他的妻子阏氏着汉装于右侧相陪，二人面前有一侍者跪立奉盏，还有一侍者挥动衣袖，翩翩起舞，以助酒兴。\n佩戴弓矢的彪悍侍卫和纤纤玉立的侍女站立在汗王与阏氏的周围，全神戒备，细心侍候。\n该图引首有清代张照书“番部卓歇图”五字和乾隆皇帝题写的“卓歇歌”三字，后幅有元代王时，清代高士奇、张照的跋文。\n本幅及前后隔水有“忠孝之家”“吴龙之印”“石阊”“简静斋”“高士奇图书记”“江村秘藏”“竹窗堂章”（半印）等多枚鉴藏印记。\n南宋初期，宋廷为绥靖和善或刺探情报，大量派使团出使金国。\n入金后，按女真风习，必然将汉族儒士的右衽服改为左衽，并且要先随女真头领出猎数日后，方可商议政事。\n这是一件有史实性的人马画，惜无题记，难知其具体的历史故实。\n从画面上看，作者表现了南宋使臣随金朝官僚出猎时小歇的情景。\n《卓歇图》中“卓歇”一词的汉语含义并不是十分明晰。\n《辽史》中偶有“卓枪”、“卓帐”等与“卓”有关的词语。\n其“卓”带有“立”或“暂立”的意思。\n关于“卓歇”，可以理解为“搭起帐篷临时休息”的意思。\n此作中虽然没有帐篷。\n但是由于胡壤的同类题材作品多以“卓歇图”命名，所以，后人也将其作为这件作品的名字。\n也有学者认为，该图虽然传为辽代胡瓌的画迹，但据画中所绘的少数民族族别系金代女真人，其不可能是胡壤的真品，系金初（12世纪上半叶）汉族画家的手笔。\n在画卷的左侧，两个主要人物盘腿坐于毯上，身着契丹服装的男子即为契丹可汗，他的阏氏则穿着白色汉服，看起来彬彬有礼的样子。\n男女侍从分列二人身后恭敬以待，前面有侍者跪地敬酒，可汗接酒豪饮，还有一男子在乐队的伴奏下跳起舞蹈助兴，献花者向可汗和阏氏缓缓走来。\n画面再向远处是骑兵休息的地方，这些骑士或坐或立，面露倦容，有的打着哈欠，有的伸腰展背，有的安顿马匹，有的相互交谈，等待着支起帐篷。\n马匹上的猎物还未曾卸下，鞍鞯上缚着大雁等飞禽，显然在刚才的围猎中收获颇丰。\n图中人物各异的姿态和服饰，显示着他们的等级地位，具有一定的写实性。\n《卓歇网》的构图匠心独运，图中人物有7人，马约24匹，但画家处理得错落有致，疏密跌宕，又有条不紊。\n浑然一体。\n胡瓌所描画的线条准确有力，“虽繁复细巧，而用笔清劲”，不仅将人物的各异形神传达得恰到好处，而且也表现出不同衣服的质感。\n这种笔法与唐代中原地区的绘画存在许多近似之处，体现着各民族在文化艺术方面的相互影响和交流。\n看此卷的表现手法，展现了画家娴熟的创作技巧，画面背景荒凉寂静，笔法古健雄劲，线条繁密多变而流畅，色彩沉着，人物、鞍马的造型，既简洁凝重又准确自然，具有很高的艺术水平，画家通过长、短、粗、细等不同的线条把物象刻画得极为生动，无论是勾勒鞍马、衣服的长线，还是表现人物发须的短线，用笔皆沉稳扎实，体现了当时北方画派的特色和契丹画师的独特画风。\n另外，作品中的一些细节之处（像悬挂在鞍鞯之上的猎物），画家也描绘得细致入微、一丝不苟。\n中国艺术研究院研究员 ：这是一幅北方游牧民族生活场景的风俗画面，很富于地方色彩和情趣。\n笔法古劲，精密，色彩沉着，具有很高的艺术水平。\n《卓歇图》卷奠定了金代人马画的发展走向，即线条凝练、造型生动、画风淳朴，着意于表现女真族勇悍和粗犷的民族个性及浪漫不羁的草原生活，并一直影响了元初的人马画艺术。\n这件《卓歇图》被冠以胡壤之名后，更增添了对后世人马画的范本作用，尤其是画中的人物发式和服饰，几乎成了表现北方少数民族人物形象的定式。\n这幅作品为了解中国少数民族历史提供了实录，具有很大的史料价值。\n清代阮元《石渠随笔》、高士奇《江村书画目》、清内府《石渠宝笈·续编》对该图有著录。\n《宣和画谱》曾载有胡瓌《卓歇图》九幅，但现存的这一幅没有宜和的印章和题跋，不知是否曾为宣和所收藏。\n南宋杨王体《中兴馆阁储藏》和元周密《云烟过眼录》中都提到胡《卓歇图》，但也无从考证是否就是这幅画。\n现存的《卓歇图》曾经《石果宝笈续编》著录，上最早的题跋是元代的王时，据清代高上奇的考证，说他是元代皇帝的侍御之臣。\n到了明代，当时鉴藏家张丑，在《清河书画舫》里说：“绢本胡番部卓歇图，尘垢破裂，神彩如生，明昌秘物也，今在韩氏。\n”的确，清初画卷落到高十士奇手里的时候，绢素已经碎裂得很厉害，经过了一次重装，后来为清宫所收藏，乾隆在画上题了“神完景肖”四个大字，还做了一首《卓歇歌》写在引首。\n解放后藏故宫博物院。\n胡瓌，五代后唐画家。\n山后契丹乌索固部落人。\n随李克用（856—98）入中原，居范阳（今河北涿州）。\n善画契丹人马．写北方游牧民族生活，举凡帐篷毡幕、旗帜、弓箭以及人马装饰等，曲尽塞外景色。\n笔调清劲爽利，构图繁富细巧。\n传世作品有《卓歇图》、《蕃马图》等。",[23,28,27,7,61,90,193,119,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea4336c19ab1c123b73479d19a84a80.jpg",[],{"id":10331,"slug":10332,"title":10333,"dynasty":250,"author":3618,"museum":227,"description":10334,"tags":10335,"thumbUrl":10336,"material":442,"size":10337,"collection":217,"collections":10338,"showCount":10284,"zanCount":1106,"manualWeight":48,"mainColor":128},223372,"lan-tu-yun-xiang-223372","兰图","清代女道士，无锡人，生卒年不详，俗姓王，名静莲，一名岳莲。自幼出家于惠山福慧双修庵，后自度为女道士。因慕明末秦淮八艳之一卞玉京为人，故取号玉井道人，又号清微道人。韵香能书擅画，尤擅画兰。韵香收藏有《空山听雨图册》，韵香将此图册视为生家性命，因图册佚失，她特地请画家文人重新作图题诗，不料图册再度佚失，韵香因此遭受打击，心灰意懒，不久即离开了人世。韵香死后，《空山听雨图册》几经流转，散而复聚，最后归于无锡博物院。\n《空山听雨图册》外尺寸为横25.5厘米×纵36.5厘米，每开画心尺寸不一，其名称缘于清代金石书画家奚冈为韵香所作《空山听雨图》。今图册中有吴让之所题隶书“空山听雨图”，并跋云：“清微道人有奚铁生所画空山听雨图，生平寄意在此，乞一时名贤题咏……”奚冈所作《空山听雨图》原作佚去，奚冈生卒年为1746—1803年，此图的创作年代不会晚于1803年。无锡博物院所收藏的《空山听雨图》共有5开，吕培一开，作于壬申（1821年）首夏。许乃谷一开，未署年款，落款注明“清微道人属写”。沈梧两开，分别作于同治甲子（1864）年、乙丑（1865）年。叶衍兰一开，作于光绪丁丑（1877）年。沈叶二图当为后世藏家追慕前贤，作图以示敬仰之意。吕培所作为浅设色，许乃谷所作为水墨，二人均用米家云山图写之，水渚烟树小阁，濛潆凄迷。奚冈原作虽不可见，从吕许二人所作云山图可以想象原作大致面貌。\n《空山听雨图》有上百人题咏，其中刘墉一开，其题咏不会晚于刘墉卒年1804年。洪亮吉、赵怀玉同题于一开，分别为1804年和1805年。刘洪赵这二开当为《空山听雨图》未佚失前的原有题咏。（赵钦仁辑）",[23,154,24,25,7,114,282,404,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098d109487c7c07d1876d37c94f78122.jpg","28x383厘米",[],{"id":10340,"slug":10341,"title":10342,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":10343,"thumbUrl":10344,"material":140,"size":6245,"collection":217,"collections":10345,"showCount":10284,"zanCount":48,"manualWeight":48,"mainColor":128},223073,"hong-lou-meng-59-sun-wen-223073","红楼梦59",[23,24,25,7,28,27,26,6242,6243,61,677,62,29,64,571,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce03b42f75b32d3656103e5544ed7796.jpg",[],{"id":10347,"slug":10348,"title":10349,"dynasty":54,"author":55,"museum":380,"description":10350,"tags":10351,"thumbUrl":10352,"material":40,"size":10353,"collection":217,"collections":10354,"showCount":10284,"zanCount":914,"manualWeight":48,"mainColor":128},222216,"chi-bi-tu-juan-quan-juan-chou-ying-222216","赤壁图卷全卷","传世仇英所作《赤壁图》，我们所见有三幅：一藏辽宁省博物馆，一藏上海博物馆，再者便是《石渠宝笈初编》著录的这一卷了。前二幅皆绢本短卷，画的都是白露横江、断岸千尺，东坡与客泛舟中流这一情景。本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓等山间夜景。读者可以借画家营造的美景，去想象苏轼舍舟登岸，“摄衣而上，履腵岩，披蒙茸，攀栖鹘之危巢，俯冯夷之幽宫”这一夜游情境。其构思立意较前二图更为丰富美备\n三幅《赤壁图》画家都未记年。上海博物馆一图，用笔峻健方硬，应是他得到周臣指授，力学李唐等南宋院画的盛年时作品。辽宁省博物馆一图，与仇英在项元汴家《临宋人六景》画风相近，应是他较晚之作。《石渠宝笈初编》著录的这幅《赤壁图》卷，画法细缜，淡冶蕴藉，与几幅可以断为仇氏早年真迹的作品风格相似，创作年代比上海博物馆《赤壁图》要略为早些。\n关于仇英早年画风，学者们都认定他受到文徵明的影响。援引的史料一是彭年所说“十洲少即见赏于衡翁”；一是文徵明《湘君图》上王登转述文氏自己的话，说他“曾使仇实父设色，两易纸皆不满意”，不得不自己重作之。上述二处记载，一般可以看作是文氏对青年仇英的赏识器重。不过，如对题跋做进一步思索，则可以发现文、仇二人非同寻常的关系。中国绘画史上多有老师画成墨稿后请学生敷彩的情况，如吴道子的画作每使弟子翟琰、张藏布色，文徵明是一个谦和温厚之人，他这么做并如此直言不讳，至少可见他们师徒般真率坦诚的情谊。\n此幅《赤壁图》 画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[23,24,25,7,27,28,26,120,193,29,61,115,2560,34,117,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":10356,"slug":10357,"title":10358,"dynasty":54,"author":9744,"museum":380,"description":10359,"tags":10360,"thumbUrl":10361,"material":114,"size":10362,"collection":217,"collections":10363,"showCount":10284,"zanCount":1106,"manualWeight":48,"mainColor":128},222174,"fang-zhao-meng-jian-shui-xian-tu-lu-zhi-222174","仿赵孟坚水仙图","本幅墨色更淡，已近白描，长卷中水仙花开，风姿绰约，细叶舒展，清新自然。技法上，以细线勾勒出每一个花叶，笔致细劲挺秀。陆治，字叔平，明代画家，工山水、花鸟，好诗词，善书法。",[23,24,25,7,174,114,60,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155fe574b2ec859a2c1b8442ae497d02.jpg","36×1067.3cm",[],{"id":10365,"slug":10366,"title":10367,"dynasty":133,"author":10368,"museum":20,"description":10369,"tags":10370,"thumbUrl":10371,"material":442,"size":10372,"collection":261,"collections":10373,"showCount":10284,"zanCount":48,"manualWeight":48,"mainColor":128},221829,"shui-xian-tu-can-juan-wang-di-jian-221829","水仙图残卷","王迪简","王迪简[元]字庭吉，号蕺隐，新昌（今浙江新昌）人，南宋遗民（公元13世纪末），生卒年不详。，终生隐逸于浙江绍兴乐郊蕺山之阳，善画水仙，亦善山水。所绘水仙布局繁密，繁而不乱，花叶穿插、伸展、俯仰自如，层次分明，恣态生动，淡墨渲染，恬淡雅逸，画风与南宋赵孟坚相近",[23,24,25,7,174,280,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277d45077ca97bfec784e17da06c3c1d.jpg","39X415",[261,103],{"id":10375,"slug":10376,"title":10377,"dynasty":18,"author":5013,"museum":190,"description":10378,"tags":10379,"thumbUrl":10380,"material":27,"size":10381,"collection":42,"collections":10382,"showCount":10284,"zanCount":914,"manualWeight":48,"mainColor":49},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[23,24,154,25,7,27,28,61,29,1071,254,119,193,1590,5016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 × 716 cm",[42,44,103],{"id":10384,"slug":10385,"title":10386,"dynasty":250,"author":9561,"museum":10387,"description":10388,"tags":10389,"thumbUrl":10390,"material":285,"size":10391,"collection":124,"collections":10392,"showCount":10284,"zanCount":1106,"manualWeight":48,"mainColor":128},220098,"zong-qing-qiu-he-tu-xiao-yun-cong-220098","纵情丘壑图","洛杉矶博物馆","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[23,24,25,7,114,118,29,117,34,35,66,690,3077,1298,9837,37,1642,69,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[124],{"id":10394,"slug":10395,"title":10396,"dynasty":54,"author":10397,"museum":1100,"description":10398,"tags":10399,"thumbUrl":10400,"material":122,"size":10401,"collection":44,"collections":10402,"showCount":10284,"zanCount":914,"manualWeight":48,"mainColor":2653},218361,"wu-bai-ying-zhen-tu-dao-hong-218361","五百应真图","道宏","长卷中包含了几百名神态各异的僧人。或骑鹤乘凤，遨游虚空，或聚于山林讲经，或坐或卧于山涧或树下，或站而不语。...... 这些团体是不同的，而且剧情也不同。有几个小组只有一个人，但很多小组有几十个人。在群体之间，他们被那些回头看的人和搔首弄姿的人联系起来，以一种自然的方式不留痕迹地过渡。这确实是运动和起伏的组合。",[23,24,25,7,173,61,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F564d9e1b9d92f19ebe7c9da066bf364a.jpg","34.6x893",[44],{"id":10404,"slug":10405,"title":10406,"dynasty":54,"author":10407,"museum":227,"description":10408,"tags":10409,"thumbUrl":10410,"material":720,"size":217,"collection":44,"collections":10411,"showCount":10284,"zanCount":48,"manualWeight":48,"mainColor":128},217055,"bai-miao-ying-zhen-tu-2-ding-yun-peng-217055","白描应真图-2","丁云鹏","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[24,25,7,173,174,61,230,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e22d21a4546a2f44db8635013c06ce4.jpg",[44],{"id":10413,"slug":10414,"title":10415,"dynasty":250,"author":10416,"museum":20,"description":10417,"tags":10418,"thumbUrl":10419,"material":217,"size":10420,"collection":124,"collections":10421,"showCount":10422,"zanCount":1106,"manualWeight":48,"mainColor":49},238136,"jiang-shan-qiu-ji-tu-juan-yun-xi-238136","江山秋霁图卷","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[23,154,24,25,7,27,118,29,482,483,37,34,35,33,2520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614009d1680a009126009a62d024bfab.jpg","22.5×143.2厘米",[124,45],42,{"id":10424,"slug":10425,"title":10426,"dynasty":54,"author":10062,"museum":227,"description":10427,"tags":10428,"thumbUrl":10429,"material":217,"size":217,"collection":217,"collections":10430,"showCount":10422,"zanCount":48,"manualWeight":48,"mainColor":49},228375,"lin-wang-meng-tai-bai-shan-tu-du-qiong-228375","临王蒙太白山图","此作用笔苍劲秀密，以披麻皴绘就层峦叠嶂，苔点疏密错落，尽显山岩浑厚华滋，林麓幽深静谧。湖面空阔清寂，村舍星点隐于林木沟壑间，野趣悠然自生，将江南山居的幽恬之景铺展尽致。\n卷尾长题书法俊逸朴拙，诗画相融，复刻原作幽淡萧散的山水意韵，又自蕴沉静内敛的文人意趣。观之如随幽人策杖穿行泉石间，煮茶观云，坐看烟岚漫过山腰，隐见林泉雅事，把林下高致的隐逸之思晕染在笔墨山河中。",[23,24,25,7,114,27,118,60,29,30,34,35,31,115,196,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357f6e010915680f847be1afbc23395f.jpg",[],{"id":10432,"slug":10433,"title":10434,"dynasty":250,"author":10435,"museum":227,"description":10436,"tags":10437,"thumbUrl":10438,"material":217,"size":217,"collection":217,"collections":10439,"showCount":10422,"zanCount":48,"manualWeight":48,"mainColor":128},224347,"si-shi-hua-hui-si-qun-xian-ji-zhu-juan-wang-cheng-pei-224347","四时花卉（四）群仙集祝卷","汪承霈","此作以淡赭晕染沙汀坡岸，留白简淡衬出水仙清逸之姿。丛丛水仙错落排布，叶片以中锋运笔勾勒，青绿晕染尽显修长柔韧，舒展间带着挺劲生机。白瓣黄蕊的水仙或聚或散，花瓣勾勒细腻温婉，晕染柔和，将水仙冰肌玉骨的清雅气质尽显无遗。\n\n整体画面简淡空灵，以极简布景烘托出水仙孤高脱俗的品性，带着静穆清和的雅致意趣，将花卉柔美与清雅意境相融，笔致秀逸工丽，设色明洁淡雅，尽显雅致出尘的画中况味。",[23,24,28,27,7,281,280,64,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032bbeab1a7a452a4886295a486f862e.jpg",[],{"id":10441,"slug":10442,"title":10443,"dynasty":54,"author":6353,"museum":227,"description":10444,"tags":10445,"thumbUrl":10446,"material":442,"size":10447,"collection":217,"collections":10448,"showCount":10422,"zanCount":48,"manualWeight":48,"mainColor":49},222699,"zhong-kui-jia-mei-tu-qian-gu-222699","钟馗嫁妹图","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,154,24,25,7,174,114,28,61,1047,1009,3488,1590,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c26209f23737e8706df0896ba1b8b9f.jpg","33.3*257.5",[],{"id":10450,"slug":10451,"title":10452,"dynasty":18,"author":10453,"museum":380,"description":10454,"tags":10455,"thumbUrl":10457,"material":442,"size":10458,"collection":543,"collections":10459,"showCount":10422,"zanCount":1106,"manualWeight":48,"mainColor":128},221472,"shu-du-fu-shi-di-yi-duan-zhang-ji-zhi-221472","书杜甫诗第一段","张即之","张即之（1186—1263年），宋代书法家，字温夫，号樗寮，历阳（今安徽和县）人。生于名门显宦家庭，为参知政事张孝伯之子，爱国词人张孝祥之侄，系中唐著名诗人张籍的八世孙。历官监平江府粮科院、将作监薄、司农寺丞。特授太子太傅、直秘阁致仕。",[23,119,10456,7,1602],"行楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966432f4ce381f8d9e768b7b32ee0d56.jpg","34.6x128cm",[543],{"id":10461,"slug":10462,"title":10463,"dynasty":18,"author":2005,"museum":380,"description":10464,"tags":10465,"thumbUrl":10466,"material":40,"size":10467,"collection":42,"collections":10468,"showCount":10422,"zanCount":48,"manualWeight":48,"mainColor":49},221450,"zhou-song-qing-miao-zhi-shen-tu-quan-juan-ma-he-zhi-221450","周颂清庙之什图全卷","马和之《诗经·周颂·清庙之什图卷》取材《诗经·周颂》的内容，其内容是西周初年周王朝祭祀宗庙的舞曲歌辞，用典重的词章歌颂祖先的功德并祈求降福子孙。全图绘《清庙之什》十篇诗意，字画各十段，每段画前有《周颂》全文。右书左图，各幅相间，依次为《清庙》、《维天之命》、《维清》、《烈文》、《天作》、《昊天有成命》、《我将》、《时迈》、《执竞》、《思文》。",[23,154,24,25,7,27,28,174,119,193,61,29,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01c50754e74ad6bb6c4843682dac0cb.jpg","32.6*973cm",[42,124,103],{"id":10470,"slug":10471,"title":10472,"dynasty":54,"author":3914,"museum":651,"description":10473,"tags":10474,"thumbUrl":10475,"material":140,"size":217,"collection":543,"collections":10476,"showCount":10422,"zanCount":48,"manualWeight":48,"mainColor":49},220895,"lin-mi-fei-fang-yuan-an-ji-quan-juan-dong-qi-chang-220895","临米芾方圆庵记全卷","《董其昌临米芾方圆庵记》，绢本，二十五开，每开六行，行五或六、七、八字。全文共计七百六十八字，首题“方圆庵记”四大字，末署四十一小字。与米芾宋拓原文对照，第十八行阙“然而”二字；第六直三行“佛”字前阙“至于吾”三字；第六十六行中“以”原文为“其”，第七十二行中“圣”原文为“先”，第八十五行“异”后少“观”字；第九十四行则多一“庵”字。\n米芾《方圆庵记》书于北宋元丰六年（一○八三年），是专为当时天竺高僧辩才法师主持杭州龙井山方圆庵所作。由陶拯刊石，墨迹末传。刻石早毁，故宋拓鲜见。沈石田旧藏此记拓本，同过沈俨云：“米友仁称，‘其父书，四角转折有八面，笔笔皆翔劲’，又称，‘有云烟卷舒飞扬之态’。观此记信然矣！” 董其昌（一五五五——一六三六）卒年八十二。少早学李邕，又学米芾，二家盘旋最深，得李十之二三，米之五六。生平无所不临。七十岁时初师颜真卿，又学虞永兴。进而****晋唐诸家，继往开来。行楷之妙，跨绝一代。自云：“与赵文敏较，各有短长……当吾作意，赵书迹输一筹。”但对米芾，则云：“米元章书沉着痛快，直夺晋人之社。”又云：“米老行草书传于世间，与晋人几争道驰矣”！屡云“学书运笔得米元章髓”。 辩才法师方圆之道，亦正米、董书法方贺之悟，所以“过予爱之”。此书是董其昌临本，所以流转与自运无别，一经着其作意书得秀色，于是淋漓翰墨，随意所如，更自起自倒，自收自束，自成体势，笔不能自休，以之书“先”为“圣”，少“观”多“庵”，一气呵成，书之雅逸扑人，熠熠夺目，堪称董书中神品，与米氏宋拓孤本正相映媲美，令人陶然入胜。董书喜用淡墨，但类此着意书往往为浓墨。又历来书家恨不见真迹，现在影印与真迹极度近，是一大快事。此帖因是真迹，或更宝于宋拓孤本。 李宗翰云：“米芾书《方圆庵记》年才三十三岁，正专学晋人之时，运笔能控引王羊，其他诸帖每以奇气掩其古法。因些，世人称此帖为米书第一。”此帖结体用“圣教序”，且兼用大令，褚河南两家之法。董其昌的临写过程不仅再现了米芾风神骏爽的神韵，而且在此基础上发挥国自己个性的他造。",[23,119,7,60,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1602f2b3800c830ac35c9871d04782.jpg",[543],{"id":10478,"slug":10479,"title":10480,"dynasty":133,"author":534,"museum":111,"description":10481,"tags":10482,"thumbUrl":10483,"material":824,"size":10484,"collection":543,"collections":10485,"showCount":10422,"zanCount":914,"manualWeight":48,"mainColor":128},220857,"ling-yin-da-chuan-ji-chan-shi-ta-ming-zhao-meng-fu-220857","灵隐大川济禅师塔铭","元代对书法的重视不亚于前代，书法得到一定的发展。探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。在应用价值上来说，算得是最伟大的。故能自后汉相传至今，历久而弥新。《元·赵孟頫法书选——行书灵隐大川济禅师塔铭》为基中一本。\n《灵隐大川济禅师塔铭》卷系赵孟頫于杭州任上所书。有专家考证，此作书于大德十一年，即公元1307年，时年书家54岁。此卷书写工致，融右军、北海笔意于一炉，丰润间蕴含劲拔，一字一珠，是赵中年后极为纯熟的代表作品。后有元人虞集、黄溍、郑元祐等跋，曾经王世贞、徐渭仁等收藏。",[23,120,119,1229,2917,193,7,114,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e38dd2350bd2b52a6a1e955152a6ae5.jpg","纵34.4厘米，横408.9厘米",[543,1013],{"id":10487,"slug":10488,"title":10489,"dynasty":18,"author":430,"museum":416,"description":10490,"tags":10491,"thumbUrl":10492,"material":285,"size":217,"collection":261,"collections":10493,"showCount":10422,"zanCount":914,"manualWeight":48,"mainColor":128},219089,"san-mu-tu-yi-ming-219089","散牧图","素净雪景铺展天地，淡墨晕染出苍茫清寂。枯树枝桠疏朗，似在寒风中轻颤；山石皴法简练，线条勾勒雪的厚重。几株老树苍劲，与留白雪地相映，更显悠远。牛群或缓步觅食，或嬉戏追逐，牧童骑于牛背，衣袂轻扬，尽展山野童趣。远处林峦朦胧，似隐似现，添了几分空濛。构图疏密有致，笔法细腻却不失洒脱，传递出人与自然相融的宁静之美，尽显雅致恬淡的意趣，仿佛能听见牧童的嬉笑声，随晚风消散在雪后的山林间。",[23,24,25,7,114,118,193,29,91,61,1123,404,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d87cbb3dc7c63f2731e50347052b00d.jpg",[261],{"id":10495,"slug":10496,"title":10497,"dynasty":18,"author":415,"museum":227,"description":10498,"tags":10499,"thumbUrl":10500,"material":720,"size":217,"collection":44,"collections":10501,"showCount":10422,"zanCount":48,"manualWeight":48,"mainColor":49},218092,"bai-miao-luo-han-tu-quan-juan-li-gong-lin-218092","白描罗汉图全卷","宋朝是中国历史上的一个朝代，它的统治时间是从960年到1279年。在这个时期，许多著名的文化遗产和艺术品被创造出来，其中之一就是李公麟的《白描罗汉图全卷》。\n\n李公麟是宋朝时期的一位著名的画家，他的《白描罗汉图全卷》是他的代表作之一。这幅画共有六十张图片，描绘了罗汉（菩萨）的各种形象。罗汉是佛教中的一种神祇，被视为慈悲、智慧、勇敢的象征。\n\n《白描罗汉图全卷》画风精细，造型优美，富有表现力。李公麟在画中运用了白色的纸张，使得整幅画显得格外纯净、灵动。此外，他还运用了许多细节处理手法，如镂空、描边和拓印等，使得画面更加丰富、生动。\n\n总的来说，李公麟的《白描罗汉图全卷》是一幅精美的艺术杰作，具有极高的艺术价值和文化意义。",[23,154,24,25,7,174,173,61,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259cf0e940680700b94e0d92e8fa0ef6.jpg",[44],{"id":10503,"slug":10504,"title":10505,"dynasty":54,"author":430,"museum":227,"description":10506,"tags":10507,"thumbUrl":10508,"material":1050,"size":1051,"collection":217,"collections":10509,"showCount":10510,"zanCount":48,"manualWeight":48,"mainColor":128},287957,"fang-zhao-meng-fu-shi-liu-luo-han-tu-yi-ming-287957","仿赵孟頫十六罗汉图","此作用笔清逸秀雅，罗汉形象线条匀净灵动，将世外高人沉静安然的神态刻画入微，衣褶流转间兼具温润质感与古朴意趣。搭配的书法题识笔意萧散，与图像相映成趣，墨色浓淡相宜。古雅的暗纹衬底更添沉静书卷气，整体气韵呼应元人笔墨的温婉雅致，尽现禅意悠远的意境，复刻出原作的文人画风骨。将释道题材的静穆和书法的文雅融为一体，尽显古拙澹泊的古典美学韵味，是一件兼具临摹意趣与审美价值的长卷。",[23,24,7,173,61,6818,7958,114,119,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778036322ea0f4d59bd5410859e7de73.jpg",[],41,{"id":10512,"slug":10513,"title":10514,"dynasty":54,"author":1030,"museum":227,"description":10515,"tags":10516,"thumbUrl":10517,"material":442,"size":217,"collection":543,"collections":10518,"showCount":10510,"zanCount":48,"manualWeight":48,"mainColor":128},241555,"tang-yin-shi-juan-tang-yin-241555","唐寅诗卷","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 [1] 。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。 [2]\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”。",[23,25,7,119,120,193,114,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d1f22c20897817f0de3feff1bc57dd.jpg",[543],{"id":10520,"slug":10521,"title":10522,"dynasty":250,"author":10523,"museum":227,"description":10524,"tags":10525,"thumbUrl":10526,"material":217,"size":217,"collection":217,"collections":10527,"showCount":10510,"zanCount":48,"manualWeight":48,"mainColor":128},238135,"fang-ni-zan-shi-zi-lin-tu-juan-fang-cong-238135","仿倪瓒狮子林图卷","方琮","此作用淡墨铺展园居全景，开篇修竹扶苏，清韵悠悠，茅舍草堂错落其间，屋中有人凭案闲坐，庭前老木虬枝疏朗，衬出院落萧散简远。\n\n整卷笔墨极简，以干笔淡皴写就山石林木，线条清劲秀逸，全无繁冗之笔，承袭古淡空灵的笔意。留白疏阔，氤氲出静穆冷寂的古雅意境，将观者带入无人尘扰的幽居，坐看竹影摇窗、苔痕覆阶，尽显文人画的隐逸高致，笔底藏着天真古淡的林下之风，写尽园居清趣与幽人逸怀。",[23,24,25,7,114,174,60,62,116,275,254,117,70,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37103644d51d567e8b77eae43a2e67bb.jpg",[],{"id":10529,"slug":10530,"title":10531,"dynasty":54,"author":9119,"museum":20,"description":9120,"tags":10532,"thumbUrl":10533,"material":217,"size":217,"collection":217,"collections":10534,"showCount":10510,"zanCount":1106,"manualWeight":48,"mainColor":128},234208,"yin-zhong-ba-xian-tu-juan-li-shi-da-234208","饮中八仙图卷",[23,24,25,7,174,114,61,158,156,2097,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a2be7f38107d2f8b2db69666be51e8.jpg",[],{"id":10536,"slug":10537,"title":10538,"dynasty":18,"author":832,"museum":227,"description":10539,"tags":10540,"thumbUrl":10541,"material":140,"size":10542,"collection":217,"collections":10543,"showCount":10510,"zanCount":48,"manualWeight":48,"mainColor":49},232875,"guan-shan-xing-lv-tu-juan-liu-song-nian-232875","关山行旅图卷","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[23,154,24,25,7,29,118,27,405,62,34,116,654,71,1123,117,1298,420,5451,9039,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac782a163ae7808c98a9f752060c3b4.jpg","34.3x307厘米",[],{"id":10545,"slug":10546,"title":10547,"dynasty":133,"author":2740,"museum":227,"description":10548,"tags":10549,"thumbUrl":10550,"material":217,"size":217,"collection":217,"collections":10551,"showCount":10510,"zanCount":48,"manualWeight":48,"mainColor":128},228027,"lin-li-gong-lin-ren-ma-tu-zhao-yong-228027","临李公麟人马图","说明：元 赵雍 纸本设色 （美国）弗利尔美术馆藏 纵1.7厘米 横7.5厘米 此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。\n牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。\n画人马用线细劲连绵，人物胡须及马尾线描极为精彩。\n与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。\n字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。\n官至集贤待制，同知湖州路总管府事，晚年隐居在家，往来于湖、杭间。\n承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。\n幼即勤奋，得母指教，稍懈母即严责之。\n稍长，“所画浓淡浅深皆至理”。\n山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。\n兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。\n书善正、行、草，亦长篆书，体势清劲。\n赵雍传世作品有至正二年（142）作《采菱图》轴、至正七年（147）作《挟弹游骑图》轴、（16）作《松溪钓艇图》卷及《沙苑图》卷，现藏故宫博物院；《着色兰竹图》轴、《青影红心图》《长松系马图》《清溪垂钓图》藏上海博物馆；溪山渔隐图》哦张衍旧藏，图录于《中国名画宝鉴》。\n至正十二年（152）作《骏马图》轴，藏台北故宫博物院；至正十九年（159）作《人马图》卷，藏美国纽约大都会艺术博物馆；《澄江寒月图》纨扇藏 ，另有《墨竹图》等。\n著有《赵待制遗稿》一卷。",[23,154,24,25,7,27,174,61,90,119,120,193,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606825de98a93d91568a7d11e00af43.jpg",[],{"id":10553,"slug":10554,"title":10555,"dynasty":2618,"author":430,"museum":1242,"description":10556,"tags":10557,"thumbUrl":10558,"material":1050,"size":1051,"collection":217,"collections":10559,"showCount":10510,"zanCount":1106,"manualWeight":48,"mainColor":49},226508,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-yi-ming-226508","佛说阎罗王授记四众预修生七往生净土经","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一，",[7,25,24,173,27,61,62,28,540,511,193,119,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00260a4feaf64cbf8c2e55965c1febc7.jpg",[],{"id":10561,"slug":10562,"title":10563,"dynasty":250,"author":3426,"museum":227,"description":10564,"tags":10565,"thumbUrl":10567,"material":1050,"size":1051,"collection":217,"collections":10568,"showCount":10510,"zanCount":48,"manualWeight":48,"mainColor":128},224217,"xiao-rong-shi-ce-zhuan-shu-wu-chang-shuo-224217","小戎诗册篆书","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,664,119,10566,7,193],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac50f5eaec7f55cb5dcad0fa1a75421.jpg",[],{"id":10570,"slug":10571,"title":10572,"dynasty":250,"author":430,"museum":227,"description":10573,"tags":10574,"thumbUrl":10575,"material":217,"size":217,"collection":217,"collections":10576,"showCount":10510,"zanCount":48,"manualWeight":48,"mainColor":128},223658,"jin-ping-mei-cha-tu-yi-ming-223658","金瓶梅插图","此作为工笔重彩长卷，以分段式构图铺展桥段，院宅厅堂错落排布，人物疏密有致。匠者细绘雕栏花窗、瓶炉陈设，精准还原世家起居样貌，衣袂纹饰鲜妍工丽，各有章法。画面将宴饮雅聚、弈棋闲叙、私会密谈的不同氛围烘托得当，人物神态灵动鲜活，或揖礼叙话，或缱绻依偎，皆细腻传神。青绿、朱红配色明快雅致，兼具界画的工整写实与人物画的气韵生动，把世情日常与深宅韵致相融，尽显清代工笔世俗画的精湛功力，让文字故事具象为可触摸的古典图景。",[23,24,7,27,28,59,61,62,70,34,555,1798,212,211,7295,117,155,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a55519b64b307f10e86240af72bfc4.jpg",[],{"id":10578,"slug":10579,"title":10580,"dynasty":54,"author":10581,"museum":380,"description":10582,"tags":10583,"thumbUrl":10584,"material":442,"size":10585,"collection":124,"collections":10586,"showCount":10510,"zanCount":48,"manualWeight":48,"mainColor":128},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[23,24,25,7,114,29,118,34,117,64,37,193,5431,2520,9260,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[124,103],{"id":10588,"slug":10589,"title":10590,"dynasty":54,"author":110,"museum":1327,"description":10591,"tags":10592,"thumbUrl":10593,"material":824,"size":10594,"collection":217,"collections":10595,"showCount":10510,"zanCount":914,"manualWeight":48,"mainColor":128},222125,"luo-hua-shi-yi-tu-quan-juan-shen-zhou-222125","落花诗意图全卷","该图写晚春最象，远山隐约，桃李花谢，落英缤纷，溪岸上有一老者倚杖临流感慨。笔墨简洁厚润，从宋元人水墨写意中发展而来，别具一格。明代兴起的以个性解放为中心的思想解放运动，在哲学上的表现是争取人的解放，在文艺上的表现则是争取文艺解放，而哲学启蒙则为文艺启蒙提供了思想理论武器。而《落花诗意图》正是作者抒发春暮感伤的个人感情，在一定意义上反映了当时艺术的民主色彩。\n该图描绘了老者一身影孑然独立于自然中的情景。画幅右半部为全幅最主要的部分，也是实景部分。该处主要部位作树五株，分为两组，以胡椒点笔法点出树叶，疏密聚散，然后以花青、赭石笼染数遍。右边下部则以平台和山坡为主，先勾出大体轮廓，然后在坡石的结合处以披麻皴皴出层次，稍作渲染，再以花青、赭石笼染。两平台分开，同时在两平台间作一小桥与平坡相连，平台上散落的一簇簇粉红的落花。靠近左面的平台上有一老人扶杖远望。左边下半部则作碎石三四块，对坡岸微作交代，且是左半部平台、坡石的过渡、延伸。远处的山色以花青稍作渲染，染出峦头即止，隐约之间，已经将晚春的空气烘染出来。整个画面只有近景和远景部分，中间部分简略处理，一片虚空，而将观者的视线引向扶杖老人为主的近景上来。\n构图:该图为典型的一角式、半边式小景构图，是南宋马远、夏圭、刘松年绘画风格的综合。当然也与浙派的某些用笔、用墨和构图有相通之处。注重渲染以及水墨的苍劲追求和有意识地省略中间景物层次等，便与浙派的绘画风貌十分相近。\n笔墨:该图树叶的画法，先用湿墨点染，后用花青烘染。而浅坡皴法则用笔硬挺，笔、力紧实，线条洗练，树身的双勾线也坚硬爽朗，同老人衣纹线一道构成了画面的骨力，这样就与树叶的清润、近水的空蒙、远山的秀逸形成明显的对比。苍中带秀、粗中挟细，雅淡中蕴含骨力，营造出了既显苍老雄健又凝重清旷旷的绘画意境，已经包含有浙派画家和宋元人不具有的新的绘画因素，这是沈周在前人基础上的创造。沈周的粗笔运用，也遥接张僧繇疏笔画的观念。",[23,24,25,7,27,114,120,119,118,29,34,117,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99abcc648d34fdd1fe5bb5e6af96de.jpg","纵36厘米，横750厘米",[],{"id":10597,"slug":10598,"title":10599,"dynasty":18,"author":430,"museum":151,"description":10600,"tags":10601,"thumbUrl":10603,"material":78,"size":10604,"collection":42,"collections":10605,"showCount":10510,"zanCount":914,"manualWeight":48,"mainColor":49},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,24,25,7,27,28,59,537,61,62,592,29,34,70,731,4139,117,10602,177],"官员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[42],{"id":10607,"slug":10608,"title":10609,"dynasty":18,"author":430,"museum":1683,"description":10610,"tags":10611,"thumbUrl":10612,"material":285,"size":10613,"collection":44,"collections":10614,"showCount":10510,"zanCount":48,"manualWeight":48,"mainColor":49},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","墨线勾勒间，十六罗汉神态各异：或静立松下凝思，或拄杖徐行于林麓，或与猿猴嬉戏、鹤鹿为邻。松竹掩映，怪石嶙峋，山野之趣与禅意相融。人物衣袂飘举，线条简练却见风骨，寥寥数笔便传神情——有的须眉微蹙似在参禅，有的笑靥舒展如悟真机，有的俯身逗猴尽显自在。画面清寂中藏生机，简淡里见深致，以自然景致衬罗汉超脱之态，笔墨洗练却形神兼备，尽显古代绘者对禅林世界的诗意描摹，亦让观者于尺幅间感受那份远离尘嚣的宁静与旷达。",[23,24,25,7,174,114,173,61,4337,5861,6219,1009,276,275,254,255,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[44],{"id":10616,"slug":10617,"title":10618,"dynasty":18,"author":430,"museum":111,"description":10619,"tags":10620,"thumbUrl":10621,"material":217,"size":217,"collection":42,"collections":10622,"showCount":10510,"zanCount":48,"manualWeight":48,"mainColor":10623},201746,"xi-shan-tu-juan-yi-ming-201746","溪山图卷","画面峰峦层叠，皴染结合的山石质感浑厚，如剑戟般刺破云雾。轻烟似纱缠绕峰谷，虚实相生间拓展空间纵深。山间林木葱茏，墨色浓淡交错尽显苍劲生机；溪畔屋舍隐现，与流水、舟楫相映，添了几分人间烟火气。远处水天相接，朦胧远山若隐若现，整体意境悠远静谧，尽显宋代山水画的雅致与深邃。",[24,29,7,114,118,37,117,605,420,2038,73,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e50403cbfddbda8fae18d4254da81a2.jpg",[42],"82786f",{"id":10625,"slug":10626,"title":10627,"dynasty":18,"author":8788,"museum":227,"description":10628,"tags":10629,"thumbUrl":10630,"material":1050,"size":1051,"collection":217,"collections":10631,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":128},289869,"shi-yong-tu-zhang-xian-289869","十咏图","张先（990—1078），字子野，乌程（今浙江湖州）人。北宋词人。婉约派代表人物。天圣八年（公元1030）进士。历任宿州掾、吴江知县、嘉禾（今浙江嘉兴）判官。皇祐二年（1050），晏殊知永兴军（今陕西西安），辟为通判。后以屯田员外郎知渝州，又知虢州。以尝知安陆，故人称“张安陆”。治平元年（1064）以尚书都官郎中致仕，元丰元年病逝，年八十八岁。",[23,154,24,25,7,59,27,29,62,3823,64,405,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6ee46a4d67fb75fc131910fa6d3ee0.jpg",[],40,{"id":10634,"slug":10635,"title":10636,"dynasty":149,"author":5991,"museum":227,"description":5992,"tags":10637,"thumbUrl":10639,"material":1050,"size":1051,"collection":217,"collections":10640,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":128},288362,"yu-le-tu-juan-jing-hao-288362","渔乐图卷",[23,154,24,7,114,29,765,63,64,117,34,484,10638],"渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0672ea030382358d7cd79b172143a3.jpg",[],{"id":10642,"slug":10643,"title":10644,"dynasty":250,"author":5642,"museum":20,"description":10645,"tags":10646,"thumbUrl":10647,"material":10648,"size":10649,"collection":543,"collections":10650,"showCount":10632,"zanCount":914,"manualWeight":48,"mainColor":128},239982,"zhao-meng-fu-da-shi-zan-juan-ai-xin-jue-luo-yong-xing-239982","赵孟頫大士赞卷","释文：\n秉般若。剑推黑暗尽光明。洞然行佛心，令令行如焰。无处凑泊，锋锷未露，天魔胆落。\n明月一圆，清风两袖。笊篱笊篱，虽工莫售。莫信者何，劳心碌碌。譬动水珠，竟无捞摸。\n彼卖鱼者，一钱两尾。踏破指头，白昼见鬼。隐菩萨身，化童女真。非大悲心，着甚死嗔。\n飞鸟拍肩，蹲蹲将及。正未及闲，狂心顿息。天和气薰，小雨沾裳。浮云柳絮，空阔飞扬。师猎得麕，师农得粟。善财无法，礼菩萨足。菩萨不定，前瞻后瞩。汝自问取，白云青竹。\n赵文敏公大士赞。为恒府德斋书。成亲王。\n款署 ：“为恒府德斋书。成亲王。”钤“成亲王”、“诒晋斋印”白文印2方。鉴藏印钤“芸阶姚氏收藏”朱文印。\n外有题签“成哲亲王书赵文敏公大士赞。石雪居士题签”。钤“徐宗浩印”。知此卷曾为徐石雪所藏。\n此作以恭楷录赵孟頫大士赞。用笔清劲峭拔，结字整肃，极见唐人楷法之精绝。",[119,537,7,193,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b807dbacbd0c0949eec6226c73eab8a.jpg","纸本，楷书","纵32.8厘米，横89厘米",[543],{"id":10652,"slug":10653,"title":10654,"dynasty":54,"author":6567,"museum":20,"description":10655,"tags":10656,"thumbUrl":10657,"material":10658,"size":10659,"collection":124,"collections":10660,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":185},239516,"shan-shui-ren-wu-juan-ye-cheng-239516","山水人物卷","图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[154,24,25,7,27,118,29,61,63,116,34,468,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7881e7ced23cbff7521abe14b902b9f.jpg","绫本，设色","纵35cm，横290.3cm",[124],{"id":10662,"slug":10663,"title":10664,"dynasty":54,"author":495,"museum":20,"description":10665,"tags":10666,"thumbUrl":10667,"material":10668,"size":10669,"collection":217,"collections":10670,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":49},234133,"wen-zheng-ming-lin-song-xue-lan-shi-juan-wen-zheng-ming-234133","文徵明临松雪兰石卷","画幽兰一丛,小竹一枝,生于坡石之间,点缀以荆棘杂草",[23,24,25,7,114,120,60,193,282,275,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56557e2a2e1aa0a998c2c9f99a8dcc16.jpg","纸本,墨笔","纵28厘米,横62.5厘米",[],{"id":10672,"slug":10673,"title":10674,"dynasty":18,"author":3193,"museum":10675,"description":10676,"tags":10677,"thumbUrl":10678,"material":7742,"size":10679,"collection":217,"collections":10680,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":2653},232615,"nian-nu-jiao-chi-bi-huai-gu-huang-ting-jian-232615","念奴娇·赤壁怀古","武氏墓群石刻博物馆","黄庭坚《念奴娇·赤壁怀古》，武氏墓群石刻博物馆藏。武氏墓群石刻博物馆位于山东省嘉祥县，是全国第一批重点文物保护单位，以收藏着大量东汉时代武氏墓群的石刻文物而闻名于世。《念奴娇·赤壁怀古》全文的四块石刻，每块刻石均长方形，按石刻拓片每块约高 35cm、宽101cm。\n一、苏东坡是北宋大文豪，千古传颂，世界闻名。《念奴娇·赤壁怀古》词为其重要代表作，脍炙人口。黄庭坚亦乃诗词书法大名家。故此刻石当是珠联璧合的“苏黄”双绝，文化价值、历史价值、文物价值皆珍贵异常。\n二、黄庭坚书写东坡此词，说明两人不同一般的师生情谊，也折射出黄庭坚对苏词之推崇。\n三、刻石完整保留了至今已难得一见的黄庭坚墨宝真迹，而且是一幅长达百字的巨作，笔力遒劲，跌宕起伏，晋风唐韵，龙飞凤舞，一如行云流水，恰似东坡豪迈词意，酣畅淋漓，气象磅礴，雄浑壮美。《三希堂法帖》有黄氏20件墨宝，却缺此件。\n四、此词系东坡谪居黄州游赤壁时所写的千年名篇，流传甚广，而版本各异。黄庭坚作为苏轼门下，自身当时就是著名词人，故其墨迹堪称原始版本，足以作为诸版本之校勘依据。",[23,119,120,2917,7,1229,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e0349f0fe749f5ac5eba8fa71d1f19.jpg","35cm、宽101cm",[],{"id":10682,"slug":10683,"title":10684,"dynasty":18,"author":4606,"museum":227,"description":10685,"tags":10686,"thumbUrl":10687,"material":217,"size":217,"collection":217,"collections":10688,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":49},228422,"zao-chun-tu-zhao-bo-su-228422","早春图","此作为典型南宋青绿山水，以石青石绿晕染山峦，敷色浓丽雅致，尽显华贵宋韵。长卷铺展平远山水，烟波横江裹挟春润雾气，层叠峰岫间茂林修竹错落，汀洲村舍、临江楼阁疏密排布，舟楫泛于碧水，仿佛能窥见江风拂过早春的清寂暖意。画面将山水与苑居景致相融，兼具自然灵秀与人工精巧，晕开江南早春独有的温润朦胧。卷后题跋与鉴藏朱印次第排列，墨痕与印色相映，让画作在清雅之外，更添流传千载的厚重书卷意蕴，尽显宋人的山水审美与文人雅趣。",[23,154,24,25,7,26,27,29,62,34,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641d8a14375683a70a41699d825928db.jpg",[],{"id":10690,"slug":10691,"title":10692,"dynasty":18,"author":4888,"museum":227,"description":10693,"tags":10694,"thumbUrl":10695,"material":217,"size":217,"collection":217,"collections":10696,"showCount":10632,"zanCount":1106,"manualWeight":48,"mainColor":49},227958,"mu-yang-tu-juan-li-di-227958","牧羊图卷","此作用工写兼融之笔，铺展秋日郊原之景。沙渚浅坡晕染淡赭，细草缀以青绿，衬出疏阔静穆的荒寒氛围。林间枯木虬劲苍古，残叶间点缀秋红，暗合塞晚秋光。\n\n群羊姿态各异，或卧地慵憩，或垂首啮草，或两两相逐，毛发蓬松温润，刻画细腻灵动，尽显羊只闲适之态。整卷设色雅致柔和，既有院体画的精工写实，又暗含文人画的淡逸意趣，将牧羊日常化为悠远诗意，把塞北秋原的宁和生机，尽数融于长卷之中，意韵清寂悠长。",[23,24,154,25,7,28,27,118,5814,1009,254,230,639,420,196,119,193,117,7835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dfddaef68b627b4fae245934cf60aa.jpg",[],{"id":10698,"slug":10699,"title":9806,"dynasty":149,"author":9807,"museum":227,"description":9808,"tags":10700,"thumbUrl":10701,"material":1050,"size":1051,"collection":217,"collections":10702,"showCount":10632,"zanCount":1106,"manualWeight":48,"mainColor":49},226154,"xie-sheng-zhen-qin-quan-juan-huang-quan-226154",[23,28,27,7,1818,209,524,557,1529,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ea7bbb08ea8dee423e5e1bfd185218.jpg",[],{"id":10704,"slug":10705,"title":10706,"dynasty":250,"author":819,"museum":227,"description":10707,"tags":10708,"thumbUrl":10709,"material":217,"size":217,"collection":103,"collections":10710,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":128},224531,"huang-xie-zhu-feng-tu-juan-shi-tao-224531","黄澥诸峰图卷","此作用水墨铺就群峰崔嵬，壁立危岩间奇松倒挂，烟云在幽谷间缓缓氤氲，将山川的苍莽灵秀晕染开来。干湿浓墨互衬，皴擦勾勒出山岩硬朗肌理，既铺展出峰峦雄奇气势，又晕出江南山水独有的空濛诗意。\n\n左侧题字笔势纵逸跌宕，笔墨酣畅淋漓，文气与山岚相融，将壮游山水的快意寄寓其中。诗画合璧，把天地山河之美与文人笔墨情志共生一处，尽显山水与文思交织的悠然意境。",[23,24,25,7,114,118,120,119,29,30,468,34,690,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[103],{"id":10712,"slug":10713,"title":10714,"dynasty":54,"author":10715,"museum":10716,"description":10717,"tags":10718,"thumbUrl":10719,"material":10720,"size":10721,"collection":543,"collections":10722,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":128},222538,"wu-yan-lv-shi-si-shou-juan-wang-duo-222538","五言律诗四首卷","王铎","无锡市博物馆","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[23,119,1892,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bfad7f5c9832225ba8082013f88182.jpg","绫本","纵31cm，横238cm",[543],{"id":10724,"slug":10725,"title":10726,"dynasty":54,"author":55,"museum":111,"description":10727,"tags":10728,"thumbUrl":10729,"material":40,"size":10730,"collection":124,"collections":10731,"showCount":10632,"zanCount":791,"manualWeight":48,"mainColor":49},222214,"su-hui-hui-wen-kai-xuan-shi-chou-ying-222214","苏惠回文凯旋诗","回文诗，也写作“爱情诗”“回环诗”。它是汉语特有的一种使用词序回环往复的修辞方法，文体上称之为“回文体”。唐代上官仪说，“诗有八对”，其七曰“回文对”，“情新因意得，意得逐情新”，用的就是这种措词方法。充分展示并利用了汉语以单音节语素为主和以语序为重要语法手段这两大特点，读来回环往复，绵延无尽，给人以荡气回肠，意兴盎然的美感。回文的形式在晋代以后就很盛行，而且在多种文体中被采用。人们用这种手法造句、写诗、填词、度曲，便分别称为回文诗，回文词和回文曲。虽然不乏游戏之作，却也颇见遣词造句的功力。",[23,154,24,25,7,28,27,59,61,155,90,34,62,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e131e2503e99eeb4a7fc3907f8df6.jpg","纵25厘米，横292米",[124,45],{"id":10733,"slug":10734,"title":10735,"dynasty":133,"author":10736,"museum":151,"description":10737,"tags":10738,"thumbUrl":10739,"material":442,"size":10740,"collection":44,"collections":10741,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":128},221733,"ni-zan-xiang-juan-zhang-yu-221733","倪瓒像卷","张雨","工书画，其书法初学赵孟頫，后学怀素，张旭。字体楷草结合，俊爽清洒自成一格。存世书迹有《山居即事诗帖》，《登南峰卷》等。倪瓒在《题张贞居书卷》称“贞居真人诗，人，字，画，皆为本朝道品第一”。其画以淡彩见长，善画石木，用笔古雅，尤善以败笔点缀石木人物，颇有意韵。画迹有《霜柯秀石图》，《双峰含翠图》等。",[24,25,7,174,27,28,61,193,625,213,29,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30d126c273a363dbcf40b1fda9a0860a.jpg","该幅28.2x60.9公分",[44,45],{"id":10743,"slug":10744,"title":10745,"dynasty":133,"author":1344,"museum":56,"description":10746,"tags":10747,"thumbUrl":10753,"material":10754,"size":10755,"collection":44,"collections":10756,"showCount":10632,"zanCount":914,"manualWeight":48,"mainColor":49},221712,"fu-zui-tu-juan-qian-xuan-221712","扶醉图卷","描绘的是东晋著名隐士陶渊明喝酒的故事。画中共三人：酒后面露醉态的陶渊明，醉眼朦胧，坦胸露肚，一手倚扶于竹榻之上，一手作摆手送客状。右侧的客人对着陶渊明双手作揖，面容恭谨，作告辞状；白衣老仆欲引客人离去。一边的地面上陶制的酒罐、酒盆和瓷器的酒杯洒落一地，杯盘狼藉。",[23,24,25,7,27,28,2161,61,158,156,1377,10748,140,5411,10749,10750,7814,10751,10752],"饮酒场景","酒具","人物互动","线条细腻","设色典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ccffb9f1d8c8a7d08362296a28da33.jpg","水墨设色","纵28厘米，横49.5厘米",[44,45],{"id":10758,"slug":10759,"title":10760,"dynasty":133,"author":10761,"museum":380,"description":10762,"tags":10763,"thumbUrl":10764,"material":442,"size":10765,"collection":543,"collections":10766,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":128},221685,"shu-wang-an-shi-za-shi-juan-quan-juan-xian-yu-shu-221685","书王安石杂诗卷全卷","鲜于枢","书王安石杂诗四首：《题侍郎山水》、《招约之职方并示正甫书记》、《示元度》、《奉酬约之见招》。全卷600余字，书于至元二十八年（公元1291年）。时鲜于枢36岁，正值书艺旺盛时期，故书气恢宏，骨力劲健，圆转流畅，表现了鲜于枢极深的书 * 力。",[23,25,119,7,120,114,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a218ba9122cc9b248081e8fb15f101.jpg","纵50厘米 横1025厘米",[543],{"id":10768,"slug":10769,"title":10770,"dynasty":18,"author":10771,"museum":20,"description":10772,"tags":10773,"thumbUrl":10774,"material":824,"size":8485,"collection":42,"collections":10775,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":128},221428,"chun-shan-tu-quan-juan-yan-su-221428","春山图(全卷)","燕肃","燕肃(公元991—1040年)字穆之。祖籍青州益都(今山东青州)，后迁居于阳翟(今河南禹县)。真宗朝进士，官至龙阁直学士，礼部尚书，颇有政绩。巧思过人，有不少发明创造，是一位很有成就的科学家。工诗，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[23,24,25,7,114,27,29,63,64,404,230,116,196,118,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg",[42,124,103],{"id":10777,"slug":10778,"title":10779,"dynasty":18,"author":10780,"museum":20,"description":10781,"tags":10782,"thumbUrl":10784,"material":40,"size":10785,"collection":44,"collections":10786,"showCount":10632,"zanCount":914,"manualWeight":48,"mainColor":128},221416,"fang-che-tu-juan-wang-ju-zheng-221416","纺车图卷","王居正","《纺车图》是北宋画家 所创作的一幅设色画，现收藏于北京故宫博物院。\n该图画面上纺车忙碌着，一位面貌年轻村妇怀抱着哺乳的婴儿，坐在纺车前操作，稍远处一位老年村妇站立为之牵线。\n画面右侧绘有一个嬉戏的儿童，两位村妇之间则点缀一只小犬正在撒欢地玩着。\n背景描绘着随风披拂的柳树丝及其几段又粗又硬的树枝干。\n图中人物头发荆钗蓬鬓，鹑衣百结，曲尽情状，面目如生。\n纺车图是绢布手卷，纵21.6 厘米， 横69.2厘米，设色画，内容是农村中妇女纺线的情景。\n该画面的中心放着一架纺车，其傍置一竹筐，位中年妇女坐小椅上，左手抱着婴儿哺乳，右手轮转车机，前面站着一位老年妇女两手牵机。\n村妇身后有一儿童，席地而坐，手中拿着杆，牵着一只蟾蜍，活泼可爱。\n中间闻一小犬，画右有两棵老柳树，布景简洁，但却显出农村前条气象。\n元代书法家赵孟頫为此图题跋：“图虽尺许，而气韵雄壮，命意高古，精采飞动，真可谓神品者矣。\n” 明代画家吴宽亦于其上题诗并跋语：“可爱河东王氏子，丹青施誉动祥符。\n不传罗绮游春态，只画茅檐纺车图。\n” 大中祥符年间（18年—116年），北宋为了修筑宫殿、寺庙，招来一些从事建筑彩绘和壁画的民间画匠。\n由于王居正出身劳动人民，深谙民间疾苦，对下层贫苦农民有深厚的感情，所以画面反映的题材意义和人物形象，与宫廷画家及士大夫笔底的“农家乐”形象大异其趣。\n《纺车图》正是王居正看到妇女纺线情景所创作的一幅农家图。\n该图表现农村妇女的户外劳动。\n全幅主题突出，构图巧妙。\n近景描绘的人物被两条飘浮不定的线条分为两组，线的一端是边摇纺车边哺乳的中年妇女、围其左右戏青蛙的童子和狂吠的黑犬；另一端是弯腰伛背、双手拉着线团的老媪。\n人物彼此间聚散自然，神韵相通。\n图中纺车、竹筐、杌凳用界画形式表现，刻画精工写实。\n人物的衣纹用转折劲利的“战笔描”表现，中锋行笔，线条细劲圆润，随着人物形体的变化而顿折曲转，从而准确地塑造出人物的形态和衣料的柔软质地。\n图中的女性形象与晋代顾恺之、唐代周昉笔下的仕女相比，没有娇美的相貌、诱人的身材、华丽的服饰及尊贵的地位，她们仅是生活中最为普通的农村妇女。\n衣裤迭经补缀的老妇面容憔悴，动作迟缓，艰辛的生活令其相貌充满沧桑感。\n作者以写实的艺术手法不加美化地表现她们，意在赞扬她们安贫乐道的生活态度及朴实无华的个性美，同时也表达了对她们贫苦生活的同情。\n从绘画史的角度来看，《纺车图》并非在技法或风格创新上有重大突破或建树，其难得可贵价值在于它表现了下层劳动人民真实的劳动场面，为人们了解研究当时的社会和历史提供了珍贵的形象资料。\n该图流传有绪，在南宋时为 收藏。\n元代延祐四年（117年）， 在燕京以五十金购得。\n明代初为袁廷玉（柳庄）获取，明代中期杨维新从袁氏家购得。\n万历年间（157－1619年）它被周敏所收藏。\n清代初为仁和龚翔麟（蘅圃）收藏，乾隆朝时归江西陈玉方（希祖），嘉庆朝素村用旧拓唐楷碑向陈玉方换取此画，光绪年间（1875－198年）归陆心源所得，清末归武进盛所有。\n2世纪5年代，国家从香港将其购回，旋即入藏北京故宫博物院。\n在214年4月日至6月29日期间，北京故宫院开展“故宫藏历代书画展”，其中《纺车图》在北京故宫武英殿书画馆开展。\n王居正（生卒年不详），乳名憨哥，河东（今山西永济）人，北宋画家王拙之子。\n北宋大中祥符年间（18－116年），被招募至汴京（今河南开封）参与皇家宫殿的营造工程。\n其作画注重写实，落笔前反复观察，认真思考，力求于创作中真实地再现客观对象 。",[23,24,7,28,27,61,2211,4924,10783,298,34,997,2887,297],"纺车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc3f7fb767d3a2e83a5bc151e376253.jpg","纵26.1厘米，横69.2厘米",[44,45],{"id":10788,"slug":10789,"title":10790,"dynasty":18,"author":861,"museum":227,"description":10791,"tags":10792,"thumbUrl":10793,"material":442,"size":217,"collection":543,"collections":10794,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":128},221305,"tian-ji-wu-yun-tie-you-cheng-song-yang-tie-su-shi-221305","天际乌云帖又称嵩阳帖","《天际乌云帖》又称《嵩阳帖》，苏轼诗文一章，行书，真迹曾由明代项元汴收藏，清归翁方纲，有翁氏题跋。共三十六行，计三百零七个字。藏处不详。\n此帖无年款，据清翁方纲所考，苏轼有《常润道中，有怀钱唐，寄述古五首》之作，其次章有“去年柳絮飞时节，记得金笼放雪衣”句，并自注云：“杭人以放鸽为太守寿。”此正是帖中所言陈太守放营妓周韶事，杭人称誉之。因周韶诗中有“开笼若放雪衣女”事，正应放鸽为寿。此在熙宁五、六年间事。翁氏又考苏诗外集有《过潍州驿，见蔡君谟题诗壁上云：“绰约新娇生眼底，逡巡旧事上眉尖。春来试问愁多少，得似春潮夜夜添。不知为谁而作也?和一首》。此事在苏轼自密州移徐州之际，即在熙宁九年苏轼潍州度岁时。翁氏即猜此帖在熙宁十年书。然诗与帖又有矛盾：帖云“仆在钱塘”见“堂前小阁中壁上”书蔡君谟“绰约新娇”诗，而诗云：“过潍州驿，见蔡君谟题诗壁上云：‘绰约新娇……'。”二者必有一伪。再，《苏文忠公诗编注集成总案》又载苏轼《题蔡君谟诗草》云：“此蔡君谟—《梦中》—诗,真迹在济明家，笔力遒劲。”并自署为“元皊五年十月四日”。此是苏轼知杭州事，距初悴杭州又十五、六年时间。这又留下一个可猜想的余地。但帖中“仆在钱塘”云云，书此帖时必不在钱塘。因之，断为熙宁十年左右较合理。然翁氏在帖考中又云此帖书颇类《满庭芳词——为王长官作》和《上清宫词》书。前者书于元丰六年，后者书于元皊二年。因此断定在熙宁十年至元皊二年这十年之间。此又平添一重疑难也。\n翁氏收藏此帖后，又引起了是否钧填本的争论。因存世苏书钩填本很多，而此帖纸质擦损严重，“有二一描失处”，故疑之。但翁氏肯定说这是真迹本，并将此帖与《快雪堂帖》刻本逐一比较，而断定《快雪堂帖》刻本所据乃为董其昌记载所见之摹本。在没有寻找到更多的证据前，我们尊重翁氏之论，也是有道理的。",[23,119,120,7,1229,25,114,193,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9cd5f10698a081bf325106fa748e07.jpg",[543],{"id":10796,"slug":10797,"title":10798,"dynasty":168,"author":430,"museum":20,"description":10799,"tags":10800,"thumbUrl":10802,"material":217,"size":10803,"collection":543,"collections":10804,"showCount":10632,"zanCount":914,"manualWeight":48,"mainColor":49},221091,"da-bao-ji-jing-juan-di-san-shi-er-jin-zi-da-zang-jing-yi-ming-221091","大宝积经卷第三十二金字大藏经","此作用磁青纸为底，泥金小楷书就，靛蓝如深谧夜幕，金墨似碎钻凝光，视觉上庄雅夺目。唐人小楷结体端秀匀整，笔力圆劲内敛，通篇数十万字无一疏怠，法度谨严，尽显写经人奉持恭谨之心。\n整卷铺展如星河长流，暗合经文肃穆禅意，泥金历千年依旧煌煌夺目，纸色沉穆古雅。它既彰显了唐代佛教文化的鼎盛，也展现出彼时写经技艺的巅峰水准，笔墨间饱含虔诚的信仰之力，是书法工艺与宗教内核完美融合的传世瑰宝。",[23,173,119,540,537,10801,7,1973],"金字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49a439abffbf08cf2ebbe49e194dbbd.jpg","30x886",[543,1013],{"id":10806,"slug":10807,"title":10808,"dynasty":133,"author":534,"museum":568,"description":10809,"tags":10810,"thumbUrl":10812,"material":442,"size":217,"collection":103,"collections":10813,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":128},220870,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[23,154,24,25,7,114,120,118,275,255,10811,404,193],"幽兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe687eff90f3c2bf5fb4687e73675735c.jpg",[103,1873],{"id":10815,"slug":10816,"title":10817,"dynasty":250,"author":10818,"museum":568,"description":10819,"tags":10820,"thumbUrl":10821,"material":285,"size":10822,"collection":124,"collections":10823,"showCount":10632,"zanCount":48,"manualWeight":48,"mainColor":128},219981,"meng-you-tian-tai-tu-qian-du-219981","梦游天台图","钱杜","此卷作于嘉庆十九年甲戌（1814 年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[23,24,114,7,119,193,118,29,117,34,419,610,690,37,420,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[124],{"id":10825,"slug":10826,"title":5503,"dynasty":250,"author":10827,"museum":20,"description":5505,"tags":10828,"thumbUrl":5507,"material":78,"size":10829,"collection":124,"collections":10830,"showCount":10632,"zanCount":1106,"manualWeight":48,"mainColor":49},219747,"du-fu-shi-yi-tu-wang-shi-min-219747","王时敏",[23,24,25,7,763,114,27,275,34,117,420,63,116,64,404],"纵39厘米，横25.5厘米",[124],{"id":10832,"slug":10833,"title":10834,"dynasty":250,"author":430,"museum":1100,"description":10835,"tags":10836,"thumbUrl":10838,"material":285,"size":10839,"collection":44,"collections":10840,"showCount":10632,"zanCount":1106,"manualWeight":48,"mainColor":128},214914,"qian-dai-jun-chen-gu-shi-tu-yi-ming-214914","前代君臣故事图","前代君臣故事图是清朝时期的一幅条幅式绘画，其中描绘了前代君臣的故事。这幅画作品的画家是清朝时期的一位佚名画家。\n\n前代君臣故事图中描绘了许多传说中的君臣人物，如唐朝的李靖、西汉的范蠡、周朝的车骑将军等。这些君臣人物均以其忠心耿耿、才华横溢的形象呈现在画面中，并以细腻精巧的线条勾勒出了他们的肖像。\n\n在前代君臣故事图中，这些君臣人物被描绘成温厚谦逊、不畏权势、敬畏天命的英雄人物。他们不仅身经百战、深谙军事，而且还具有极高的政治才能，深受皇帝信任。\n\n前代君臣故事图是清朝时期一幅非常著名的绘画作品，其中所描绘的君臣人物形象鲜活生动，富有感染力，对后代的绘画艺术具有重要的影响。",[23,24,25,7,174,114,61,90,193,537,10837],"历史故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ae494934b6299c2afccbf637aa0c5c.jpg","24.1x299.4",[44],{"id":10842,"slug":10843,"title":10844,"dynasty":18,"author":8670,"museum":227,"description":10845,"tags":10846,"thumbUrl":10851,"material":1050,"size":1051,"collection":217,"collections":10852,"showCount":10853,"zanCount":1106,"manualWeight":48,"mainColor":49},288940,"xiao-xiang-ba-jing-yan-si-wan-zhong-wang-hong-288940","潇湘八景-烟寺晚钟","金碧招提古，高峰最上层。喧风僧入梵，宿雾佛前灯。禅观延空寂，蒲牢忽震凌。黄昏山路险，窘步一枝藤。",[24,154,7,29,114,118,405,64,10847,605,37,10848,10849,10850],"古寺","悠远","潇湘八景","烟寺晚钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3166e7284dc5ff42ff0284cdff74ab71.jpg",[],39,{"id":10855,"slug":10856,"title":10857,"dynasty":18,"author":1133,"museum":227,"description":10858,"tags":10859,"thumbUrl":10861,"material":1050,"size":1051,"collection":217,"collections":10862,"showCount":10853,"zanCount":48,"manualWeight":48,"mainColor":49},287314,"han-gong-guan-chao-tu-juan-zhao-bo-ju-287314","汉宫观潮图卷","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,154,24,7,59,26,27,29,62,63,4714,690,610,10860,4666],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b19f8ced72c7f99b773244aa679fcfb.jpg",[],{"id":10864,"slug":10865,"title":10866,"dynasty":54,"author":269,"museum":227,"description":10867,"tags":10868,"thumbUrl":10869,"material":442,"size":217,"collection":543,"collections":10870,"showCount":10853,"zanCount":48,"manualWeight":48,"mainColor":128},240282,"li-bai-qi-lv-shi-juan-xu-wei-240282","李白七律诗卷","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 [1] ）。明代中期文學家、書畫家、戲曲家、軍事家。\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三 。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。",[23,154,24,25,7,119,1892,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ace3b212d7aeb7683d77d34168c4296.jpg",[543],{"id":10872,"slug":10873,"title":10874,"dynasty":225,"author":7079,"museum":20,"description":10875,"tags":10876,"thumbUrl":10877,"material":442,"size":10878,"collection":543,"collections":10879,"showCount":10853,"zanCount":48,"manualWeight":48,"mainColor":49},239552,"cao-ping-fu-tie-juan-lu-ji-239552","草平复帖卷","草隶书9行86字。\n释文:\n“彥先羸瘵 ，恐難平復，往屬初病，慮不止此，此已爲慶。承使唯男，幸爲複失前憂耳。吳子楊往初來主，吾不能盡。臨西複來，威儀詳跱。舉動成觀，自軀體之美也。思識□量之邁前，勢所恒有，宜□稱之。夏伯榮寇亂之際，聞問不悉。”（释文据启功《〈平复帖〉说并释文》）\n《平复帖》内容涉及三个人物：贺循，字彦先，是陆机的朋友，身体多病，难以痊愈；陆机说他能够维持现状，已经可庆，又有子侍奉，可以无忧了。吴子杨，以前曾到过陆家，但未受到重视；如今将西行，复来相见，其威仪举动，自有一种较前不同的气宇轩昂之美；最后说到夏伯荣，他因寇乱阻隔，没有消息。\n《平复帖》的书写年代距今已有1700余年，是现存年代最早并真实可信的西晋名家法帖。它用秃笔写于麻纸之上，笔意婉转，风格平淡质朴，其字体为草隶书。《平复帖》在中国书法史上占有重要地位，同时对研究文字和书法变迁方面都有参考价值。\n根据尾纸董其昌、溥伟、傅增湘、赵椿年题跋，可得知《平复帖》历代递藏情况。此帖宋代入宣和内府，明万历间归韩世能、韩逢禧父子，再归张丑。清初递经葛君常、王济、冯铨、梁清标、安岐等人之手归入乾隆内府，再赐给皇十一子成亲王永瑆。光绪年间为恭亲王奕訢所有，并由其孙溥伟、溥儒继承。后溥儒为筹集亲丧费用，将此帖待价而沽，经傅增湘从中斡旋，最终由张伯驹以巨金购得。张氏夫妇于1956年将《平复帖》捐献国家。\n清吴其贞《书画记》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[119,1892,7,193,1229,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31aa77e4c74940daedb5f0924c0d3ded.jpg","纵23.7厘米，横20.6厘米",[543],{"id":10881,"slug":10882,"title":10883,"dynasty":225,"author":2105,"museum":20,"description":10884,"tags":10885,"thumbUrl":10886,"material":442,"size":2110,"collection":543,"collections":10887,"showCount":10853,"zanCount":1106,"manualWeight":48,"mainColor":128},239551,"zhong-qiu-tie-juan-wang-xian-zhi-239551","中秋帖卷","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,154,24,25,7,1892,119,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2f29d78cce5184152131f558be9eff.jpg",[543],{"id":10889,"slug":10890,"title":10891,"dynasty":250,"author":10435,"museum":227,"description":10892,"tags":10893,"thumbUrl":10894,"material":217,"size":217,"collection":217,"collections":10895,"showCount":10853,"zanCount":48,"manualWeight":48,"mainColor":128},230199,"chun-qi-ji-jin-juan-wang-cheng-pei-230199","春祺集锦卷","此作以工笔淡彩绘就春日草木，设色调和柔雅，兼具写实意趣与雅致格调。\n\n攒簇的朱红浆果鲜亮饱满，与嫩绿叶色相映，鲜活夺目；宽叶草木的脉络勾染细腻，晕染出叶片舒展的自然肌理，古雅灵芝旁逸，添上清寂意趣。右侧浅黄、素白的小花袅袅舒展，细竹清瘦挺秀，花叶俯仰生姿，排布疏密得当。\n\n整体笔法秀润工致，将春日花木的幽妍生机尽数铺陈，没有浓烈着色却满是融融春息，静雅清和，把草木舒展的瞬间定格，尽显柔婉雅致的花鸟意韵。",[154,24,25,7,27,28,209,275,454,962,3676,9409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452999763f15c2cc0fd5efdbcdbbc608.jpg",[],{"id":10897,"slug":10898,"title":10899,"dynasty":54,"author":10900,"museum":227,"description":10901,"tags":10902,"thumbUrl":10903,"material":217,"size":217,"collection":217,"collections":10904,"showCount":10853,"zanCount":48,"manualWeight":48,"mainColor":128},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","徐贲","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[23,24,25,7,114,29,118,119,120,482,483,34,63,64,116,196,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":10906,"slug":10907,"title":10908,"dynasty":54,"author":55,"museum":227,"description":10909,"tags":10910,"thumbUrl":10911,"material":217,"size":217,"collection":217,"collections":10912,"showCount":10853,"zanCount":48,"manualWeight":48,"mainColor":128},228452,"xun-yang-song-bie-tu-quan-juan-chou-ying-228452","浔阳送别图全卷","《唐寅集》是21年 出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[23,26,27,28,7,25,120,29,61,115,64,116,34,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],{"id":10914,"slug":10915,"title":10916,"dynasty":18,"author":430,"museum":227,"description":10917,"tags":10918,"thumbUrl":10919,"material":217,"size":217,"collection":217,"collections":10920,"showCount":10853,"zanCount":48,"manualWeight":48,"mainColor":49},227931,"chang-jiang-wan-li-tu-juan-quan-juan-yi-ming-227931","长江万里图卷全卷","以咫尺长卷铺展万里江山，层叠峰岫或雄峙凌天，或温婉藏于烟岚，虚实相生如淡墨梦境。江波澹澹，与远山交织晕染，将长江的逶迤舒展尽致。墨色浓淡铺就山川悠远层次，留白烘托云水之态，带着沉静雅致的宋画风骨。\n整卷如乘舟浮江，揽尽楚天清旷，将山河雄浑与灵秀揉于一处，藏着描摹天地的匠心，与对山河的眷恋深情，一眼便似随江流转，阅尽千里盛景。",[23,24,25,7,114,29,118,64,115,405,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d3564b5c39c17781a9425ca7fb314e.jpg",[],{"id":10922,"slug":10923,"title":478,"dynasty":18,"author":4606,"museum":227,"description":10924,"tags":10925,"thumbUrl":10926,"material":217,"size":217,"collection":217,"collections":10927,"showCount":10853,"zanCount":1106,"manualWeight":48,"mainColor":49},227695,"chun-shan-tu-juan-zhao-bo-su-227695","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,154,24,25,7,26,27,29,28,118,405,34,610,63,64,73,35,37,3874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":10929,"slug":10930,"title":10931,"dynasty":18,"author":10932,"museum":227,"description":10933,"tags":10934,"thumbUrl":10935,"material":217,"size":217,"collection":217,"collections":10936,"showCount":10853,"zanCount":48,"manualWeight":48,"mainColor":49},227536,"wan-ai-tu-wen-tong-227536","晚霭图","文同","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[23,24,25,7,114,118,29,30,34,613,31,115,196,1123,690,799,4002],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":10938,"slug":10939,"title":1720,"dynasty":168,"author":1721,"museum":227,"description":10940,"tags":10941,"thumbUrl":10943,"material":217,"size":217,"collection":217,"collections":10944,"showCount":10853,"zanCount":48,"manualWeight":48,"mainColor":49},227095,"gao-yi-tu-sun-wei-227095","《高逸图》，又名《竹林七贤图》，是唐代孙位创作的一幅彩色绢本人物画，现藏于上海博物馆。\n画名“孙位高逸图”为宋徽宗赵佶所题，这幅图所描绘的是魏晋时期竹林七贤的故事，该画作刻画了魏晋士大夫“高逸风度”的共性，又刻画出了他们的个性。现存《高逸图》为《竹林七贤图》残卷，图中只剩四贤。在长卷式的画面上，主体人物是四个封建士大夫分别坐于华丽的毡毯上，每人身旁都有一名小童侍候。",[23,154,24,7,28,27,61,254,255,119,193,298,1505,5410,10942],"垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa92cbdfc50fff24528a4673b6c49d4.jpg",[],{"id":10946,"slug":10947,"title":6534,"dynasty":250,"author":430,"museum":227,"description":10948,"tags":10949,"thumbUrl":10950,"material":217,"size":217,"collection":217,"collections":10951,"showCount":10853,"zanCount":48,"manualWeight":48,"mainColor":49},223677,"qing-lv-shan-shui-tu-juan-yi-ming-223677","此作以平远之境铺展江南山色，石青石绿晕染山峦，古雅沉静的色调里，丘壑蜿蜒秀润，烟波轻笼远浦。村舍隐于松篁之间，板桥渡头有人彳亍，渔舟泛于云水之侧，处处晕染出山居幽澹的闲趣。\n画间题诗与山水呼应，笔墨丹青相融，将林泉隐逸的高致铺陈开来，既有唐宋青绿的古雅遗韵，又兼具清代文人山水的萧散简淡，观之如踏入世外云乡，坐看云野鹤、碧山清溪，沉浸式体味幽居雅趣。",[23,24,25,7,26,27,28,29,405,34,35,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b03cb7a92eca86e797d00727336bf91.jpg",[],{"id":10953,"slug":10954,"title":10955,"dynasty":54,"author":430,"museum":20,"description":10956,"tags":10957,"thumbUrl":10960,"material":40,"size":10961,"collection":217,"collections":10962,"showCount":10853,"zanCount":48,"manualWeight":48,"mainColor":49},223335,"si-lu-shan-shui-di-tu-meng-gu-shan-shui-di-tu-ming-nei-fu-hui-yi-ming-223335","丝路山水地图.蒙古山水地图.明内府绘","《丝路山水地图》又名《蒙古山水地图》，全图以大青绿山不绘制，东起嘉峪关西至天方城（今沙特麦加）的辽阔地域范围，共标有211个地理坐标，绘于明朝嘉靖三年至嘉靖十八年，为明朝宫廷的皇家地图。",[23,24,25,7,27,26,28,29,654,3065,31,4140,34,5564,10958,38,10959],"聚落","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf94e5caa9d9b66111751c89f4029807.jpg","59＊3012cm",[],{"id":10964,"slug":10965,"title":10966,"dynasty":54,"author":10967,"museum":151,"description":10968,"tags":10969,"thumbUrl":10970,"material":384,"size":10971,"collection":44,"collections":10972,"showCount":10853,"zanCount":48,"manualWeight":48,"mainColor":49},222550,"xuan-yuan-wen-dao-tu-juan-shi-rui-222550","轩辕问道图卷","石芮","这张画是石锐（石芮）替一位「延右观」的杨姓道长所绘的画作。描述上古时代有位仙人「广成子」隐居在崆峒山，轩辕氏（黄帝）听说他的道行高深，前往拜访的故事。因为这个事件带有许多神仙的色彩，所以在道教界十分盛行。",[23,24,7,28,27,61,29,62,1298,117,37,690,59,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90506c85bbeab4041895ff4e32c7a3b0.jpg","32cmx152cm",[44,45],{"id":10974,"slug":10975,"title":3781,"dynasty":54,"author":2680,"museum":3782,"description":10976,"tags":10977,"thumbUrl":10978,"material":442,"size":10979,"collection":543,"collections":10980,"showCount":10853,"zanCount":1106,"manualWeight":48,"mainColor":128},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[23,120,119,7,193,114,1229,25,115,62,29,196,2153,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 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n孙克弘（1533—1611），字允执，号雪居，上海松江人。他善楷、隶、篆等书体，取法宋克，上追秦汉，自成风格。在绘画方面，他早期长于写生花鸟，师法徐熙、赵昌、沈周、陆治。他的绘画作品或工笔，画法工整，色彩明丽；或写意，笔墨放逸，造型工致。他画墨竹仿文同。此幅《墨竹图》笔法谨严有致，又不失潇洒之态，深得文同墨竹的精髓。墨竹不仅如同文人画的一种标本和尺度，同时也反映了中国画笔墨的基本。此画中，竹干劲挺。画面正中的一枝呈“S”形构图，竹枝虬曲，变化中不失弹性，具有一定的节奏感。竹子枝头向上挑起，密叶以向上的趋势奔放扩张、凌空倚势，显示了无穷的生命力度。竹节与竹节之间虽断离而又有牵连之意。画面下方的小枝行笔疾速，婉顺而柔和。三枝主枝横斜曲直、顾盼有情。再看整幅画面的竹叶，看似笔笔随意却又不失生意，显得疏密有致、聚散兼顾。\n孙克弘的《墨竹图》画面整体层次分明，墨色的运用和处理较为丰富。竹干墨色偏淡，不同枝干上的竹叶颜色有深有浅。画家以浓墨描绘竹叶正面，以淡墨表现竹叶背面；老枝以浓墨绘成，嫩叶新枝又以淡墨表现。画面的前后关系随着一虚一实、一明一暗的节奏来表达。同时，画面中留有大量空白，带给人无限的遐想。从画面中，还可以看到无处不在的书法用笔。撇叶锋长却不露毫芒，叶尾转折处提笔露白，以示向背之势，这足以显示出孙克弘深厚的书法功底。\n古人喜画墨竹。从这些墨竹中，后人可体会到观万物之生意的意境，并对这种绵延不息的生意肃然起敬。古人云：“天地之大德曰‘生’。”“生”便是一切万物之源，而墨竹恰恰就体现了这种倔强的生机。画家通过对竹的不同形式的表达，所要传递的便是“生生之谓易”（《周易》）的道理。这也是中国文化中十分珍贵的精义。",[23,24,114,7,275,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ab4f26dfa87319af0ed8c422a44a60.jpg",[],{"id":11042,"slug":11043,"title":8434,"dynasty":250,"author":4830,"museum":20,"description":11044,"tags":11045,"thumbUrl":11047,"material":1411,"size":217,"collection":217,"collections":11048,"showCount":11011,"zanCount":48,"manualWeight":48,"mainColor":128},234153,"jiu-ge-tu-juan-ding-guan-peng-234153","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响，学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。",[23,24,25,7,28,27,61,29,511,116,1070,1071,11046,117,34,62,64,193],"雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a6bd8c93261ba462ca762cf3d0505c.jpg",[],{"id":11050,"slug":11051,"title":11052,"dynasty":54,"author":495,"museum":20,"description":11053,"tags":11054,"thumbUrl":11055,"material":824,"size":11056,"collection":217,"collections":11057,"showCount":11011,"zanCount":48,"manualWeight":48,"mainColor":128},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[24,25,7,114,28,119,120,193,1298,35,61,70,117,486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纵26.3CM 横67CM",[],{"id":11059,"slug":11060,"title":11061,"dynasty":18,"author":11062,"museum":227,"description":11063,"tags":11064,"thumbUrl":11065,"material":217,"size":217,"collection":217,"collections":11066,"showCount":11011,"zanCount":914,"manualWeight":48,"mainColor":49},232778,"xie-sheng-zhe-zhi-tu-juan-wu-bing-232778","写生折枝图卷","吴炳","吴炳，毗陵武阳人（今江苏省常州市），南宋光宗绍熙年间(1190-1194)画院待诏。光宗皇后李氏爱其画，恩赉甚厚，赐金带。工画花鸟，元代夏文彦《图绘宝鉴》谓其画“写生折枝，可夺造化，彩绘精致富丽”。所作谨守院体画风格。画迹有《春池睡鸭图》《山茶鹁鸽图》《鸳鸯瑞莲图》《宝珠玉蝶图》《折枝绛桃图》《折枝芍药图》《鸡冠花图》《玫瑰图》《长春图》《水仙图》等43件，著录于《南宋院画录》，均“简易有生趣”，“精彩如生”。",[23,154,24,25,7,28,27,1818,7995,209,1009,557,4193,256,337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735550480f9fac0df96afc47240de032.jpg",[],{"id":11068,"slug":11069,"title":11070,"dynasty":54,"author":11071,"museum":4758,"description":11072,"tags":11073,"thumbUrl":11074,"material":353,"size":11075,"collection":217,"collections":11076,"showCount":11011,"zanCount":48,"manualWeight":48,"mainColor":128},231568,"zhu-lin-mao-wu-tu-song-ke-231568","竹林茅屋图","宋克","作者通过画面，将文人隐逸山林，抒发情思的自娱、适意、消遣的感情表达了出来。画家用笔畅健雄放，笔锋洒脱，多法李成；破笔焦墨点苔，则从董、巨而来。",[23,24,25,7,114,29,275,613,34,117,119,193,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb4e1d6245dcb71a7735c7e31eea1c0.jpg","25.5×110cm",[],{"id":11078,"slug":11079,"title":11080,"dynasty":250,"author":430,"museum":227,"description":11081,"tags":11082,"thumbUrl":11083,"material":217,"size":217,"collection":261,"collections":11084,"showCount":11011,"zanCount":48,"manualWeight":48,"mainColor":49},228932,"qing-yuan-ben-qin-can-tu-juan-xian-jian-yi-ming-228932","清院本亲蚕图卷 献茧","水岸错落萦回，古木蓊郁成荫，苍劲虬枝与素白繁花相互衬映，朱栏屋舍半隐林间，雅致内敛。左侧人物衣袂端整，正依礼徐行，暗合亲蚕仪典的肃穆庄重。\n\n整幅设色雅致柔和，工细写实。画师以精微笔触绘就林木的疏密层次，淡彩晕染出郊苑春日的温润静谧，将亲蚕礼的礼制深意融于幽阒雅致的园景间。既尽显宫廷院画的精谨考究，又于静谧景致里铺陈出古雅典正的氛围，让仪礼的庄重与苑囿的恬澹相融共生。",[24,7,27,28,61,34,69,639,3004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa2e1fd7862ef0f7939adee4b190d2.jpg",[261,124],{"id":11086,"slug":11087,"title":2104,"dynasty":225,"author":2105,"museum":227,"description":11088,"tags":11089,"thumbUrl":11090,"material":217,"size":217,"collection":217,"collections":11091,"showCount":11011,"zanCount":1106,"manualWeight":48,"mainColor":128},227045,"zhong-qiu-tie-wang-xian-zhi-227045","《中秋帖》，传为晋王献之书，纸本，手卷，纵27厘米，横11.9厘米。\n《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,119,120,7,25,193,27,61,34,1857,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a2dbb0797a6f684a6a878caebc856.jpg",[],{"id":11093,"slug":11094,"title":11095,"dynasty":250,"author":3062,"museum":227,"description":11096,"tags":11097,"thumbUrl":11098,"material":217,"size":217,"collection":217,"collections":11099,"showCount":11011,"zanCount":48,"manualWeight":48,"mainColor":128},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[23,24,25,7,27,118,29,482,483,254,1123,1070,33,116,2038,196,419,37,117,420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],{"id":11101,"slug":11102,"title":11103,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":11104,"thumbUrl":11105,"material":140,"size":6245,"collection":217,"collections":11106,"showCount":11011,"zanCount":48,"manualWeight":48,"mainColor":128},223061,"hong-lou-meng-47-sun-wen-223061","红楼梦47",[23,24,28,27,7,61,155,63,64,34,35,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610bde4c2f78ed4a71fd87145a23f3d6.jpg",[],{"id":11108,"slug":11109,"title":11110,"dynasty":250,"author":11111,"museum":568,"description":11112,"tags":11113,"thumbUrl":11115,"material":3865,"size":11116,"collection":124,"collections":11117,"showCount":11011,"zanCount":48,"manualWeight":48,"mainColor":128},222798,"xiang-jiao-qiu-wu-tu-juan-zou-zhe-222798","乡郊秋雾图卷","邹喆","乡郊秋雾图是一幅立体展示江南景色的长卷。画家以全景的视角，细腻的笔触，刻画薄雾之下的山光水色，画面大开大合，云、水、山、树布置得宜，阡陌河湖穿插有致，全画给人一气呵成之感。",[23,24,7,114,118,763,11114,34,117,31,35,692,61,37,690,799,7835],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[124,103],{"id":11119,"slug":11120,"title":11121,"dynasty":133,"author":11122,"museum":227,"description":11123,"tags":11124,"thumbUrl":11125,"material":442,"size":11126,"collection":261,"collections":11127,"showCount":11011,"zanCount":48,"manualWeight":48,"mainColor":128},221722,"san-hua-tu-juan-zhao-zhong-221722","三花图卷","赵衷","赵衷，元代画家。生卒年不详，主要活动于元至正年间。字原初，号东吴野人，嘉兴（今浙江嘉兴）人，一作吴江（今江苏吴江）人。世本业医，能篆、隶，善画白描人物。山水、花卉，无所不能，有白描兰亭图。至正元年（一三四一）作墨花图。《书史会要、石渠宝笈、唐五代宋元名画选》",[23,24,25,7,174,114,209,278,280,554,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250f7b82e15859ba7790be28f7ad50c3.jpg","30x50.1cm",[261,103],{"id":11129,"slug":11130,"title":11131,"dynasty":18,"author":2035,"museum":20,"description":5790,"tags":11132,"thumbUrl":11133,"material":752,"size":5795,"collection":217,"collections":11134,"showCount":11011,"zanCount":48,"manualWeight":48,"mainColor":128},221484,"yun-shan-mo-xi-tu-mi-you-ren-221484","云山墨戏图",[23,24,25,7,114,29,37,34,30,118,120,193,119,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66167bb6cc21347584025b2d972b0ccf.jpg",[],{"id":11136,"slug":11137,"title":11138,"dynasty":18,"author":9047,"museum":380,"description":11139,"tags":11140,"thumbUrl":11141,"material":11142,"size":11143,"collection":543,"collections":11144,"showCount":11011,"zanCount":48,"manualWeight":48,"mainColor":128},221461,"mu-ji-ji-xu-wen-tian-xiang-221461","木鸡集序","文天祥（一二三六——一二八二），为有宋一代名臣。吉州吉水人。字宋瑞，又字履善，号文山。年二十八岁时举进士，理宗亲拔为第一。考官王应麟对他考卷的评价是：[是卷古谊若龟鉴，忠肝如铁石，臣敢为得人贺。]文天祥后来落入敌手，宁死不屈的经历也确实证明了王应麟是一位有远见的考官。\n文天祥书法宗法二王，以《圣教序》为蓝本，参之以米芾的部分结字，在运笔中则以黄山谷悠扬笔致为指归，笔画粗细变化不大，但注意在布置安排中的疏密变化，观其作品仿佛有一股清泉在流溢，秀逸并富文人气息。\n对宋四家的开拓创新，自朱熹开始，不少人依然是特反对态度的，于是便出现了返归二王正尝的呼声，文天祥无疑是站在这一立场上的。但是，每位书家都难以摆脱一些优秀书家的影响，所以，尽管如此，文天祥或多或少受到宋四家影响。文天祥的这件作品点画精劲微妙，轻起轻落，显得清疏挺竦，有一股神逸癯然的姿态。在结字中他很注意留空，所以，他的每个字的结构显得十分空灵，即便在字与字的连结上，依然是以气势连贯为主，而不强调笔画之间的连带，另外，他将每个字的重心压得较低，故字显得沉稳而有姿态，这无疑是受了米芾的影响。在书写速度上，显得不疾不缓，雍容不迫，颇有大家的风范。\n他的这种笔画及行气的处理方式，可能是与他采用篆法与章草的方法有关，因为，他对于这两种字体，看来也并不陌生，所以，我们可以肯定地说，文天祥在书法上是比较向往魏晋以上的古朴书风的。\n从整个宋代的书法格局来看，文天祥书法并不占很重要的位置，然而，由于其刚正不阿的品性，为后代读书人确立了一个榜样，古人常把人品与书品联系起来，所以在后人的评价中也基本上是出于这一立场。如明王鏊说：[公之精忠大节，焯焯天地间，而字画精妙，虽纸墨之微，亦皆不苟。]这是说他处事为人端严不苟。而明李时勉则是由字仰见其人了：[观公札子，其忠正之气，凛然见于言词之间，俯仰概慕之余，若将见之。]这些对于通过学习书法来提高自己的品德修养，都不无借鉴和警戒的意义。",[23,119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e23c04ce51184fe7d6f62aca85de72f.jpg","纸本 草书","纵24.5厘米 横96.5厘米",[543],{"id":11146,"slug":11147,"title":10808,"dynasty":133,"author":534,"museum":568,"description":10809,"tags":11148,"thumbUrl":11149,"material":696,"size":217,"collection":103,"collections":11150,"showCount":11011,"zanCount":48,"manualWeight":48,"mainColor":128},220871,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220871",[23,154,24,25,7,1408,120,119,174,275,255,282,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf614e4a0ea6966b60de3926e9843bdd.jpg",[103,1873],{"id":11152,"slug":11153,"title":11154,"dynasty":250,"author":11155,"museum":8087,"description":11156,"tags":11157,"thumbUrl":11158,"material":11159,"size":11160,"collection":124,"collections":11161,"showCount":11011,"zanCount":1106,"manualWeight":48,"mainColor":217},220734,"xun-qin-tu-huang-xiang-jian-220734","寻亲图","黄向坚","此作用平远糅合高远之章法，左侧危崖突兀，青绿晕染出山峦温润秀雅之态，皴笔勾勒，尽显山石苍劲肌理。浩渺平湖铺陈开开阔景致，洲渚错落星罗，村居隐于葱郁林木间，渔舟泛于烟波之上，三两行人点缀水岸。\n\n远山以淡墨轻岚晕染，虚实相生，尽显江南水泽空濛诗意。笔意清隽柔和，设色淡雅妍丽，承唐宋青绿山水古雅意趣，又以细腻布景传递羁旅怀思，于秀逸湖山之间，暗合迢迢心绪，淡远悠长。",[24,25,7,27,29,118,405,31,115,34,138,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6aa9dc2fa40177d86a07917e44bf59.jpg","水墨,设色,纸本,手卷","31.4 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细腻工笔留住旧朝市井的鲜活肌理，将汴河沿岸的晨昏烟火凝于绢素，让观者坠入千年前的街巷，触摸藏在笔墨褶皱里的人间暖意，静赏定格的岁时繁华。",[23,154,24,7,27,28,59,61,62,63,64,854,68,75,65,1698,3034,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0fcd5ccc35c36ffe3f68d92523b06b.jpg",[],{"id":11235,"slug":11236,"title":2859,"dynasty":18,"author":9691,"museum":227,"description":11237,"tags":11238,"thumbUrl":11239,"material":1050,"size":1051,"collection":217,"collections":11240,"showCount":202,"zanCount":914,"manualWeight":48,"mainColor":2653},283687,"xia-shan-tu-qu-ding-283687","京师（今河南开封）人。仁宗朝（一o二三）为图画院只候。工画山水，得燕文贵之髦髴。画四时风物之变态，与夫烟霞惨舒，泉石凌砾之状，善分布，涧谷间见屈曲之状。然有笔而无思致，林木皆崦霭而已，虽为许道宁之师，道宁气格似过之，学不及也。",[154,24,25,7,29,114,118,117,34,64,115,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c9182eec083f60ca90336886ce8a61.jpg",[],{"id":11242,"slug":11243,"title":11244,"dynasty":133,"author":9607,"museum":227,"description":11245,"tags":11246,"thumbUrl":11248,"material":1050,"size":1051,"collection":217,"collections":11249,"showCount":202,"zanCount":48,"manualWeight":48,"mainColor":49},283621,"wei-mo-shuo-fa-tu-he-bi-juan-li-sheng-283621","维摩说法图合璧卷","画面清波荡漾,湖上有小桥、扁舟,远望峰峦高耸,树林参差,山间古寺隐约可见,景色清幽,一派送别离人的气氛。",[23,154,24,25,7,114,118,29,62,117,34,37,6818,11247,119,120,193,540],"维摩说法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6614b55fa7f765c035cfb69c0288099.jpg",[],{"id":11251,"slug":11252,"title":11253,"dynasty":54,"author":11254,"museum":227,"description":11255,"tags":11256,"thumbUrl":11257,"material":1050,"size":1051,"collection":217,"collections":11258,"showCount":202,"zanCount":914,"manualWeight":48,"mainColor":128},240449,"chu-shi-biao-juan-zhu-jing-he-240449","出师表卷","朱敬鑉","敬鑉字进父，秦湣王樉八世孙，万历中为奉国中尉",[23,25,119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15feb64d8471ee01bcc415f6dea20304.jpg",[],{"id":11260,"slug":11261,"title":11262,"dynasty":133,"author":534,"museum":20,"description":11263,"tags":11264,"thumbUrl":11265,"material":442,"size":11266,"collection":543,"collections":11267,"showCount":202,"zanCount":1106,"manualWeight":48,"mainColor":49},239598,"xu-qian-zi-wen-juan-zhao-meng-fu-239598","续千字文卷","赵孟頫是元代的著名诗人、画家、楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫开创了元代新画风，被称为“元人冠冕”，他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[23,119,120,7,114,442,1229,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3cc1e190189297105c44a223a0fe295.jpg","24.3×153.3cm",[543],{"id":11269,"slug":11270,"title":11271,"dynasty":250,"author":10523,"museum":227,"description":11272,"tags":11273,"thumbUrl":11281,"material":217,"size":217,"collection":217,"collections":11282,"showCount":202,"zanCount":48,"manualWeight":48,"mainColor":128},239360,"fang-huang-gong-wang-fu-chun-shan-tu-juan-fang-cong-239360","仿黄公望富春山图卷","此作用干笔淡墨铺展千里江山，开篇平林远渚，烟波澹荡，村舍隐于茂林，渐而山峦层叠皴染，苍秀兼具，暗合原作平淡天真的气韵。丘壑排布舒展自然，峰峦以披麻皴写就，松枝挺劲苍古，林麓间田亩交错，渔舟泛于空蒙水面，尽显江南山水的温润清远。全卷气脉贯通，将富春林峦深秀、水乡闲雅尽皆揽入，笔墨追摹古意又自含静穆简远之致，留白处烟岚浮动，复刻出原作的萧散野逸，尽显文人山水的淡远襟怀。",[23,154,24,25,7,114,29,60,118,1196,11274,11275,405,11276,6830,609,11277,11278,11279,11280],"远渚","村舍","松林","烟岚","文人山水","萧散野逸","淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1572a10ef65de14456fc4e85525a18.jpg",[],{"id":11284,"slug":11285,"title":11286,"dynasty":250,"author":430,"museum":20,"description":11287,"tags":11288,"thumbUrl":11289,"material":40,"size":217,"collection":124,"collections":11290,"showCount":202,"zanCount":1106,"manualWeight":48,"mainColor":49},236180,"hong-li-sai-yan-si-shi-heng-zhou-guan-jiao-yi-ming-236180","弘历塞宴四事横轴(贯跤)","以青绿山水铺就雄浑底色，层峦茂林间铺展塞宴盛景。校场之上跤手相搏，周遭武士肃立分列，官员侍从神态各异，或凝神观赛，或静候待命。远景帐幄连绵、驼队逶迤，将秋狝行猎的塞外氛围烘托尽致。\n画作工笔细腻，设色妍丽雅致，兼具院体画的规整纪实与风物绘的生动鲜活，将塞上习武宴游的盛大场景定格，既彰显出康乾盛世的恢宏气象，也尽显游牧围猎的独特塞外风情，是纪实性与艺术性相融的佳作。",[24,154,7,27,28,29,61,90,4489,640,34,639,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0d7a3293f2e36650fa58befd46b885.jpg",[124,44,45],{"id":11292,"slug":11293,"title":11294,"dynasty":250,"author":3935,"museum":227,"description":11295,"tags":11296,"thumbUrl":11297,"material":442,"size":217,"collection":217,"collections":11298,"showCount":202,"zanCount":48,"manualWeight":48,"mainColor":128},231940,"qiu-shan-tu-kun-can-231940","秋山图","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,154,24,25,7,114,27,118,29,1123,117,64,115,2153,116,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":11300,"slug":11301,"title":11302,"dynasty":133,"author":11303,"museum":151,"description":11304,"tags":11305,"thumbUrl":11306,"material":824,"size":11307,"collection":217,"collections":11308,"showCount":202,"zanCount":914,"manualWeight":48,"mainColor":128},231336,"chun-shan-qing-ji-tu-yuan-dai-ji-jin-zhi-wu-ma-wan-231336","春山清霁图－元代集锦之五","马琬","画中高山层层迭迭突起，林木长长矗立，清溪蜿蜒，渔舟摇摇，山村亭阁，曲径相通，滋润的笔墨，体会出大地草木华兹。款题：“春山清霁（楷书）。至正丙午岁（1366年）春正月望日，马文璧画于书声斋。”丙午（1366年）去黄公望《富春山居》之“庚寅”（1350年）题记，只有满15年之距离。全幅结构皴法，大抵出于元黄公《望富山居图》，如以近景主山峰的造形，远山一列丘陵起伏，近者淡远者浓，与皴法运用，勾线涂抹，几与《富春山居》相同；此“春山”也不尽让人想起同样的画《富春山居》。\n黄公望《富春山居》（无用师卷）山峰树石草木，表现出来的是重视笔趣与墨意，从元人的画迹来了解，黄公望《富春山居》成为一种文人画山水的“典范”。也就是以五代北宋董源、巨然为主的风格传承。从赵孟頫为起点，尔后，另一位吴镇也有充满着“披麻皴”风格的人物。那踵步者足为代表，应是这件马琬《春山清霁》。款题所指：“画于书声斋（行书），”为夏士文之斋居，也是云间夏氏知止堂裔孙。夏士文为夏士良文彦兄弟行。杨维祯至正二十年庚子秋曾为作《书声斋记》。元黄公望《富山居图》款题即书于夏氏“知止堂”。夏氏云间“知止堂”。主人为谁？杨维桢又有《知止堂记》，主人是云间老人夏谦齐氏，取《老子》之经有警人者，曰“知止不殆”的典故，堂有匾是赵孟俯所书。其四叶孙颐贞，在兵火之后，重建。马琬为杨维祯学生，张雨、黄公望均与杨维祯友好。马琬生平也是一位亲炙过黄公望的人物。",[24,25,7,114,118,29,117,34,64,115,62,193,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9a84ff4dd4e7bbd78e820d09fd9b8d.jpg","纵27厘米，横102．5厘米",[],{"id":11310,"slug":11311,"title":11312,"dynasty":54,"author":2292,"museum":227,"description":11313,"tags":11314,"thumbUrl":11315,"material":217,"size":217,"collection":217,"collections":11316,"showCount":202,"zanCount":48,"manualWeight":48,"mainColor":128},228916,"mo-xi-shan-xing-lv-tu-zhang-hong-228916","摹溪山行旅图","此作为雪景山水，以淡墨晕染山石，留白铺就厚雪，尽显冬日山峦清寂素净。层叠岩崖间枯木萧疏，偶有青松点翠，破开雪色单调。山涧水色灰蒙，栈道、板桥连贯幽谷，旅人驱驴缓行，山居茅舍错落山坳，细节生动，将羁旅行路意趣，糅进空阔冷逸冬山之中。\n\n用笔精细秀雅，勾勒皴擦兼具宋画雄浑骨架，又带明人笔墨温润雅致，将冬日深山的荒寒宁静与人间烟火暖意相融，复刻古意又自出机杼，尽显溪山行旅的幽远况味。",[23,24,7,114,118,60,29,2897,63,64,34,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83c124ad11c5e878f782bec67b93f0a.jpg",[],{"id":11318,"slug":11319,"title":11320,"dynasty":54,"author":55,"museum":1100,"description":11321,"tags":11322,"thumbUrl":11324,"material":217,"size":217,"collection":217,"collections":11325,"showCount":202,"zanCount":48,"manualWeight":48,"mainColor":49},228440,"bian-qiao-hui-meng-tu-chou-ying-228440","便桥会盟图","画卷起首旌旗列阵，甲士森然，仪帐整肃尽显阵列威仪。烟柳垂杨衔接着迤逦青绿山峦，笔墨晕染出郊野的开阔沉静。转至卷右，层叠山坳间人马错杂，战场的紧绷感在青绿山色间暗涌。\n\n全作用色古雅厚重，赭黄绢底晕开石青石绿，让沉郁的历史氛围感浸透画卷。方寸间人物姿态鲜活分明，人马旌旗、山川林泉排布疏密有致，将盟约前后的张弛节奏暗藏于山水长卷之中，把宏大叙事融于青绿山水的雅致意境，铺展出一段藏在笔墨间的往昔风云。",[23,24,154,7,28,27,26,29,61,90,34,4139,117,11323],"军队","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d809453efefbe7ab56381e63a8c0a93.jpg",[],{"id":11327,"slug":11328,"title":11329,"dynasty":168,"author":11330,"museum":227,"description":11331,"tags":11332,"thumbUrl":11334,"material":1050,"size":1051,"collection":543,"collections":11335,"showCount":202,"zanCount":1106,"manualWeight":48,"mainColor":6686},227257,"zi-zhi-jin-zi-jin-guang-ming-zui-sheng-wang-jing-gong-10-juan-di-5-juan-yi-jing-227257","紫纸金字金光明最胜王经共10卷第5卷","义净","据传本来是安置在备后国（今广岛县）的国分寺，十卷完整地保存下来，其金字至今依然灿烂发光与紫纸相互辉映，充满着气韵与品格，不愧为天平时代写经的绝品",[119,540,7,173,537,11333,442,1973],"金书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd032e841b50ef732e6315ca3dcc94cc0.jpg",[543],{"id":11337,"slug":11338,"title":11339,"dynasty":54,"author":5285,"museum":190,"description":11340,"tags":11341,"thumbUrl":11342,"material":353,"size":11343,"collection":217,"collections":11344,"showCount":202,"zanCount":48,"manualWeight":48,"mainColor":128},222566,"hua-hui-tu-5-chen-chun-222566","花卉图5","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。",[23,154,24,25,5431,209,272,114,27,281,908,3676,486,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138d65dbbfc167920322e416ba20c1e.jpg","32.5×57.3厘米",[],{"id":11346,"slug":11347,"title":11028,"dynasty":54,"author":495,"museum":227,"description":11348,"tags":11349,"thumbUrl":11350,"material":11351,"size":11352,"collection":124,"collections":11353,"showCount":202,"zanCount":48,"manualWeight":48,"mainColor":49},221982,"shan-shui-juan-wen-zheng-ming-221982","此时文征明的山水画有两种比较典型的风格：“粗文”和“细文”。他的粗笔山水主要取法沈周和吴镇，在粗简中表现出层次和韵味；细笔山水则取法于赵孟頫、王蒙，用笔细密，布景繁密。设色多以青绿重彩或间施浅绛绘之，清雅宁静，具有很强的装饰意味。文征明性情温和儒雅，尤推崇秀润、细丽、含蓄的画风，作品以细笔山水为主。这与沈周的雄强刚健、粗犷张扬的画风明显不同。收藏界历来有“粗文细沈”之说，他的粗笔山水因数量较少而更受藏家钟爱。",[23,24,29,482,483,254,7451,114,272,7,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df3fbb11765a08980333fe573ddc8e.jpg","纸本，手卷，设色","纵25厘米、横333厘米",[124,103],{"id":11355,"slug":11356,"title":11357,"dynasty":133,"author":2780,"museum":20,"description":11358,"tags":11359,"thumbUrl":11360,"material":11361,"size":11362,"collection":543,"collections":11363,"showCount":202,"zanCount":1106,"manualWeight":48,"mainColor":128},221851,"bo-ya-gu-qin-bai-miao-quan-juan-wang-zhen-peng-221851","伯牙鼓琴白描全卷","这是一幅人物故事画，画中的故事最早见于《吕氏春秋》一书。画的是俞伯牙与钟子期两位知心朋友之间的深厚友谊。画面上共有五人，左边是伯牙，他面目清秀，蓄长髯，披衣敞怀，端坐石上，双手抚琴。伯牙的对面是子期，也坐在石上，身着长袍，低头静心谛听。两人的身后共有侍童三人站立。作者用生动、准确的笔墨刻划了两个主要人物的外形特征和内心活动，弹琴者的专注，听琴者的入神，都跃然绢上。为了衬托两个主要人物，作者还安排了三个侍童，并借用次要人物的不同反应来表达伯牙和子期之间用琴声传递感情并成为“知音”的友谊。这幅画在人物心理活动的描绘上达到了很高的水平。\n在绘画技法上画家王振朋很好地继承了北宋李公麟的“白描”画法，线条挺拔有力，富有弹性，既连绵不断，又有轻重、粗细、缓急、顿挫的变化。画中部分衣帽用淡墨渲染，石块略加皴擦，这些丰富而简洁的表现手法使画面有变化而又含蓄，明快又不显单调。\n此图最右边略有残缺。根据画上所钤印章可知，该图在元朝时为鲁国大长公主祥哥剌吉（元仁宗之姐）收藏，清初归著名收藏家梁清标所有，乾隆时入内府，著录于《石渠宝笈·初编》。",[23,24,25,7,174,61,157,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5b0e1456c709b4afc321f3126a2f0f.jpg","绢本，水墨","纵31.4厘米，横92厘米",[543],{"id":11365,"slug":11366,"title":11367,"dynasty":18,"author":11368,"museum":227,"description":11369,"tags":11370,"thumbUrl":11371,"material":11372,"size":11373,"collection":543,"collections":11374,"showCount":202,"zanCount":914,"manualWeight":48,"mainColor":128},221447,"mo-mei-tu-juan-wang-yan-sou-221447","墨梅图卷","王严叟","此作用淡墨铺陈枝梢，浓墨勒就老干，冰梅错落点缀枝间，清瘦疏朗，将冬梅凌霜独放的冷峭风骨尽显。水墨晕染极简却意韵悠长，寥寥数笔便勾勒出寒梅孤高清雅之姿。\n全卷书画合璧，后随行书题咏，笔致萧散跌宕，与画中梅枝交相呼应，诗画相融，尽显宋时文人以梅寄情、托物言志的清雅意趣。",[23,24,25,7,114,274,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3709fa9b3144c90f5b83acbe6ae1023.jpg","绢布","26.9X161厘米",[543],{"id":11376,"slug":11377,"title":11378,"dynasty":54,"author":3914,"museum":651,"description":11379,"tags":11380,"thumbUrl":11381,"material":11382,"size":11383,"collection":543,"collections":11384,"showCount":202,"zanCount":1106,"manualWeight":48,"mainColor":49},220965,"jiu-de-song-dong-qi-chang-220965","酒德颂","此卷书法用笔遒劲，布白疏朗。\n《酒德颂》是魏晋诗人刘伶创作的一篇骈文。",[23,154,24,25,7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff956fce687948e21143d27e5aa04e021.jpg","行书，绢本","纵24.5厘米，横245.7厘米",[543],{"id":11386,"slug":11387,"title":11388,"dynasty":54,"author":3914,"museum":20,"description":11389,"tags":11390,"thumbUrl":11391,"material":470,"size":11392,"collection":543,"collections":11393,"showCount":202,"zanCount":48,"manualWeight":48,"mainColor":128},220963,"qi-lv-shi-dong-qi-chang-220963","七律诗","82岁自书诗帖卷行楷七律，崇祯九年丙子(1636)夏，朝鲜笺本尺寸：30X251cm，故宫博物院藏。",[23,154,24,25,7,120,119,193,27,274,275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff585a41d024b15fd0fb7f7b54fdad52b.jpg","30X251cm",[543],{"id":11395,"slug":11396,"title":11397,"dynasty":54,"author":10062,"museum":20,"description":11398,"tags":11399,"thumbUrl":11400,"material":1411,"size":11401,"collection":217,"collections":11402,"showCount":202,"zanCount":48,"manualWeight":48,"mainColor":49},220390,"you-song-tu-du-qiong-220390","友松图","此画无款，钤“东原斋”、“杜用嘉”、“一丘一壑”三印。\n后有文伯仁跋，说明为杜琼之作。据张丑《清河书画舫》著录：“东原先生为其姊丈魏友松写号图，当时有题诗，不知何时脱落，尚赖刘完庵长句具存，足称艺林双璧。”又据杜琼文集中有关魏友松的诗文可知，杜琼姊丈魏本成，号友松，魏氏一家都是仕宦文人。",[24,25,7,29,27,28,118,63,64,117,34,1298,35,211,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1af06046dc35154b5afb75f3032f83.jpg","纵28.8厘米，横92.5厘米",[],{"id":11404,"slug":11405,"title":11406,"dynasty":18,"author":2005,"museum":11407,"description":11408,"tags":11409,"thumbUrl":11410,"material":78,"size":11411,"collection":44,"collections":11412,"showCount":202,"zanCount":48,"manualWeight":48,"mainColor":49},219707,"qi-feng-tu-ma-he-zhi-219707","齐风图","香港艺术馆","齐襄公是齐僖公长子，他同父异母的妹妹姜文，素有“春秋时期四大美女”之称。见色起意的齐襄公不顾纲常伦理，与妹妹私通。《汉书·地理志》中记载了这段不堪的往事：“始桓公兄襄公淫乱，姑姊妹不嫁。",[23,24,7,25,174,27,28,120,61,62,63,64,68,34,29,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d34fa858564b0e0ce285f95eabcfed.jpg","26.2x65cm",[44],{"id":11414,"slug":11415,"title":2237,"dynasty":250,"author":2238,"museum":151,"description":11416,"tags":11417,"thumbUrl":11418,"material":215,"size":5422,"collection":217,"collections":11419,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":49},288829,"fang-yang-da-zhang-song-yuan-ben-jin-ling-tu-juan-feng-ning-288829","杨大章，清代画家，乾隆时期内廷供奉，善画山水、人物，最善画龙。\n\n其代表作品有：乾隆三十六年仿刁光胤写生册，乾隆四十四年仿宋宣和《柳鸦芦雁图》，乾隆五十五年仿陈容《九龙图》，乾隆五十六年仿《宋人金陵图卷》，其作品在市场上极少见到。清史记载「杨大章，亦赋色修洁，可与邹一桂颉颃，花鸟以二人为最工，其善画人物、花卉、翎毛，偶画山水，师法宋人。」说明了他的绘画造诣之高。其擅长水墨花卉，极有重名。常写五色菊，墨花五彩，有清冷隽逸之气。",[23,24,7,27,28,61,91,29,34,4994,946,62,854,64,36,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8fce5ba5993e927b3090298414355.jpg",[],36,{"id":11422,"slug":11423,"title":11424,"dynasty":18,"author":8670,"museum":227,"description":8671,"tags":11425,"thumbUrl":11426,"material":1050,"size":1051,"collection":217,"collections":11427,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":49},288735,"xiao-xiang-ba-jing-tu-juan-wu-wang-hong-288735","潇湘八景图卷五",[154,24,25,7,114,118,29,31,117,34,419,2479,690,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339dada0ada5326f09ea7594fb34f379.jpg",[],{"id":11429,"slug":11430,"title":885,"dynasty":149,"author":886,"museum":227,"description":11431,"tags":11432,"thumbUrl":11434,"material":1050,"size":1051,"collection":217,"collections":11435,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":128},288280,"xiao-xiang-tu-dong-yuan-288280","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”。",[23,154,24,7,25,114,27,118,29,602,115,11433,605,196,119,120,1892,193,9090],"洲渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c04f28d3f8ad6d8dd07d6e129dad267.jpg",[],{"id":11437,"slug":11438,"title":11439,"dynasty":250,"author":11440,"museum":227,"description":11441,"tags":11442,"thumbUrl":11444,"material":1050,"size":1051,"collection":217,"collections":11445,"showCount":11420,"zanCount":914,"manualWeight":48,"mainColor":128},288062,"long-zhou-jing-du-juan-wang-gai-288062","龙舟竞渡卷","王槩","此卷由三段绘画组成，以江河为主线，渐渐展开端午时节赛龙舟的场面。画面用笔工细，场面宏大。几艘龙舟昂首翘尾，动感十足。船上人小如蚁，但奋力划桨之势尽显。在构图上，运用大片留白表现水天一色和浩渺的江河，给人以开阔的视野。而江中点缀的渔家小船及岸上人们争相观看的情景，又使画卷平添了几许情趣。",[23,24,7,25,114,27,4803,29,64,405,34,2038,61,854,193,120,119,7825,11443],"民俗活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcf549de7dc2fe73f37c130e34dbc58.jpg",[],{"id":11447,"slug":11448,"title":11449,"dynasty":133,"author":1344,"museum":227,"description":6281,"tags":11450,"thumbUrl":11452,"material":1050,"size":1051,"collection":217,"collections":11453,"showCount":11420,"zanCount":1106,"manualWeight":48,"mainColor":49},287336,"shi-ba-xue-shi-ju-hui-tu-juan-qian-xuan-287336","十八学士聚会图卷",[23,154,24,7,27,61,28,2144,694,5994,571,2241,3477,11451,62,623,1505],"聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d57a33c5bf1c2de793373e80b8ac2ee.jpg",[],{"id":11455,"slug":11456,"title":11457,"dynasty":54,"author":3914,"museum":227,"description":11458,"tags":11459,"thumbUrl":11460,"material":1050,"size":1051,"collection":217,"collections":11461,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":128},283734,"zeng-ke-xue-shan-shui-tu-juan-dong-qi-chang-283734","赠珂雪山水图卷","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[23,24,7,25,114,29,119,120,118,405,605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c500429c2c8c477ba68a84e27e3ef7.jpg",[],{"id":11463,"slug":11464,"title":11465,"dynasty":250,"author":9683,"museum":227,"description":11466,"tags":11467,"thumbUrl":11469,"material":217,"size":217,"collection":124,"collections":11470,"showCount":11420,"zanCount":1106,"manualWeight":48,"mainColor":49},238234,"wu-zhong-shan-shui-tu-juan-zhang-zong-cang-238234","吴中山水图卷","公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱。",[24,7,763,114,118,11468,29,62,63,116,117,605,64,35,37],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7deab10c68df88dc06873ce369f679d.jpg",[124,45],{"id":11472,"slug":11473,"title":11474,"dynasty":54,"author":495,"museum":20,"description":11475,"tags":11476,"thumbUrl":11477,"material":752,"size":11478,"collection":217,"collections":11479,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":128},234198,"wen-zheng-ming-zhu-lan-shi-juan-wen-zheng-ming-234198","文徵明竹兰石卷","图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。",[23,24,25,7,114,174,119,120,275,282,255,404,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259e5f9be7af848c6938d0974347ee0a.jpg","纵26.8厘米，横730厘",[],{"id":11481,"slug":11482,"title":11483,"dynasty":54,"author":6003,"museum":227,"description":11484,"tags":11485,"thumbUrl":11486,"material":217,"size":217,"collection":217,"collections":11487,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":2653},234172,"xiang-jiang-chun-yu-tu-juan-xia-chang-234172","湘江春雨图卷","夏昶（188—147），字仲昭，号自在居士、玉峰， 人，后人誉其画竹高手。\n他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。\n号自在居士，又号玉峯，江苏昆山人， 弟。\n正统中官至 直内阁。\n画墨竹师 ，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为 。\n文皇十分赏识他的楷书，被推荐 内省，授 。\n永乐命书宫殿榜。\n尝侍从皇帝出巡于南、北二京。\n(公元1426一145年)中，转考工主事，仍供内直。\n正统(公元146—1449年)中升太常卿。\n他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。\n晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学 兼学 ，有自己的面目，声誉大大超过了他的老师。\n其兄 ，字孟旸，亦以书法 称旨，命与昶同拜中书舍人，时称“大小中书”。\n画山水师元画家 ；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n其孙女为 祖母，另一孙女则在其过世后嫁予 为妻。\n夏昶以 笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而 。\n当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞( )的 (字廷瑞)、钱塘(杭州)的詹和（字仲和)。\n而以屈礿为突出。\n明 《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。\n”徐沁 说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。\n所作竹枝烟姿雨色，偃值浓疎，动和 ，盖行家也。\n昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。\n尤精楷法，永乐命书宫殿榜。\n卒年八十三。\n传世作品有《湘江风雨图卷》（ 藏）、《满林春雨图轴》（ 藏）、《 》（ 藏）等。",[23,24,25,7,114,29,275,255,118,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce25658d7757cb59f52d9d91b347bb7.jpg",[],{"id":11489,"slug":11490,"title":8434,"dynasty":133,"author":6461,"museum":2658,"description":11491,"tags":11492,"thumbUrl":11493,"material":442,"size":11494,"collection":217,"collections":11495,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":128},233767,"jiu-ge-tu-juan-zhang-wo-233767","“九歌”的名称来源很早，据说在夏朝的时候就已经出现了，《离骚》《天问》和《山海经》中都曾经提到过它。《离骚》中说：“奏九歌而舞韶兮”。“韶”，相传是舜帝的舞曲，把它与“九歌”并举，可见都是远古的乐章。而《山海经》则说“九歌”是启（传说中大禹的儿子）从天上偷来的，这便给她添上了神话色彩。现存“九歌”，其实是楚国南部流传已久的一套民间祭神的乐歌，后来经过屈原的加工改写而创造出来一种独特的抒情诗。张渥的这幅画上有屈原的画像，可见他也是根据屈原的《九歌》来创作这幅作品的。\n屈原所作《九歌》是根据民间祀神乐曲加工润色而成的诗章。当时楚国的巫风兴盛，人们的娱乐生活往往和宗教祭祀杂糅在一起，通过所祀之神来表达自己的理想和愿望。屈原《九歌》从内容到风格形式，都保存着南方原始祀神民歌的基本格调，在长期的历史进程中一直闪耀着动人的光辉，并吸引着历代画家们以此为题材进行艺术创作。据传最早绘制《九歌图》的画家是宋代李公麟。元代画家张渥的《九歌图卷》历来被认为是李公麟原作的摹本，这从该画卷后的题款“临李龙眠九歌图”即可看出。 [4] 此图是张渥为好友言思齐（世贤）所作。\n展开画卷，首先映入眼帘的是发髻束起，身着广袖长服，拱手站立的屈原像。他庄重而坚毅、孤独而傲岸、感伤而执著的神韵跃然于纸上，令人感佩动容。在对主人公形象的塑造上，画家运用了以线条勾勒为主的白描手法，用笔苍老润洁，遒逸秀劲，勾勒简练畅意，古拙脱俗，使人物更加生动传神，而且令整幅画面极具一种装饰美。其后以篆书题写《渔父》一篇，这就使读者似乎看到了屈原被放逐后徘徊于江滨那种忧心国事的情怀，不由自主地把屈原的品格同他的《九歌》密切地联系起来。\n紧随屈原像后，作者依据《九歌》原诗的情节逐一绘制出东皇太一、云中君、湘君、湘夫人的形象。画家熟练地运用线条长短、迂回、曲直变化，流畅飞扬，宛似行云流水，人物形象充满了各自的不同神韵。大司命手执拐杖，头上几根洗练的线条和些许淡墨晕染，恰如其分地表现了纱巾透明的质感，其下的发髻隐约可见。衣裤则用比较劲秀而又略有不同的线描画成，使人觉得衣与裤的质料也有所差异。至于面部和双手，用笔更细、更淡、更柔、更富于变化，枯笔画成的须眉成功地表现了它的疏落和蓬松，一副老年人的沧桑感突现出来。少司命左手执笔，右手握卷，慈眉善目，飘浮于祥云之上。左一持杖侍女似正听其嘱咐。东君浓眉大眼，鬓须满脸，手持法器，立于祥云之上。\n在原诗中，东君是人们想象中的太阳神，张渥却捕捉住“举长矢兮射天狼”这一爱憎鲜明的情节，把太阳神和天狼星之间的矛盾冲突集中在一个画面上。太阳神被描绘成一个全副武装、魁梧雄伟的武士，一手持弓，一手握箭，翻身怒视天狼星，须眉怒张，强调了他的勇武；衣带飘拂，加强了动势的表现。天狼星则被画成一个小小圆球，仿佛摇摇欲坠。这种艺术处理充分显现了原诗中那种热爱光明、仇视黑暗的思想感情，比之孙承泽旧藏传李公麟《九歌图》中髭须飘洒、抱弓而立的东君，从思想内容到艺术技巧都增加了新的内容。河伯骑于海龟之上，其衣服帽带的飞扬，波涛的奔涌，把河伯迎风破浪前进的形象淋漓尽致地表现了出来。\n《山鬼》是屈原《九歌》11首诗中最摄人魂魄的一首，它出自楚国一个美丽凄婉的传说，描写一个美丽而幽怨的女神。画卷中的山鬼裸体骑赤豹于松林之中。《国殇》原诗用较多的篇幅描写将士们奋不顾身英勇作战的场面，画家则根据原诗精神，通过一个侧面，充满想象力地进行了生动的描绘：用苍郁的笔法略施渲染，绘成几株参天大树和树下挥戈而前的勇士，铠甲的明亮与树石的阴郁形成了鲜明的对比，从而突出了人物形象。树下走在最前面的人怒目仰视，张口狂呼，仿佛可以听到他叱咤风云的不息喊杀声。在他的身后，无数战士的头在树木的繁枝密叶间攒动。这里，画家的笔墨非常精练，能看到的只有几个被枝叶遮蔽得不完整的头部，但却突出了勇往直前的眼神，成功地运用了构图的掩映和读者的错觉，因而落墨不多却表现了千军万马不可压倒之势。\n《九歌图》人物的塑造特点是形象饱满，个性鲜明。例如，东皇太一是天之尊神。张渥将他塑造为一个王者的形象，高大威严，垂裳冠冕，一手捻须，一手若有所指。与他的高大不同，天女的形象则娇小纤弱，形成对比。又如，大司命是生命之神。张渥将他刻画成一个和蔼的长者，慈眉善目，扶杖驾云而来，全无命运之神的狞厉恐怖。再如，东君为日神。张渥将他描绘成一员武将，披挂整齐，举剑携弓，凝视前方的天狼星。\n《九歌图》不仅对于考订张渥画家的年表、纠正有关记述中的疏误有所裨益，而且为了解张渥的艺术成就提供了一件有价值的资料。\n壬子年为明洪武五年，张渥去世当在此之前。可见自1346年此图创作完成之后至明初的一段时间里，这件作品一直保存在言氏手中。此后《九歌图》在明代的流传情况并不清楚。\n清乾隆时期曾流入内府，画面上铃有乾隆、嘉庆、宣统的印玺多枚。\n清亡后，溥仪令宝熙等审定内府书画时将此卷列为上上，记录在审定内府书画目原稿中。此后，《九歌图》又以赏赐的方式被辗转运往长春的伪皇宫。1945年日本投降后，《九歌图》便一直保存在长春王世宜手中，1971年捐赠吉林省博物馆。",[23,24,25,7,174,61,1009,4337,64,117,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83685df6eeeedeb07127abdd163834aa.jpg","纵29厘米、横523.5厘米",[],{"id":11497,"slug":11498,"title":5789,"dynasty":18,"author":2035,"museum":20,"description":11499,"tags":11500,"thumbUrl":11505,"material":752,"size":5795,"collection":217,"collections":11506,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":128},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[24,25,7,114,29,1071,34,193,119,118,272,11501,690,799,37,405,5774,4052,2161,11502,11503,11504],"点染","水墨山水","米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg",[],{"id":11508,"slug":11509,"title":11510,"dynasty":133,"author":2701,"museum":227,"description":11511,"tags":11512,"thumbUrl":11513,"material":442,"size":11514,"collection":217,"collections":11515,"showCount":11420,"zanCount":1106,"manualWeight":48,"mainColor":128},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[23,154,24,25,7,60,114,118,29,482,37,64,34,31,3874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":11517,"slug":11518,"title":11519,"dynasty":18,"author":465,"museum":1683,"description":11520,"tags":11521,"thumbUrl":11522,"material":1464,"size":11523,"collection":217,"collections":11524,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":128},231570,"shan-shui-shi-er-jing-tu-cun-qi-si-xia-gui-231570","山水十二景图（存其四）","夏圭，生卒年不详，字禹玉，临安（今浙江杭州）人，“南宋四家”之一。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他与马远同属水墨苍劲一派，号称“马夏”。\n夏圭擅画山水、人物，他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。",[24,25,7,114,118,120,193,29,115,64,116,196,2153,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019c74398a8c6657a1cae9edc177829e.jpg","全卷长达七米",[],{"id":11526,"slug":11527,"title":11528,"dynasty":54,"author":55,"museum":227,"description":11529,"tags":11530,"thumbUrl":11531,"material":217,"size":217,"collection":217,"collections":11532,"showCount":11420,"zanCount":914,"manualWeight":48,"mainColor":49},228444,"da-jin-de-yun-tu-juan-chou-ying-228444","大金德运图卷","此作用浓妍石青石绿晕染群峰，峭拔清奇的山峦错落于烟波间，淡赭晕开云霞，铺就幽渺辽远的天地格局。山坳水畔，村舍错落、人马往来，或驱马穿行山道，或聚居于林田之侧，烟火气浸透仙山灵境，尽显太平聚落的悠然意趣。\n\n书画合璧尽显古韵，青绿设色承袭唐宋古意，又以细腻人物村景铺陈，将恢弘山水与俗世温情融于一卷，既有大青绿的堂皇瑰丽，又暗含市井闲趣，是工笔青绿中兼具叙事性与观赏性的精妙之作。",[23,24,7,28,27,26,29,61,90,63,64,34,117,37,118,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e63b6572fbf6fb41c1a558ac53c9e9.jpg",[],{"id":11534,"slug":11535,"title":11536,"dynasty":54,"author":11155,"museum":227,"description":11537,"tags":11538,"thumbUrl":11550,"material":217,"size":217,"collection":217,"collections":11551,"showCount":11420,"zanCount":1106,"manualWeight":48,"mainColor":49},228346,"wan-li-xun-qin-tu-juan-huang-xiang-jian-228346","万里寻亲图卷","《寻亲图》是清代画家吴伟业创作的纸本设色画，现藏于 。\n该图画远山高耸，巉崖陡壁。\n笔法细腻，层次丰富。\n远山用没骨法淡淡渲染，山石以小笔皴擦。\n画面空蒙秀雅，构境奇险，景物有纪实风。\n画中巉崖陡起，群山峭拔，白云缭绕，下瞰山城、城外危桥上一人荷伞穿行，走向前方的城镇，应是黄向坚自写。\n其后层层坡岫，远峰矗立，苍苍茫茫。\n山溪急満穿插倒悬为飞瀑，奔腾直泻，村落屋宇在丛林中或隐或现。\n画面上作者长题识：“浪穹县城在崖危屿之下。\n途次松杉行列，葱翠蔚然。\n予度溪桥，旋陟山顶，白云片片如擘絮，辄致侵入，飘绕襟袂，且喜不迷古道，无劳一拨耳。\n噫！畴谓荒缴无佳境哉。\n黄向坚并志。\n”钤“向坚”（朱文）“端木”（白文）印各一。\n此图画作者万里寻父之所见所闻，并自作《纪行一编》，所写山水，皆其所历，吴人为作乐府传其事。\n黄向坚其父孔昭，明末在云南作官，因云南姚州（今姚安县）兵乱阻隔不得归，黄向坚于清顺治八年（1651）开始徒步前往找寻，历时两年，徒步万里，终于在白盐开县把父亲迎回家乡，沿途绘中山水。\n名曰《寻亲图》，点出了主题。\n画中虽以较大的片幅描写这里的崇山峻岭和奇险的景色，但主要集中于黄氏寻亲，尤其是突出黄氏荷伞穿越危桥的情景，点出了此画的主题。\n虽在画面上所占的比例很小，但却主题突出，起到画龙点睛效果。\n此画构景奇险，明显带有西南山川的特点。\n此图为纪游山水，有着浓郁的生活气息和地域特征，如画中村落的安排，瓦眷围墙的结构，具有西南边睡的特色。\n这有力地表达了他万里寻父的忠孝情怀。\n将作者此时此景的情怀跃然纸上。\n山石的点皴和渲染一气可成，画中焦墨干笔勾勒皴擦，用渴笔干皴，线条较多转折顿挫，大体用解索皴一路。\n笔势峭利刚劲，石骨感极强。\n表现大面积的巉崖石壁，如万仞插地，极具气势。\n画树木，主要表现中、远景中的树木的形态，故不作精心匀绘，均用枯墨草草点出，显得幽深苍茫，与险峻的巉崖陡壁浑成一体，两者相辅相成，达到了和谐完美的艺术境地。\n由于他万里徒步旅行的途中，饱览了西南山川的景色，对这里的山山水水有着切身的体验。\n黄向坚（169—167），明末清初画家。\n字端木，吴（今江苏苏州）人，孔昭子。\n善画山水，师法王蒙，结构严密，干笔苍秀。\n传世作品有《巉崖陡壁图》轴、《秋山听瀑图》、《寻亲图》轴、《万里寻亲图》册（十二册）。",[23,24,7,353,763,11539,118,11540,11541,11542,11543,11544,603,11545,138,5860,11546,654,4453,11547,690,5380,5623,11548,11549,3644,30],"纪游山水","渴笔干皴","解索皴","没骨法","崇山峻岭","巉崖陡壁","山溪","危桥","松杉","万里寻亲","忠孝情怀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg",[],{"id":11553,"slug":11554,"title":11555,"dynasty":18,"author":2035,"museum":227,"description":11556,"tags":11557,"thumbUrl":11558,"material":217,"size":217,"collection":217,"collections":11559,"showCount":11420,"zanCount":1106,"manualWeight":48,"mainColor":128},227705,"mi-you-ren-si-ma-huai-shan-shui-he-juan-mi-you-ren-227705","米友仁司马槐山水合卷","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,24,25,7,114,118,119,193,29,34,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2f43864087629e2b88a87765eedeee.jpg",[],{"id":11561,"slug":11562,"title":11563,"dynasty":18,"author":294,"museum":227,"description":11564,"tags":11565,"thumbUrl":11566,"material":217,"size":217,"collection":217,"collections":11567,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":128},227487,"hai-tang-bai-tou-tu-juan-zhao-ji-227487","海棠白头图卷","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[23,24,25,7,28,114,209,1923,524,456,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250407a0c16f93208498d2d02f6623ad.jpg",[],{"id":11569,"slug":11570,"title":11571,"dynasty":18,"author":1386,"museum":227,"description":11572,"tags":11573,"thumbUrl":11574,"material":217,"size":217,"collection":217,"collections":11575,"showCount":11420,"zanCount":1106,"manualWeight":48,"mainColor":49},227416,"zhao-ling-liu-jun-tu-juan-chang-juan-zhao-lin-227416","昭陵六骏图卷(长卷)","《昭陵六骏图》卷，金，赵霖作，绢本，设色，纵27.4厘米，横444.9厘米。\n此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,154,24,7,28,27,90,61,119,193,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd803f502ab548d08a4d7881bc0191c.jpg",[],{"id":11577,"slug":11578,"title":3084,"dynasty":18,"author":430,"museum":20,"description":11579,"tags":11580,"thumbUrl":11581,"material":384,"size":11582,"collection":217,"collections":11583,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":49},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[154,24,25,7,60,174,27,28,61,511,29,62,196,89,5016,2460,34,468,64,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],{"id":11585,"slug":11586,"title":11587,"dynasty":250,"author":4830,"museum":151,"description":11588,"tags":11589,"thumbUrl":11607,"material":353,"size":11608,"collection":217,"collections":11609,"showCount":11420,"zanCount":1106,"manualWeig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cm题跋：25×228 cm.",[124],{"id":11659,"slug":11660,"title":11661,"dynasty":54,"author":1030,"museum":20,"description":11662,"tags":11663,"thumbUrl":11664,"material":285,"size":11665,"collection":103,"collections":11666,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":128},218405,"wang-gong-bai-xiang-tu-tang-yin-218405","王公拜相图","这幅画表现的是王鏊上山做官，是唐寅作为弟子画的，所以画得很用心。王鏊在1506年左右来到宫廷，当时唐寅36岁，其画风，山石树木如李唐，人物如李公麟，无疑是真迹。",[23,24,25,7,114,27,28,118,119,120,193,61,29,62,34,117,116,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc31d64915532e56e517bdba4db86340f.jpg","73.5x20",[103],{"id":11668,"slug":11669,"title":11670,"dynasty":133,"author":11671,"museum":1207,"description":11672,"tags":11673,"thumbUrl":11675,"material":285,"size":11676,"collection":44,"collections":11677,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":128},218245,"bin-feng-tu-lin-zi-huan-218245","豳风图","林子奂","《豳风图》全卷共分七段，依次为《七月》《鸱号》《东山》《破斧》《伐柯》《九罭》《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅。",[23,24,25,7,174,114,119,120,193,61,29,34,196,64,63,1070,4994,613,11674],"农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1a0555d1ec4931a6edfed8747e1ab0.jpg","26.5x446",[44],{"id":11679,"slug":11680,"title":11681,"dynasty":250,"author":11682,"museum":227,"description":11683,"tags":11684,"thumbUrl":11685,"material":114,"size":11686,"collection":543,"collections":11687,"showCount":11420,"zanCount":48,"manualWeight":48,"mainColor":128},215143,"min-sheng-yan-chang-tu-juan-ti-ba-pu-sa-bao-215143","闽省盐场图卷-题跋","菩薩保","清朝时期的闽省盐场图卷是一组图画，其中包含了当时闽省的盐场的景象。这些图卷通常都有题跋，即对图卷内容的文字说明。根据题跋介绍，这些图卷可能描绘了盐场的布局、生产过程、以及当时的盐业政策等信息。菩薩保是清朝时期的一位著名画家，他创作的闽省盐场图卷在当时颇受欢迎。",[23,25,7,120,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7031c098e33d9c148e9da888311d124b.jpg","38x860",[543],{"id":11689,"slug":11690,"title":11691,"dynasty":2618,"author":11692,"museum":227,"description":11693,"tags":11694,"thumbUrl":11695,"material":1050,"size":1051,"collection":217,"collections":11696,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":128},290025,"mo-pu-tao-tu-cui-lang-gu-290025","墨葡萄图","崔浪谷","此作用通景八屏铺陈藤蔓葡萄，老干以焦墨写出，苍劲如屈铁，虬曲回旋将八幅连为整体，满溢蓬勃生机。\n\n葡萄以没骨晕染，墨色浓淡相衬，似见颗颗晶莹饱满，垂坠枝桠间尽显鲜活野趣。叶片以干湿浓淡区分正反向背，写意笔触随性却神完气足，藤蔓游丝牵连，尽展舒展之姿。\n\n落款轻落边角，隐于枝叶间不抢画面风采，尽显文人画雅致意趣。全作以水墨写就，舍去敷色，以墨色幻化尽显满架葡萄的丰润，将蔬果鲜活与文人疏朗逸气相融，寥寥笔墨间尽显写意花鸟的风神韵味。",[23,24,25,7,114,209,1335,908],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17d066d27c4a3f33bf5fde2af56c79a.jpg",[],35,{"id":11699,"slug":11700,"title":5387,"dynasty":18,"author":716,"museum":227,"description":11701,"tags":11702,"thumbUrl":11704,"material":1050,"size":1051,"collection":217,"collections":11705,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":49},289593,"hao-liang-qiu-shui-tu-li-tang-289593","描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。",[23,24,154,7,114,763,118,64,117,4714,61,11703],"观水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff100ffd5335783d2d72685d2283a1273.jpg",[],{"id":11707,"slug":11708,"title":11709,"dynasty":133,"author":2780,"museum":227,"description":11710,"tags":11711,"thumbUrl":11715,"material":1050,"size":1051,"collection":217,"collections":11716,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":128},287592,"wei-mo-yan-jiao-tu-wang-zhen-peng-287592","维摩演教图","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[24,154,25,7,174,61,173,6818,11712,11205,7958,11713,11714,6221],"维摩诘","天女","护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40a4d0806de3db1968a0376916c5f4a.jpg",[],{"id":11718,"slug":11719,"title":11720,"dynasty":54,"author":55,"museum":227,"description":9108,"tags":11721,"thumbUrl":11724,"material":1050,"size":1051,"collection":217,"collections":11725,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":49},287412,"jie-bo-tu-quan-juan-chou-ying-287412","揭钵图全卷",[23,24,154,7,27,61,28,173,6818,11722,2804,7321,369,11723],"神怪","天人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd300e8ce2918da53473256c6f9e1473e.jpg",[],{"id":11727,"slug":11728,"title":5630,"dynasty":18,"author":507,"museum":20,"description":11729,"tags":11730,"thumbUrl":11731,"material":3632,"size":11732,"collection":217,"collections":11733,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":185},233741,"mo-long-juan-chen-rong-233741","陈容，字公储，号所翁，福唐（今福建福清）人，生卒年不详，南宋理宗端平二年（公元1235年）进士，曾任福建莆田太守，是当时一位画龙高手，亦擅画松、竹、鹤、虎等。\n陈容人称“所翁龙”，他笔下的龙是后人画龙的典范，倍受国人特别是明清以来画家们的追捧，甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容\n此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[24,7,114,511,1071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0e691f1d73dae3e59f95736f72e80a.jpg","纵34.3厘米，横50厘米",[],{"id":11735,"slug":11736,"title":11737,"dynasty":54,"author":6373,"museum":20,"description":11738,"tags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于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[23,24,25,7,59,27,28,61,62,29,34,75,11764,1698,9702,592,6490,71,70,690],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],{"id":11768,"slug":11769,"title":4105,"dynasty":133,"author":4323,"museum":227,"description":11770,"tags":11771,"thumbUrl":11772,"material":217,"size":217,"collection":217,"collections":11773,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":49},228084,"xi-shan-qiu-se-tu-juan-wang-meng-228084","此作为全景山水，层峦叠嶂逶迤铺展，林木蓊郁繁密，尽显苍润秀雅的笔墨意致。山居茅舍错落嵌于岩岫林泉之间，野水回环，渔隐泛棹，将秋日溪山清寂又温雅的意趣铺陈开来。\n\n画面以繁密皴法写山石肌理，苔点错落，把秋山厚重朴拙的质感细细勾勒，隐逸悠游的文人林下之趣融于烟岚丘壑。后接诸家题跋，诗画相映，笔墨文心共生，尽显幽淡的文人风骨。",[23,24,25,7,29,118,27,34,117,420,2520,610,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e2c899842d74a718116e60d41448c9.jpg",[],{"id":11775,"slug":11776,"title":11777,"dynasty":133,"author":2780,"museum":227,"description":11778,"tags":11779,"thumbUrl":11780,"material":217,"size":217,"collection":217,"collections":11781,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":49},228051,"da-ming-gong-tu-juan-wang-zhen-peng-228051","大明宫图卷","图绘楼台魏巍，湖水环绕，拱桥横跨，一巨大的龙舟领衔，众多小龙舟奋力竞渡夺标的生动情景。\n场面宏大壮观，人、船众多，旌旗招展，鼓乐齐奏，一片观乐紧张气氛。\n全画用笔工整严谨，楼台、龙舟俯仰曲折，细入毫端，人物虽小，然各尽其态，引人入胜。\n【名称】元王振鹏金明夺锦图卷 【规格】该幅 2.124.1公分；隔水一 1.公分；隔水二 1.7公分 【收藏】 主题与关键字：春景、名胜、龙舟、宫殿、桥、池水、奇石、官员（臣）、侍从（侍女、童仆）、百姓、表演者、杂耍艺人、松、竹、杨柳、柏、庭院、栏杆、鸟笼、旗、秋千 录入：石渠宝笈初编（养心殿），下册，15页；故宫书画录（卷八），第四册，8页；故宫书画图录，第十七册，211-214页。\n王振鹏：元永嘉（今浙江温州）人。\n官至漕运千户。\n界画极工致，仁宗眷爱之，赐号孤云处士。\n运笔和墨，豪分缕析，左右高下，俯仰曲折，方员平直，曲尽其体，而神气飞动，不为法拘。\n虽入纤细，而格力超腾，非院中人所能。\n元季界画可为第一，不在郭恕先之下， 、 辈殆不如也。\n尝为大明宫图、金明池夺标图、大安阁图、水亭图等，世称绝品。",[23,24,154,7,59,174,62,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c596cd513646736bb7dfa23a00cbc29.jpg",[],{"id":11783,"slug":11784,"title":11785,"dynasty":18,"author":465,"museum":227,"description":5652,"tags":11786,"thumbUrl":11787,"material":217,"size":217,"collection":217,"collections":11788,"showCount":11697,"zanCount":1106,"manualWeight":48,"mainColor":49},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)",[154,24,25,7,114,118,29,30,31,34,115,33,3874,468,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],{"id":11790,"slug":11791,"title":11792,"dynasty":18,"author":832,"museum":227,"description":11793,"tags":11794,"thumbUrl":11795,"material":217,"size":217,"collection":217,"collections":11796,"showCount":11697,"zanCount":1106,"manualWeight":48,"mainColor":49},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","此画因卷首宋理宗（1225-64 年 1225-64 年在位）题词，曾为十一世纪初皇家画院画家高克明之手。 然而，这幅画的风格令人信服地处理对角线后退，使用李唐（约1070-约1150）的“斧头”纹理笔触，以及在被侵蚀的河岸上广泛的水墨画， 表示十二世纪晚期的日期。",[23,24,25,7,29,28,114,118,482,483,34,404,230,64,35,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":11798,"slug":11799,"title":1315,"dynasty":18,"author":2084,"museum":227,"description":11800,"tags":11801,"thumbUrl":11802,"material":217,"size":217,"collection":217,"collections":11803,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":128},227722,"luo-shen-fu-zhao-gou-227722","重整宋家旧河山的高宗赵构，其书法水平也不一般。\n\n他的草书书法长卷《洛神赋》绢本，纵27.9cm，横398cm，辽宁省博物院藏。\n\n《洛神赋卷》未署年款，但卷末署“德寿殿书”款，钤“德寿殿御书宝”朱文印，可知是赵构做太上皇之后所作，处帝王之尊，颇具神韵。是其成熟期的作品。\n\n此卷草法出规入矩，运笔沉着浑厚，飞动流畅，虽是草书，但字字独立，字与字变化很多，字法熟练生动，提按转折无不如意，虽字与字之间无引带，仍然呈现了一气呵成、流畅自如，显示其深的书法造诣。",[23,119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92cd4351f98e1e48eb868c2042887edd.jpg",[],{"id":11805,"slug":11806,"title":5012,"dynasty":18,"author":5013,"museum":227,"description":11807,"tags":11808,"thumbUrl":11809,"material":217,"size":217,"collection":217,"collections":11810,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":49},227333,"jiu-ge-tu-zhang-dun-li-227333","《九歌》是《楚辞》篇名。原为传说中的一种远古歌曲的名称，战国楚人屈原据民间祭神乐歌改作或加工而成。共十一篇：《东皇太一》、《云中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《东君》、《河伯》、《山鬼》、《国殇》、《礼魂》。《国殇》一篇，是悼念和颂赞为楚国而战死将士;多数篇章，则皆描写神灵间的眷恋，表现出深切的思念或所求未遂的伤感。王逸说是屈原放逐江南时所作。但现代研究者多认为作于放逐之前，仅供祭祀之用。",[23,154,24,25,7,28,27,61,511,37,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07a8d04ca48dae273e9dc351d5ef844.jpg",[],{"id":11812,"slug":11813,"title":11814,"dynasty":18,"author":430,"museum":227,"description":11815,"tags":11816,"thumbUrl":11817,"material":217,"size":217,"collection":217,"collections":11818,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":49},223638,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223638","萧翼赚兰亭图","此作用笔细劲圆韧，设色古雅沉着，将一场机锋暗涌的智斗藏于寻常茶谈之间。画面分两组人物，老僧松弛端坐，意态舒展毫无戒心，对面之人敛神静坐，表面闲散实则暗怀城府。侍童仆从各司其职，衬出主客间暗流涌动的张力。\n器物陈设皆循古制，案几、茶具细节写实，尽显古朴雅致。全画以静写动，将巧取《兰亭》的权谋算计融在淡然晤对中，叙事含蓄却极具戏剧感，摹写精细传神，尽显唐画神韵，累代鉴藏朱印环伺，更添传世厚重底蕴。",[23,24,25,7,28,174,114,27,61,193,119,3665,626,627,3666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e31b4f44578334bb757880c21d79b3.jpg",[],{"id":11820,"slug":11821,"title":11822,"dynasty":18,"author":430,"museum":568,"description":11823,"tags":11824,"thumbUrl":11825,"material":384,"size":11826,"collection":217,"collections":11827,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":128},223435,"song-mo-zhou-wen-ju-gong-zhong-tu-di-yi-duan-yi-ming-223435","宋摹周文矩宫中图（第一段）","此图是描绘宫中妇女生活的长卷，存残卷四段，画八十余人。\n《宫中图》原作已经不存在,目前所见为南宋摹本,共有三段。1947年左右散佚海外,分存在美国三个不同的博物馆。第一段藏美国克里夫兰美术馆,曾名《仕女图》第二段名《宫中图》,藏美国哈佛大学福格博物馆;第三段名《唐宫春晓图》,原为英国私人藏,现入藏美国大都会美术馆。 [1] 《宫中图》，宫女童子多达八十令人，分十余组，人物穿插得体，彼此照庇，统一和谐；除人物面部行极少淡彩外，均用白描，笔法活泼，线条流畅，造型准确生动。 [2]\n此图是描绘宫中妇女生活的长卷，现残存四段，画中宫女童子多达81人，分成十余组。人物的活动有着诸多的场面，有的对镜梳妆，有的在奏乐，有的在无聊闲坐，有的在盥洗，有的在逗着小儿，童子正在逗玩小狗，有的在观鱼等等；画中的人物，除儿童显得天真活泼外，其余人物显得有些懒散、忧郁，尤其是年长者，地位较显者为甚，画中诸多人物的安排和组合，穿插得体，疏密相间，构图富有变化，错落有致。\n画卷附有宋绍兴庚申十年（1140）张激跋文，郁逢庆的（书画题跋记）把这段题跋保存下来，录在下面:\n周文矩“”宫中图”，妇人小儿，其数八十，一男子写神，而装具乐器盆孟扇椅席鷃鹉犬蝶不与。文矩句容人，为江南翰林待诏，作仕女体近周，而加纤丽，尝为后主画“南庄图”，号一时绝笔，他日上之朝廷，诏籍之秘阁。“官中图”云是真迹，藏前太府卿朱载家，或摹以见馈，妇人高自唐以来如此，此卷丰肌长裙，周法也。余在峤南于端溪陈高祖之裔，见其世藏诸帝像，左右官人梳与此略同，而丫乃作两大垂肩项间，虽丑而有真态。李氏自谓南唐故衣冠多用唐制，然风流寔是六朝之余，画家者官辩古今当先问衣冠车服，盖谓此也。绍兴庚申五月乙西岩居士张激题。”\n卷后有岳居土张激绍兴十年（1140）跋：“周文矩宫中图，妇人小儿，其数八十。男子写神。”",[23,154,24,25,7,60,174,61,155,1795,157,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d5daed2a1792353467f6670b4d6b6.jpg","纵28.3cm，横168.5cm",[],{"id":11829,"slug":11830,"title":11831,"dynasty":54,"author":7606,"museum":227,"description":7608,"tags":11832,"thumbUrl":11833,"material":442,"size":11834,"collection":217,"collections":11835,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":128},222244,"lin-wang-xi-zhi-huang-ting-jing-wang-chong-222244","临王羲之黄庭经",[23,119,25,60,537,1229,540,193,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f49c46116a4b6aecf820e4482f4c79b.jpg","纵29cm，横155cm",[],{"id":11837,"slug":11838,"title":11839,"dynasty":18,"author":7022,"museum":20,"description":11840,"tags":11841,"thumbUrl":11842,"material":442,"size":11843,"collection":543,"collections":11844,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":128},221434,"xing-zhuo-ai-tie-quan-juan-ou-yang-xiu-221434","行灼艾帖全卷","释文：\n“修啓，多日不相見，誠以區區。見發言，曾灼艾，不知體中如何？來日修偶在家，或能見過。此中醫者常有，頗非俗工，深可與之論搉也。亦有閒事，思相見。不宣。修再拜，學正足下。廿八日。”\n帖中“见发言”的“发”即欧阳修长子欧阳发。据考，此帖是欧阳修写给自己的学生焦千之的，对其身体状况表示关心，并邀其来家相见。\n关于欧书特点，苏轼评价说：“公用尖笔干墨作方阔字，清眸丰颊，进退晔如。”李东阳在帖后的诗跋中称赞欧书“宋代书家自不孤，当时只许蔡君谟。若将晋法论真印，此老风流世亦无”。\n此帖本幅及前后隔水钤“吴郡张口”“仲口”“世昌”（半印）“仪周鉴赏”“德量审定”“希逸”“江德量鉴藏印”以及项元汴、张珩等鉴藏家印记。尾纸有李东阳、翁方纲题跋。清安岐《墨缘汇观·上编》著录。",[23,25,119,120,7,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4927ee06864027294d250f9799058c.jpg","纵25厘米，横18厘米",[543],{"id":11846,"slug":11847,"title":11848,"dynasty":18,"author":1439,"museum":227,"description":6701,"tags":11849,"thumbUrl":11850,"material":140,"size":1443,"collection":217,"collections":11851,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":49},221327,"chao-yuan-xian-zhang-tu-di-er-duan-wu-zong-yuan-221327","朝元仙仗圖-第二段",[23,154,24,25,7,174,173,61,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1d50323372fd5dbe926cdd9c052086.jpg",[],{"id":11853,"slug":11854,"title":11855,"dynasty":18,"author":11856,"museum":151,"description":11857,"tags":11858,"thumbUrl":11859,"material":752,"size":11860,"collection":42,"collections":11861,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":128},221258,"dao-yi-juan-mou-yi-221258","捣衣卷","牟益","牟益（1178-？），四川人。活動於理宗、度宗兩朝，工畫人物，兼善古文與篆書。 〈擣衣圖〉作於1240年，創作原型取自南朝詩人謝惠連（397-433）〈擣衣詩〉。純以白描輕墨，畫婦女卅二人，在將寒時節，循序進行搗練、剪裁、製衣、裝箱、封寄的過程。畫中諸女皆面容圓潤，衣裙寬大，猶保有唐人餘韻。人物儀態，舉止優雅，惟在眉宇間多有愁思之意，傳透出對良人從軍未歸的掛念情愫。足稱是南宋繪畫中，描寫夫妻兩地相思，最含蓄、也最成功的作品。",[154,24,25,7,174,61,156,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52f0b5c8e369f08c112946b110d3131.jpg","纵27.1厘米，横266.4厘米",[42,44,45],{"id":11863,"slug":11864,"title":11865,"dynasty":133,"author":534,"museum":151,"description":11866,"tags":11867,"thumbUrl":11869,"material":470,"size":11870,"collection":124,"collections":11871,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":49},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,25,7,114,27,28,118,119,120,193,29,1663,986,31,34,35,138,4003,3077,1662,11868,786],"远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[124,45],{"id":11873,"slug":11874,"title":11875,"dynasty":133,"author":11876,"museum":1100,"description":11877,"tags":11878,"thumbUrl":11879,"material":285,"size":217,"collection":124,"collections":11880,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":128},219967,"shan-shui-xian-ju-tu-cao-zhi-bai-219967","山水闲居图","曹知白","此作用平远之法铺展江南水色，烟波浩渺的湖面横贯画幅，汀渚错落间晕开清寂悠远的意韵。近岸林木萧疏苍劲，茅亭临水待客，村舍隐于林间，野意悠然。\n\n以干笔皴擦勾勒山石林木，笔法松秀简淡，墨色清润虚实相生，带着元代文人画特有的萧散简远。将幽居林下、寄情烟水的雅逸心境藏进留白与笔锋里，尽显天真幽淡的林下风致，把江南水乡的闲淡隐逸之趣铺陈得恰到好处。",[23,24,25,7,114,29,118,34,116,31,690,35,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca037a1b408a2cad9f2a4430094ab374.jpg",[124],{"id":11882,"slug":11883,"title":10269,"dynasty":133,"author":10270,"museum":3074,"description":11884,"tags":11885,"thumbUrl":11888,"material":285,"size":11889,"collection":124,"collections":11890,"showCount":11697,"zanCount":1106,"manualWeight":48,"mainColor":128},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[24,25,7,114,118,119,120,29,405,37,34,31,63,610,468,38,420,690,3863,11886,272,11887,2119,193],"留白","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[124],{"id":11892,"slug":11893,"title":11894,"dynasty":168,"author":430,"museum":1239,"description":11895,"tags":11896,"thumbUrl":11897,"material":1244,"size":217,"collection":217,"collections":11898,"showCount":11697,"zanCount":48,"manualWeight":48,"mainColor":49},217285,"jiang-mo-bian-dun-huang-tu-juan-2-yi-ming-217285","降魔变·敦煌图卷-2","这段长卷似展开的故事卷轴，每一帧都藏着生动叙事。左侧人群神态各异，或专注聆听，或低声私语，衣袂飘飘间尽显古朴气韵；中间帐内围坐的人物神情热烈，帐幔褶皱线条婉转如流水。画面中段，狮子与牛的搏斗尤为夺目：鬃毛飞扬，四肢腾跃，力量感透过简练线条迸发，动态张力跃然纸上。右侧莲台之上，主尊端坐，弟子环绕神情肃穆，天人持物侍立，枝叶掩映间更添庄严。整幅画作以线为骨，设色古朴，人物呼之欲出，将故事起承转合融于流动画面，尽显古代画者的叙事智慧与艺术匠心。",[24,7,27,174,1242,173,61,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9de888ad6cd2d57d419e846ba4083149.jpg",[],{"id":11900,"slug":11901,"title":11902,"dynasty":18,"author":3727,"museum":227,"description":11903,"tags":11904,"thumbUrl":11907,"material":1050,"size":1051,"collection":217,"collections":11908,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},288545,"jiang-cun-qiu-xiao-tu-zhao-ling-rang-288545","江村秋晓图","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[24,7,114,29,138,196,64,34,117,985,11905,11906],"秋晓","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4bf7eee613995343f6bb7227076da9.jpg",[],34,{"id":11911,"slug":11912,"title":11913,"dynasty":250,"author":430,"museum":227,"description":11914,"tags":11915,"thumbUrl":11917,"material":1050,"size":1051,"collection":217,"collections":11918,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},288229,"fang-lin-chun-cui-zhu-hua-niao-tu-yi-ming-288229","仿林椿翠竹花鸟图","此作以绢本铺陈春日林隅之景，修竹挺劲清疏，新叶扶苏；山茶缀枝，丹花艳艳，翠叶相衬。禽鸟十余只或栖于虬枝，两两顾盼低语，或在竹梢依偎嬉闹，翎羽绒泽分毫毕现，灵动如生。\n全作用笔工细雅致，设色明妍柔润，将竹之清劲、花之娇秾、禽之恬然勾勒得形神兼备，构图疏密得宜，把林泉小景的鲜活生机尽数铺展，晕染出悠然静雅的古典意趣，尽显院体花鸟的精工雅致之美。",[23,24,7,25,154,28,27,209,275,196,11916],"山茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31352a44941d45e8277f53da2cf8da78.jpg",[],{"id":11920,"slug":11921,"title":11922,"dynasty":18,"author":1439,"museum":227,"description":11923,"tags":11924,"thumbUrl":11925,"material":1050,"size":1051,"collection":217,"collections":11926,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},288059,"chao-yuan-tu-juan-wu-zong-yuan-288059","朝元图卷","武宗元(约980～1050)，初名宗道，字总之。河南白波（今河南洛阳吉利区）人。北宋画家。宋真宗景德年间，建玉清昭应宫，征全国画师，分二部，宗元为左部之长。他家世业儒，以荫得太庙斋郎，官至虞部员外郎。擅画道释人物，曾为开封、洛阳各寺观作大量壁画。",[23,154,24,25,7,174,61,6986,5016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa5f8f29a39746c8231c14fa0622632.jpg",[],{"id":11928,"slug":11929,"title":11930,"dynasty":2618,"author":430,"museum":1270,"description":11931,"tags":11932,"thumbUrl":11934,"material":1050,"size":1051,"collection":217,"collections":11935,"showCount":11909,"zanCount":1106,"manualWeight":48,"mainColor":2653},287634,"jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-287634","金剛般若波羅密經手稿","此卷纸色昏黄斑驳，虫蛀残损处藏着岁月磨蚀的痕迹。书写是典型的写经小楷，笔锋匀净温润，字字端稳排布，通篇气息宁和肃穆，尽显抄经时的静定之心。笔墨间带着对般若义理的敬畏，虽有缺损，依旧能感受到书写时的屏息凝神。古旧纸色与工整墨迹相映，晕开跨越千载的沉静禅意，仿佛能让观者触摸到抄经人落笔时的虔诚，在残卷的字里行间，聆听跨越时光的清净梵音。",[7,119,540,6818,1973,537,173,11933],"金刚经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff02eba059fe71783925ddc69a59b2c96.jpg",[],{"id":11937,"slug":11938,"title":11939,"dynasty":54,"author":5285,"museum":20,"description":11940,"tags":11941,"thumbUrl":11942,"material":442,"size":217,"collection":543,"collections":11943,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":185},240900,"yue-yang-lou-ji-juan-chen-chun-240900","岳阳楼记卷","陈淳（1483—1544），字道复，后以字行，号白阳山人。吴（今江苏苏州）人。文徵明弟子，擅长山水、花鸟，中年以后，笔墨放纵，自成一家。与稍后的徐谓并称“青藤白阳”。",[119,7,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a2085250d0b01a6a315db1aad136ce.jpg",[543],{"id":11945,"slug":11946,"title":11947,"dynasty":18,"author":430,"museum":227,"description":11948,"tags":11949,"thumbUrl":11950,"material":217,"size":217,"collection":44,"collections":11951,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},238123,"luo-shen-fu-tu-juan-yi-ming-238123","洛神赋图卷","山峦烟波连绵铺陈，林木蓊郁掩映着红彩勾描的殿宇与行游伫立的人物，将缥缈仙乡揉入苍古山水间。笔意朴拙苍润，沉雅的设色在旧绢上晕开朦胧古韵，把人神邂逅的缱绻怅惘融在丘林烟水之中。循着长卷舒展，仿佛能触碰那段仙凡相望的怅惋情缘，古典浪漫的幽柔余韵顺着山峦水波漫溢开来，让悠远诗意随着卷幅缓缓流淌，将文字中的缥缈幻境化为可观可感的具象图景，晕染出绵长的东方浪漫意趣。",[154,24,25,7,28,174,27,61,29,854,62,34,37,511,90,116,155,60,193,64,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475d23ff1062208a9ad78b661dc95388.jpg",[44],{"id":11953,"slug":11954,"title":11028,"dynasty":54,"author":6567,"museum":227,"description":11955,"tags":11956,"thumbUrl":11957,"material":217,"size":217,"collection":124,"collections":11958,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},238078,"shan-shui-juan-ye-cheng-238078","叶澄[明]字原静（无声诗史作元静，明画录遂以叶澄为叶元静，疑误）。其先吴（今江苏苏州）人。画山水仿董源，为戴进之师。",[23,24,7,27,118,29,117,34,690,6589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e87689d8a91e2721e35664da5c862c.jpg",[124],{"id":11960,"slug":11961,"title":11962,"dynasty":133,"author":11963,"museum":20,"description":11964,"tags":11965,"thumbUrl":11966,"material":442,"size":11967,"collection":217,"collections":11968,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},233875,"xue-jiang-yu-ting-tu-juan-yao-ting-mei-233875","雪江渔艇图卷","姚廷美","《雪江渔艇图》描绘冬天雪景，寒江两岸的景色，突出了冬天平远雪景。\n整幅画画法宗北宋 而又略参南宋技法，用笔苍润，疏简秀逸，意境清远。\n《雪江渔艇图》描绘了一江两岸之冬天平远雪景。\n近处枯木寒林参天，枝干虬曲多姿，枝头多呈鹰爪、鹿角状，江边平岸上有一草舍，宽阔浩淼的江面有点点渔舟出没。",[24,114,7,29,2791,230,115,765,193,118,923,1185,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140bd121ac180e6fe6a42634e3a802d2.jpg","27.59*92.5厘米",[],{"id":11970,"slug":11971,"title":11972,"dynasty":133,"author":11973,"museum":227,"description":11974,"tags":11975,"thumbUrl":11976,"material":217,"size":217,"collection":217,"collections":11977,"showCount":11909,"zanCount":1106,"manualWeight":48,"mainColor":49},233021,"jiu-feng-dao-ren-san-jun-tu-juan-xu-lin-233021","九峰道人三骏图卷","徐霖","徐霖字子元，号九峰，人呼为髯仙。其先吴人，徙金陵。七岁能诗，九岁能大书，操笔成体。善画松竹花卉蕉石，奕奕有致。武庙南巡，屡幸其家，赏赉甚渥。与沈周交善。",[24,25,7,27,28,90,61,119,120,193,4051,3488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320aca22552c8e5380201d37034b90fe.jpg",[],{"id":11979,"slug":11980,"title":11981,"dynasty":18,"author":415,"museum":151,"description":11982,"tags":11983,"thumbUrl":11984,"material":11985,"size":11986,"collection":217,"collections":11987,"showCount":11909,"zanCount":1106,"manualWeight":48,"mainColor":128},232915,"bai-miao-mian-zhou-tu-juan-li-gong-lin-232915","白描免胄图卷","《免胄图》卷所绘即为郭子仪率数十骑免胄（徒手不着盔甲）见回纥首领大酋，大酋舍兵下马拜见的情景。图卷左侧是郭子仪所率部将兵骑，仪容镇定，伫立于侧。右侧是入侵关中的回纥兵骑，阵营庞大而惶惶无措。回纥大酋着戎装，携副将滚鞍落马，正单膝跪地作钦服之状，拜见免胄着燕服的郭子仪。郭神情雍穆诚恳，俯身援手以礼相见，体现出从容大度的一代名将风范。\n此卷描绘唐代名将郭子仪说服回纥大破吐蕃一事。关于这一著名战事，《旧唐书》有详细记载。唐太宗广德二年（764），回纥、土蕃西域诸国数十万大军，入侵长安，郭子仪奉命率军镇守泾阳，由于双方兵力悬殊，郭子仪决定亲赴敌营，希望说服回纥将领退兵，郭子仪是大唐名将，颇受蕃将敬重，当郭子仪脱去戎装，单骑来到回纥阵前，回纥统帅药葛罗一见，心悦诚服，下马跪迎，双方言和，药葛罗立即退兵，并发誓不再侵唐。",[23,154,24,25,7,174,61,90,193,3488,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a54c261d4257de502d94fbe837eb3b.jpg","纸本长卷","纵32.3厘米，横223.8厘米",[],{"id":11989,"slug":11990,"title":11991,"dynasty":54,"author":430,"museum":56,"description":11992,"tags":11993,"thumbUrl":11994,"material":442,"size":11995,"collection":217,"collections":11996,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},232913,"huang-he-di-tu-yi-ming-232913","黄河地图","考虑到黄河洪水的持续威胁，对该河流系统的研究和管理是清朝宫廷的首要任务之一。 这幅具有纪念意义的地图生动地说明了控制黄河航道的复杂性及其对流域内众多城镇的潜在影响。 该地图绘制于康熙皇帝（1662-1722 年在位）聘请耶稣会传教士团队对其帝国进行全面调查的时期，反映了引入欧洲技术之前本土地图制作的最高水平。 事实上，该地图的吸引力不在于其制图准确性，而在于其对地形特征的图像处理。 展开卷轴，就是去体验从东海逆流而上到龙门急流的戏码。",[23,24,7,27,26,28,29,31,405,10959,5380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72559ed9e9aa861115d474a474464bb0.jpg","78 x 1285 厘米",[],{"id":11998,"slug":11999,"title":12000,"dynasty":133,"author":430,"museum":4758,"description":12001,"tags":12002,"thumbUrl":12007,"material":442,"size":12008,"collection":217,"collections":12009,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":128},232835,"fang-li-song-xi-hu-qing-qu-tu-yi-ming-232835","仿李嵩西湖清趣图","画中心突出明净湖水，四围群山环绕，雷峰塔、孤山、双峰插云、断桥诸名胜皆隐现于烟锁雾迷之中，画风上于马远、夏圭之外，自出机杼。 全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[23,24,154,7,763,28,272,114,3730,11617,62,12003,1663,12004,12005,12006],"断桥","晨雾","春光","名胜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae990ac4d591dcb0ff85a8eb39d73a88.jpg","32.9x1581.1厘米.",[],{"id":12011,"slug":12012,"title":12013,"dynasty":133,"author":534,"museum":227,"description":12014,"tags":12015,"thumbUrl":12016,"material":140,"size":12017,"collection":217,"collections":12018,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},232641,"yu-lie-tu-quan-juan-zhao-meng-fu-232641","羽猎图全卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[23,154,24,7,27,118,29,482,34,61,90,1009,196,468,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":12020,"slug":12021,"title":12022,"dynasty":133,"author":12023,"museum":151,"description":12024,"tags":12025,"thumbUrl":12026,"material":3865,"size":12027,"collection":217,"collections":12028,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":128},231335,"cui-yu-xuan-tu-yuan-dai-ji-jin-zhi-ba-zhuang-lin-231335","翠雨轩图－元代集锦之八","庄麟","庄麟所绘的《翠雨轩图》为元人集锦卷之一，也是庄麟传世的唯一作品。绘临溪的坡岸上设茅屋一间，树木环绕，溪水浅滩，极为渺远。一叟曳杖度桥而来。境界萧疏淡远，静寂清幽。画家以淡墨为基调，用笔清逸流畅。将翠雨轩置于特定的环境中。使观者也似乎感受到远离喧嚣的静谧。\n此图写林中茅屋一间，一老者策杖过桥，步伐坚定,与桥下的溪流淙淙共同构筑了画面的幽寂和飘逸。并不像过去贬斥画工的那些描述那样，很有元代文人画家的趣味。满纸水墨挥洒，不但舒意而且流畅，画家用大写意的手法，画出翠雨轩的茅舍溪桥，画面疏疏密密，浓浓淡淡，没有精心雕琢的痕迹，反而传达了一种萧闲的意境。画上有清代乾隆皇帝的御题诗，对画面意境和风格作了极为贴切的评述。\n以文人的齐居作为绘画题材，元代画家已有涉及，如朱德润 《 秀野轩图》、 张渥《竹西草堂图 》、赵原《合溪草堂图》等。至明代则成为文人画家创作中经常出现的一种题材。",[24,25,114,29,118,7,63,64,613,230,61,404,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cce050135140f0e09ecbb560cf14c24.jpg","纵：26.2厘米，横：65.4厘米",[],{"id":12030,"slug":12031,"title":6352,"dynasty":54,"author":10407,"museum":227,"description":12032,"tags":12033,"thumbUrl":12034,"material":217,"size":217,"collection":217,"collections":12035,"showCount":11909,"zanCount":1106,"manualWeight":48,"mainColor":128},228908,"lan-ting-xiu-xi-tu-ding-yun-peng-228908","此作用淡墨白描兼皴染铺展林泉雅境，崇山叠嶂掩映茂林清溪，文人雅士沿水列坐，或临流衔觞、展卷题咏，或围坐清谈、凭栏观眺，童仆往来奉侍，将雅集盛景生动铺陈。线条清劲秀逸，山石林木以淡墨晕染，意境萧散淡远，尽显晋人林下风流。卷后题书与画作呼应，书画合璧，将这场集会寄情山水、旷达疏放的雅韵定格，引观者神游千古雅集，沉醉于丝竹觞咏的幽远意境之中。",[23,24,25,7,28,27,174,118,29,61,116,64,276,275,63,922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7c0d19429f605cd3c2867573406663.jpg",[],{"id":12037,"slug":12038,"title":12039,"dynasty":54,"author":1030,"museum":227,"description":12040,"tags":12041,"thumbUrl":12042,"material":217,"size":217,"collection":217,"collections":12043,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":128},228477,"shui-cun-xing-lv-tu-juan-tang-yin-228477","水村行旅图卷","这幅画作取江南水村之景，以开阔平湖开篇，远山衔水，汀洲错落疏林点缀，留白尽显烟波浩渺之致。近崖松柳掩映白墙黛瓦，流泉自壁间垂落，衬出村居幽谧。村道上行旅三人缓行，湖面扁舟泛波，处处漫溢悠然野趣。\n\n其设色秀润雅致，山石皴擦柔和却不失嶙峋质感，林木晕染层次丰盈，兼容院体精工与文人逸韵，将江南水乡的温婉灵秀，同恬然自在的乡居日常相融，把明季文人心中的栖居闲意，藏进尺幅山水之间。",[23,24,25,7,27,118,29,61,90,115,34,405,35,64,4864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5fd74b5fc2a7f660f6e08bd120b878.jpg",[],{"id":12045,"slug":12046,"title":12047,"dynasty":54,"author":55,"museum":227,"description":12048,"tags":12049,"thumbUrl":12050,"material":217,"size":217,"collection":217,"collections":12051,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":128},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,24,25,7,26,27,28,119,120,29,62,63,64,196,116,255,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":12053,"slug":12054,"title":12055,"dynasty":54,"author":8959,"museum":227,"description":12056,"tags":12057,"thumbUrl":12058,"material":1050,"size":1051,"collection":217,"collections":12059,"showCount":11909,"zanCount":914,"manualWeight":48,"mainColor":128},228392,"wu-bai-luo-han-tu-quan-tu-wu-bin-228392","五百罗汉图全图","五百罗汉,一般指佛释迦去世后参加第一次经结集的五百比丘,以大迦叶和阿难首。至于五百比丘的其他人,除知名的十大弟子外,一般没有名号的记载。",[23,24,25,7,27,28,173,61,254,255,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e1cf1e9b43a8c99aefbe58ee4ad433a.jpg",[],{"id":12061,"slug":12062,"title":12063,"dynasty":133,"author":534,"museum":227,"description":12064,"tags":12065,"thumbUrl":12066,"material":217,"size":217,"collection":217,"collections":12067,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":128},228261,"jiu-ge-tu-quan-juan-zhao-meng-fu-228261","九歌图全卷","此作为书画合璧妙品，设色清润秀雅，线条如春蚕吐丝，柔中带劲。画卷中仙女神祇各具神采，云中君衣袂翩跹荷影随行，东皇太一端方威严，侍神拱卫左右，将屈子笔下楚地仙灵的缥缈风神尽数铺展。\n\n篆籀书风古朴苍劲，文辞与图绘相得益彰，把《九歌》巫祭歌辞的浪漫幽渺氛围烘托殆尽，将上古巫仪的清灵庄重融于笔端，尽显追摹古意的沉静笔致，让观者恍如置身楚地巫歌灵舞的缥缈幻境之中。",[23,24,25,7,27,28,61,511,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ab31f24e204da3141a05e8169e38bb.jpg",[],{"id":12069,"slug":12070,"title":12071,"dynasty":133,"author":1206,"museum":227,"description":12072,"tags":12073,"thumbUrl":12074,"material":217,"size":217,"collection":217,"collections":12075,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},228171,"jiu-ma-tu-juan-ren-ren-fa-228171","九马图卷","长卷铺陈出闲适的厩苑日常，人马排布错落自然。左侧马厩中，良驹或垂首饮水，圉人侍立旁侧打理，马匹肌理骨骼刻画写实细腻，鬃毛发丝晕染柔和，尽显膘肥体健的神骏姿态。中段花马被牵徐行，昂首灵动，牵马人步履悠然，动态鲜活。右侧骏马昂然伫立，侍者低语顾盼，氛围平和悠然。\n整作线条劲挺流畅，设色清雅柔和，将鞍马画的写实功力尽显，既描摹出良驹矫健俊朗的风神，又勾勒出牧马日常的恬淡图景，藏着对写实工笔的精妙把控，尽显古风雅致的鞍马画韵致。",[23,24,154,7,28,27,90,61,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1d3e204d63756ad26041aa9243c11.jpg",[],{"id":12077,"slug":12078,"title":12079,"dynasty":133,"author":9607,"museum":227,"description":12080,"tags":12081,"thumbUrl":12082,"material":217,"size":217,"collection":217,"collections":12083,"showCount":11909,"zanCount":1106,"manualWeight":48,"mainColor":128},228081,"wei-mo-shuo-jing-tu-li-sheng-228081","维摩说经图","水墨晕染山峦层叠，烟岚轻笼江岸，汀渚林木错落隐现，江天浩渺间漾出空寂禅意。简淡笔墨勾勒萧散清远的山水胜境，将讲经的悠然禅心融于烟水林泉之中，以景衬意，尽显超脱物外的况味。\n\n拖尾题跋笔意苍秀疏朗，书画相映成趣，尽显元人尚意的文人雅韵。整幅长卷删繁就简，于留白间烘托出空灵淡远的禅境，笔墨虽简，却将山水的悠远与释家的沉静完美相融，尽显宋元山水萧散简远的独特意趣。",[23,24,25,7,114,29,118,119,193,405,34,63,64,610,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70c5fc6a158cfb06bc94a9595e27ebe.jpg",[],{"id":12085,"slug":12086,"title":12087,"dynasty":18,"author":7002,"museum":227,"description":4498,"tags":12088,"thumbUrl":12092,"material":217,"size":217,"collection":217,"collections":12093,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},227599,"qiu-jiang-yu-ting-tu-yuan-se-xu-dao-ning-227599","秋江渔艇图（原色）",[23,154,24,25,7,114,118,29,405,30,34,1123,2560,37,33,73,61,12089,12090,12091],"岸坡","秋江","渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],{"id":12095,"slug":12096,"title":12097,"dynasty":250,"author":12098,"museum":227,"description":12099,"tags":12100,"thumbUrl":12101,"material":217,"size":217,"collection":217,"collections":12102,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},224339,"guan-bang-tu-juan-liang-xiang-224339","观榜图卷","梁亯","画面铺展乡野村居的鲜活日常，黛瓦村舍错落排布，临河的敞轩里有人闲坐观景，石拱桥畔有人凭栏眺望。山道间行人三两，或驻足热切交谈，或信步缓行，晕染出放榜后的松弛氛围。\n\n青绿点染坡岸古木，苍枝翠叶间生机盎然，工细的界画勾勒出民居的质朴规整，衣袂飘举的人物鲜活灵动。没有宫墙下的喧嚷拥挤，转而描摹乡邻间传递喜报、私语闲谈的烟火日常，将士林放榜后乡里的起落心绪融在淡雅的设色之中，笔底尽是平淡又真切的世情暖意，复刻出旧时乡野间的鲜活世相。",[23,24,25,7,27,28,59,61,62,63,34,196,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17a44f425b0d90604d33eb2089636e.jpg",[],{"id":12104,"slug":12105,"title":12106,"dynasty":18,"author":430,"museum":151,"description":12107,"tags":12108,"thumbUrl":12109,"material":215,"size":12110,"collection":217,"collections":12111,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},223408,"nv-xiao-jing-tu-juan-yi-ming-223408","女孝经图卷","中国人物画的创作目的之一是强调绘画的政治教化功能。唐代张彦远在《历代名画记》中曾明确指出“画者，成教化，助人伦，穷神变，测幽微，与六籍同功，四时并运者也”。现存最早的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。\n此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。\n每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。",[23,24,7,28,27,174,61,70,34,62,3948,2408,2097,155,404,116,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd14950ec691dae510436a9d31262f4.jpg","纵43.8厘米，横823.7厘米",[],{"id":12113,"slug":12114,"title":12115,"dynasty":133,"author":12116,"museum":56,"description":12117,"tags":12118,"thumbUrl":12119,"material":114,"size":12120,"collection":217,"collections":12121,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":128},221723,"liu-chen-ruan-zhao-ru-tian-tai-shan-tu-juan-zhao-cang-yun-221723","刘晨阮肇入天台山图卷","赵苍云","赵苍云是宋代皇室家族成员，经历了南宋灭亡、蒙元统治的巨大变化。他采用李公麟的白描手法描绘了汉代刘晨、阮肇入天台山遇仙的故事。天台山在浙江天台县北，传说刘晨、阮肇入天台山采药，遇见两个仙女，留他们住了半年。后来他们要求回家，到家乡时发现已经过了七世，这种天堂与人间的巨大反差让他们感到疏离与不适应，这也是许多宋代遗民在蒙古人统治下的心境。\n关于赵苍云的资料，我们只有在这幅画卷的题跋中所知一二。第一段跋中，元代人华幼武（字彦清，号栖碧，无锡人。生于元成宗大德十一年，卒于明太祖洪武八年，年六十九岁。平生笃于孝友。少有盛名。）说赵苍云以没骨法作水墨山水与人物画。华还说赵苍云年轻时比他的同宗赵孟坚、赵孟頫更有名气。后来赵苍云归隐山林，不婚不仕，他的生平资料没有任何记载，只有这幅画留存人世。\n华幼武跋语：苍云山人，本赵宋宗室。高奇嗜酒，绘事入神。山水横放，大都仿没骨图，而生动过之。人物工致，别有姿韵，世不多见。所作刘阮天台图，意境萧散，神趣闲逸，曹衣吴带，设色妍妙，有诸家所不能及者。窃意刘阮未必非乌有子虚，唐人云：“仙姝宜属魅界。”但得此墨妙，觉灵山俨然，西园犹在，展卷不知身在桃云柳浪、清风红日间也。苍云早岁，名在子昂、子固之上，不婚不宦，每隐于山林湖舫，虽亲串无从踪迹，世人得其片帧，几如拱璧，此其匠心运意，备极惨澹，当不能有二也。洪武十二年秋九月，华幼武书於春草轩。",[23,154,24,25,7,174,114,61,29,117,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f6ca0b72de89d4c9bf952820d989cd.jpg","22.5cm×561.34cm",[],{"id":12123,"slug":12124,"title":12125,"dynasty":18,"author":3628,"museum":20,"description":12126,"tags":12127,"thumbUrl":12128,"material":140,"size":12129,"collection":42,"collections":12130,"showCount":11909,"zanCount":1106,"manualWeight":48,"mainColor":128},221467,"xue-mei-tu-juan-quan-juan-yang-wu-jiu-221467","雪梅图卷全卷","《雪梅图》是宋代扬无咎创作的绢本水墨画，现为 收藏。\n此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。\n作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。\n为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。\n此图为长卷，描绘雪天绽廾的梅花：墨笔画一枝凌空偃仰恣纵的野梅，图巾仪截取梅花树的一部分，重写枝十，淡点梅花-枝干有取有舍，疏密得官，苍劲挺拔，穿插有致-夹杂着儿簇竹口十，雪竹从画幅的左上角向右下方斜伸、疏竹枝叶及梅枝花办』：半爪残雪，借天色烘出一片清光傲寒之气洋溢画外。\n本幅钤“草玄之裔”、“补之”“逃禅”朱文印三方。\n本幅南宋曾觌题诗： 笔端造化出天巧，写出江南雪压枝。\n谁道春归无觅处．横斜全似越溪时。\n题记“扬补之得墨梅三昧，山谷道人叹日：‘如嫩寒清晓行孤山篱落间，但欠香耳。\n’则笔端春色之妙，此言尽矣。\n海野老农”。\n钤“子子孙孙其永宝用”朱文。\n鉴藏印有：“崇信军节度使之印”朱文。\n吴廷二方，高士奇五方，清乾隆、嘉庆、宣统内府藏印十方。\n引首有清乾隆御书“孤山香雪”行书4字，又在前隔水题诗一首。\n后隔水有清高士奇跋、印。\n纸尾有元止止道人、顾德璋、唐幼明、李升，明吴勤、李澄之、吴宽跋，清高士奇十跋。\n诸家印鉴及吴延鉴藏印共三十九方。\n扬无咎擅画梅、竹、松、石等，也能画人物，师李公麟。\n但他目前只有墨梅作品传世，“四梅花图”与“雪梅图”均藏故宫博物院。\n扬无咎为画梅，曾在庭院中植梅树，“大如数间屋，苍皮藓斑，繁花如簇”，他时时观察、写照，并得出“交枝而花繁累累，分梢而萼蕊疏疏”的理论。\n他画梅花，用细笔墨线圈出花瓣，更见梅花“疏影横斜”的风致。\n据传宋徽宗看到他画的梅花，曾笑道扬无咎画的是乡村中的梅花，扬无咎便自署画梅为“奉敕村梅”。\n除擅画外，扬无咎亦工书，学欧阳询，很有心得。\n工诗词，著有《逃禅词》。\n此图全幅以淡墨烘小，浓墨写枝，细笔勾花，用以表现“万花敢向雪中廾’’的意境-全图川笔劲逸，画法与《四梅花卷》用笔稍有不同，布景舒朗清新-背景从上至下，从左到右，均以淡墨铺染，与枝干重下孑一侧的画法相结合，从而烘托出枝卜L的积雪，同时也映衬小朵朵梅花鲜明灿烂，一雪茫茫，花枝俏丽，呈现十无尽的叫：意．山于作者非常讲究人格修养及笔墨素养，所以，他画的梅花高标清韵，正是他高沾情操的写照：此卷墨色野梅，能作成疏影横斜之态，义间以竹口卜披拂，义皆宁以形状，不施一粉而雪景澹然。\n画面』二展示的不仪是梅花姿态，而是一种“嫩寒清晓，行孤山篱落间”的梅花境界。\n从此画可窥见作者对雪中梅花“高洁”品格的喜爱和作这幅画寸的内心情感。\n全图用笔简逸，与《四梅花图》卷的用笔又有变化，布景舒朗清新，很富有杭州孤山篱落间那种“疏影横斜”，“暗香浮动”的诗意。\n梁济海 经《中国古代书画图目》十九、《 》上册、《中国美术全集·绘画编》4、《宋扬无咎雪梅图》、《艺苑掇英》1979年第1期、《故宫博物院藏文物珍品全集·晋唐两宋绘画·花鸟走兽卷》、《故宫博物院藏品大系·绘画编》2等影印；《石渠宝笈·初编》、《 》卷十四、《江村销夏录》卷三、《江村书画目》、《故宫已陕书画目》、《国宝沉浮录》、《中国古代书画目录》第二册著录。\n扬无咎(197～1169年)，字补之，号逃禅老人、清夷长者，清江(今属江西)人，寓居南昌。\n自称为东汉文学家扬雄之后，故其姓氏从“手”而不从“木”。\n南宋高宗时因不满秦桧专权，累征不起，一生没有做官，是一位藐视权贵的画家。\n他工诗词，擅书画。\n其书学欧阳询，画师华光仲仁。\n伸仁偶于月夜见窗间梅影，创为墨梅。\n扬无咎继承其法，所作梅花多取材于山间水滨、疏枝冷蕊、清寒野逸，一反院画之“宫梅”格调，故被戏称为“村梅”，开创了墨梅新派，对当时和后世均有较大影响。\n著有《逃禅词》一卷。",[23,154,24,25,7,114,120,274,1185,275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988218e54f77fb99d01fef5567a2244.jpg","27x64.",[42,261],{"id":12132,"slug":12133,"title":12134,"dynasty":18,"author":4507,"museum":227,"description":12135,"tags":12136,"thumbUrl":12137,"material":140,"size":12138,"collection":42,"collections":12139,"showCount":11909,"zanCount":1106,"manualWeight":48,"mainColor":49},221366,"xi-cheng-tu-juan-qiao-zhong-chang-221366","西成图卷","(公元12世紀)河中(今山西永濟)人，生卒年不詳。工雜畫，尤擅人物道釋故事畫，師法李公麟。靖康之變(1126)，金人圍城中思歸，一日作《河中圖》贈邵澤民侍郎。南宋·鄧椿《畫繼》卷四，著錄其畫跡有《龍宮散齋圖》《山居羅漢圖》《淵明聽松風圖》《李白捉月圖》《玄真子西塞山圖》《列子御風圖》等，然至今罕見。\n傳世作品有《赤壁圖》卷，紙本，墨筆，描繪蘇軾《後赤壁賦》中情節，並分段書寫賦文。山水人物筆法近李公麟，但不為成法所囿，用筆簡率生拙，氣韻野逸。卷後有宣和五年(1123)八月七日趙德麟題跋，還有武聖可和趙巖題跋，清乾隆皇帝御書引首“尺幅江山”四字，曾入清乾隆內府，乾隆為畫題簽，《石渠寶笈初編》著錄，現藏美國納爾遜·艾特金斯美術館。",[23,24,25,7,27,28,61,91,90,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d484bb6e65e23609df02830938b7a.jpg","21.3x82",[42,44,45],{"id":12141,"slug":12142,"title":12143,"dynasty":54,"author":5285,"museum":56,"description":12144,"tags":12145,"thumbUrl":12146,"material":122,"size":12147,"collection":124,"collections":12148,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":128},220051,"luo-bi-yan-yun-tu-chen-chun-220051","落笔烟云图","绘山水相连，几叶扁舟顺风而下，房子、小亭依山而建，好一派清静优雅的景像！此卷用笔略显轻浮，题款亦不真，或是托名之作。",[23,24,7,114,272,29,115,63,64,34,117,35,196,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74da3cb2410a235ae2231e497fab346d.jpg","32.7cm×750.6cm",[124],{"id":12150,"slug":12151,"title":12152,"dynasty":54,"author":3750,"museum":56,"description":12153,"tags":12154,"thumbUrl":12162,"material":442,"size":12163,"collection":124,"collections":12164,"showCount":11909,"zanCount":1106,"manualWeight":48,"mainColor":128},219987,"si-shi-fang-gu-shan-shui-tu-wei-zhi-ke-219987","四时仿古山水图","此长卷以淡墨浅彩铺展四时景致，移步换景间尽显文人山水意趣。画家以细劲淡笔勾勒山峦脉络，皴擦出岩岫肌理，林木点染疏密有致，随季候变换枯荣：春山明润，新枝浅黛；夏木蓊郁，浓荫藏亭；秋林萧疏，霜色点染；冬岭清寂，寒石留白。屋舍田圃错落丘壑间，溪泉萦回穿绕林麓，将四时山光物候悄然串联。整体气韵淡逸简远，师古而不拘泥，把仿古山水的程式笔墨化为灵动的丘园胜境，藏着古人寄迹林泉的隐逸幽怀，尽显雅致空灵的山水风神。",[23,24,7,12155,114,27,118,29,12156,12157,5554,12158,2038,12159,12160,610,11278,7930,12161],"仿古山水","春山","夏木","冬岭","田圃","溪泉","淡逸空灵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b366db58b957e2587f750331f4c4cf3.jpg","105.83×59.58cm",[124],{"id":12166,"slug":12167,"title":12168,"dynasty":54,"author":1295,"museum":56,"description":12169,"tags":12170,"thumbUrl":12172,"material":122,"size":12173,"collection":44,"collections":12174,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":128},219969,"cong-gui-zhai-tu-wen-zheng-ming-219969","丛桂斋图","本图乃文征明为祝贺同乡郑子充考中进士而作。古时，科考多在八月桂花盛开之时举行，所以人们也将科举及第称为“折桂”。画卷中表现的是子充自家庭园，他正靠在书斋墙边，似乎正全神贯注地看着风景。透过窗户，还能看到一个装满了卷轴的柜子，可见其对艺术的鉴赏。",[23,24,25,7,114,118,29,254,12171,116,338,35,119,120,193],"桂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9f9610b44a8cc096102b26bc0ab20b.jpg","31.6x56.2",[44],{"id":12176,"slug":12177,"title":12178,"dynasty":18,"author":12179,"museum":12180,"description":12181,"tags":12182,"thumbUrl":12183,"material":285,"size":217,"collection":124,"collections":12184,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":128},219706,"bai-miao-yue-bing-tu-li-zao-219706","白描阅兵图","李早","刘海粟美术馆","淡墨晕开平远丘壑，清旷烟岚晕染出空濛郊野，劲挺林木错落排布，晕染出幽寂底色。整肃的军马武士隐现于浅渚平坡间，白描线条清劲洗练，将军士的端严、战马的神骏勾勒得灵动传神，不着浓丽色彩，仅凭虚实笔墨，就将阅兵时的沉凝肃穆尽数铺展。\n\n卷上题跋添就文史意趣，山水意境糅合军旅气象，以简淡笔墨托出兵阵的雄浑威仪，静穆烟岚之下暗涌军阵张力，尽显笔墨雅韵与写实功力，将盛大阅兵的宏大气度，藏在清和的丘壑林泉之间。",[23,24,25,7,174,119,61,90,3488,34,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ddd2c5d153d84f8a246a4de734fb049.jpg",[124],{"id":12186,"slug":12187,"title":12188,"dynasty":133,"author":2780,"museum":151,"description":12189,"tags":12190,"thumbUrl":12191,"material":720,"size":12192,"collection":124,"collections":12193,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},218725,"bao-jin-jing-du-tu-wang-zhen-peng-218725","宝津竞渡图","界笔如丝，勾勒出楼阁层叠错落，飞檐翘角似振翅欲飞，梁柱间精巧纹饰尽显匠心底蕴。水面上龙舟竞渡，旌旗猎猎，舟中人群攒动——或击鼓助威，或挥桨逐浪，浪花翻涌间满是喧腾热闹。整幅画以细腻线条铺陈，将宋代汴京宝津楼前的端午盛景凝于绢素，既有界画的严谨工整，又不失动态的鲜活灵动，仿佛鼓点与欢呼交织耳畔，昔日都城的繁华气象跃然眼前。",[24,25,7,59,174,61,62,63,64,4803,34,69,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda29ce46bd5c86dc803d1bc684f736b8.jpg","36.6x183.4cm",[124],{"id":12195,"slug":12196,"title":12197,"dynasty":133,"author":12198,"museum":651,"description":12199,"tags":12200,"thumbUrl":12201,"material":285,"size":217,"collection":261,"collections":12202,"showCount":11909,"zanCount":48,"manualWeight":48,"mainColor":49},216725,"yi-yin-geng-shen-tu-du-ben-216725","伊尹耕莘图","杜本","伊尹耕莘图，又名伊尹莘图，是一部被认为是元朝最优秀的地图作品之一，是由元朝时期的地理学家杜本所创作的。\n\n该地图主要描述了中国当时的地理概况，包括各省、城市、河流、山脉、道路等信息。其中，最为突出的特点是对中国各省的精细描述，其中包括了各省的地理位置、面积、人口、资源、经济情况等信息。\n\n伊尹耕莘图被认为是中国历史上最为精确的地图之一，并被广泛应用于当时的军事、经济、文化等方面。它的创作也标志着中国地图制作技术的巨大发展，对中国地图学的发展产生了深远的影响。",[24,25,7,114,28,174,118,61,91,254,117,8206,420,11674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2087df4b0af8e6ce8e4200bf6af9f34a.jpg",[261],{"id":12204,"slug":12205,"title":12206,"dynasty":133,"author":134,"museum":227,"description":12207,"tags":12208,"thumbUrl":12209,"material":1050,"size":1051,"collection":217,"collections":12210,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":49},290284,"ceng-luan-die-cui-tu-huang-gong-wang-290284","层峦叠翠图","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[23,24,7,25,29,114,118,405,34,2038,64,120,5432,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363eb754bba65b5e5f9deefabdc145b5.jpg",[],33,{"id":12213,"slug":12214,"title":12215,"dynasty":54,"author":12216,"museum":227,"description":12217,"tags":12218,"thumbUrl":12219,"material":1050,"size":1051,"collection":217,"collections":12220,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":49},289757,"wu-yue-tu-juan-que-yi-jing-song-xu-289757","五岳图卷(缺一景)","宋旭","五岳，是中国五大名山的总称，指东岳泰山、西岳华山、中岳嵩山、北岳恒山、南岳衡山。五岳起源于古代中国人的山川崇拜，是和国君对山神的祭祀联系在一起的。此图分别绘制了五岳之中的日观晴曦、太华清秋、融峰两色、恒塞积雪、二室争奇等自然美景，作品采用浓淡相间、虚实对比的手法使画面层次分明。在构图上，画家运用了传统的平远构图法，景物近大远小，近实远虚，具较强的深远感。画面用笔粗犷，潇洒秀逸，笔力雄劲，既充实了画面，也体现出明代文人画诗、书、画相结合的时代特色，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[23,154,24,25,7,29,114,118,405,37,5994,62,610,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18ca5187f1b1f5f6c2dcd2fba8a8f05.jpg",[],{"id":12222,"slug":12223,"title":2571,"dynasty":18,"author":294,"museum":227,"description":12224,"tags":12225,"thumbUrl":12227,"material":1050,"size":1051,"collection":217,"collections":12228,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":128},289725,"liu-ya-lu-yan-tu-zhao-ji-289725","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,154,24,7,12226,114,27,28,2408,985,1857,2575,8329,8098,193,119,7712],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa7fe1a9da342eabc769e9f1cdda3f4.jpg",[],{"id":12230,"slug":12231,"title":12232,"dynasty":18,"author":2208,"museum":20,"description":12233,"tags":12234,"thumbUrl":12236,"material":40,"size":12237,"collection":42,"collections":12238,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":128},289326,"qian-tang-guan-chao-tu-li-song-289326","钱塘观潮图","此卷描给钱塘张潮时的壮阔景象。蒸腾鼓荡的海湖以排山倒海之势自江口流入，而江中弄潮的舟船正依次排开、逆水而上。两岸民居、城池，远山历历在目，笔法简括。 该画作用隐喻的手法表达了作者的爱国思想。",[23,154,24,7,25,114,27,29,4666,115,12235,120,119],"观潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95da389683c26734fef1f069628021d9.jpg","纵17.4厘米，横83厘米",[42],{"id":12240,"slug":12241,"title":12242,"dynasty":149,"author":1525,"museum":227,"description":12243,"tags":12244,"thumbUrl":12245,"material":1050,"size":1051,"collection":217,"collections":12246,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":49},287366,"xie-sheng-an-chun-shui-jiu-tu-juan-huang-quan-287366","写生鹌鹑水鸠图卷","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[23,154,24,25,7,28,27,209,6306,3232,196,275,281,468,2929,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b6e0e83d5ceda284e56fba76b021e1.jpg",[],{"id":12248,"slug":12249,"title":12250,"dynasty":18,"author":861,"museum":227,"description":12251,"tags":12252,"thumbUrl":12253,"material":217,"size":217,"collection":543,"collections":12254,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":128},239687,"su-shi-san-ma-tu-zan-can-juan-su-shi-239687","苏轼三马图赞残卷","此卷笔墨丰腴厚重又不失灵动跳脱，行书笔意裹挟楷法筋骨，朴茂沉雄间自带旷达书卷气。将追思神骏的惘然寄于笔端，起落转合皆是率真性情。纸间朱印错落排布，与墨色题字相映成趣。残卷的斑驳痕迹晕开旧时光晕，笔墨情思与岁月质感交织相融，尺牍行间既有咏叹神骏的豪迈，又藏旧友追思的缱绻，尽显宋代文人书法的隽永意韵。",[7,120,119,193,25,90,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e4139420856c9df426a7a93e05413dd.jpg",[543],{"id":12256,"slug":12257,"title":12258,"dynasty":54,"author":2292,"museum":20,"description":12259,"tags":12260,"thumbUrl":12261,"material":1411,"size":12262,"collection":217,"collections":12263,"showCount":12211,"zanCount":1106,"manualWeight":48,"mainColor":128},234253,"shu-dao-nan-tu-juan-zhang-hong-234253","蜀道难图卷","《蜀道难图》是明代画家张宏与书法家韩道亨的书画唱和之作。画中绝壑幽谷，飞流急湍，栈道高架，崖壁千丈，极尽蜀道之险，将李白诗作的波诡云谲与韩道亨书法的笔走龙蛇融为一体，相得益彰。画家不追求面面俱到，仅截取蜀道之一角，便再现出蜀道之崔嵬峥嵘与突兀森郁。其构思之用心，可谓别具一格。",[23,24,25,7,114,27,29,5451,654,120,193,118,37,2563,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61da97da6c5a119c5ac62467270d9a0.jpg","纵32.4厘米 横100.5厘米",[],{"id":12265,"slug":12266,"title":11028,"dynasty":54,"author":6014,"museum":227,"description":12267,"tags":12268,"thumbUrl":12269,"material":217,"size":217,"collection":217,"collections":12270,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":128},234151,"shan-shui-juan-wen-bo-ren-234151","文伯仁，明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。性暴躁，好使气骂座，少年时曾与叔徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[23,24,7,114,118,25,29,482,483,230,63,64,115,116,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":12272,"slug":12273,"title":6470,"dynasty":133,"author":1344,"museum":20,"description":6471,"tags":12274,"thumbUrl":12275,"material":1411,"size":6474,"collection":217,"collections":12276,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":49},233219,"you-ju-tu-juan-qian-xuan-233219",[24,25,7,26,27,28,118,29,482,483,254,116,63,64,115,61,35,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632995a029649dc360969921b2503da9.jpg",[],{"id":12278,"slug":12279,"title":12280,"dynasty":18,"author":832,"museum":151,"description":8107,"tags":12281,"thumbUrl":12282,"material":442,"size":12283,"collection":217,"collections":12284,"showCount":12211,"zanCount":1106,"manualWeight":48,"mainColor":49},232782,"yang-zheng-tu-juan-er-liu-song-nian-232782","养正图卷二",[23,24,25,7,28,27,59,119,61,62,29,90,116,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d948e2a41c077a21b8977f8e4dfb8a.jpg","30*386.55厘米",[],{"id":12286,"slug":12287,"title":12288,"dynasty":133,"author":1344,"museum":4758,"description":6281,"tags":12289,"thumbUrl":12290,"material":442,"size":12291,"collection":217,"collections":12292,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":128},232698,"gua-jia-tu-juan-qian-xuan-232698","瓜茄图卷",[23,154,24,25,7,27,28,209,119,193,4193,909,3676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6384b84d66760e6e53124845392246.jpg","10.5×66.5cm",[],{"id":12294,"slug":12295,"title":12296,"dynasty":18,"author":415,"museum":20,"description":12297,"tags":12298,"thumbUrl":12299,"material":442,"size":12300,"collection":217,"collections":12301,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":49},232627,"xi-yue-jiang-ling-tu-juan-quan-juan-li-gong-lin-232627","西岳降灵图卷全卷","《西岳降灵图》图卷描绘了各种形形色色人物，包括贵族及其眷属随从，甚至市井中的商人、乞丐、渔父、玩把戏的等等。在不同的程度上表现了各种人的特点。道教画放手描写市井人物，因为道教相信神仙会隐迹在普通人群中间，可以具有普通人的外表。因而这样的道教画又具有了风俗画的特点。李公麟的绘画风格，是重实践而又追求清新的。\n《西岳降灵图》画卷被认为是北宋著名画家李公麟的传世名作之一。从画卷后的跋语及其所钤盖的印章来看，该画卷在明初曾为黔宁王沐英家族收藏，明成化至正德时，又流落到大太监钱宁手中，清代则为鉴藏家梁清标所有。该画卷最后的私人收藏者是近现代佛学大师、书画家、鉴藏家叶恭绰先生。特别值得一提的是，叶恭绰先生曾经的重要藏品还有《鸭头丸贴》、《毛公鼎》等等。虽然《西岳降灵图》并未见诸著录，但经许多收藏大家之手审定、珍藏，也可说是流传有序了。",[23,24,154,7,174,61,90,1071,5016,177,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fa89bfeaab83091e6e70ab92b978e3.jpg","纵26.5厘米，横513.7厘米",[],{"id":12303,"slug":12304,"title":12305,"dynasty":133,"author":12306,"museum":151,"description":12307,"tags":12308,"thumbUrl":12310,"material":442,"size":12311,"collection":217,"collections":12312,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":128},231337,"guan-dao-sheng-yan-yu-cong-zhu-yuan-dai-ji-jin-zhi-er-guan-dao-sheng-231337","管道昇烟雨丛竹－元代集锦之二","管道升","管道升善画竹，就存世画件，则有北京故宫藏《赵氏一门三竹图卷》中的第二件《墨竹》。此卷本安歧旧藏。安氏评以：“密叶劲节，不似闺秀之辈。”安歧旧藏又有赵孟頫、管道升《蕙竹合作卷》，安氏记以：“墨竹一枝，竹叶萧疏，枝节秀劲。”从这些描述来看《烟雨丛竹》，都不贴切。\n这幅《烟雨丛竹》不是习说的“墨竹”，而是当作于山水画的竹林图。从古老的诗经“瞻彼淇奥，绿竹猗猗”到“渭川千亩”，再到杜甫移种万竿于浣花草堂：“我有阴江竹，能令朱夏寒，阴通积水内，高映浮云端。”这种意念，移之于画作。明张丑记东坡居士《断山丛筱真迹》：“又见东坡《万竿烟雨》小帧。绢本精细，歇云眉山苏轼。下有飞白坡石，兼远景烟霭，极精。上方文征仲诗跋，称许娓娓可诵也。”“飞白坡石，兼远景烟霭。”移之于这幅《烟雨丛竹》，也是合宜的。又画史上倪瓒创出的《十万图》《万竿烟雨》即为第一题目。安歧记此画：“作淡墨细竹，沙渚遥浦，其间烟雾横迷，万玉幽深，茫茫有渭川千亩之势，坡陀皴法大类松雪，布景一派平远天真，秀妙绝伦，实为佳品。”也从此立意。\n《烟雨丛竹》画竹不分节，一笔不断由下方到顶端完成。竹叶形状细劲，结组繁而不乱。墨色用前浓后淡来区分出远近；画山坡是一般的山水皴法，沙渚丛竹，掩映于烟云中。新篁成丛与赵孟頫《自写小像》（1299作）的竹林画法是接近的。两件画竹叶，都是向上仰，做“燕尾”式的交合，且是前浓后淡的竹叶丛。竹竿《自写小像》并不一直顺畅到顶，略有些小转变。《自写小像》是青绿重彩，竹注重“墨骨”来衬托出色彩。《烟雨丛竹》是水墨层层迭迭渲染，烟云变灭，做得极为细致。技法上容有相通，情怀却不一。画平坡石块，《自写小像》画得古拙，而《烟雨丛竹》反而是老练成熟。",[24,25,7,114,174,275,12309,64,404],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdc9f3061b89318e38a118057564b00.jpg","縱23.1厘米，橫113.7厘",[],{"id":12314,"slug":12315,"title":12316,"dynasty":54,"author":12317,"museum":227,"description":12318,"tags":12319,"thumbUrl":12320,"material":217,"size":217,"collection":217,"collections":12321,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":128},228889,"xie-sheng-you-xi-tu-juan-chen-gua-228889","写生游戏图卷","陈栝","《陈栝写生游戏图卷》是明代画家陈栝创作的一幅设色画。\n此图是陈氏写生画，图中从右至左绘牡丹、兰花、玉兰、桃花、荷花、水仙等9种花卉，花间穿插飞燕、蝴蝶、鱼虾、鸳鸯等。\n花卉没骨、双钩兼用，鸟用意笔写之，生动活泼，颇富野趣。\n画风学陈淳而琐碎过之。\n卷末左下自题“陈栝戏笔”。\n下钤“古吴陈栝”、“沱江子”二印。\n引首有清高宗弘历（乾隆皇帝）御题“造物为师”四字。\n曾经清内府收藏。\n鉴藏印有“乾隆御览之宝”、“石渠宝笈”、“嘉庆御览之宝”、“宣统御览”、“笔研精良人生一乐”等。\n清内府《石渠宝笈·初编》著录。",[23,24,25,7,27,209,196,555,278,193,1818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa86071febaedaa6fcbabea897e0e51df.jpg",[],{"id":12323,"slug":12324,"title":12325,"dynasty":54,"author":430,"museum":227,"description":12326,"tags":12327,"thumbUrl":12328,"material":217,"size":217,"collection":217,"collections":12329,"showCount":12211,"zanCount":1106,"manualWeight":48,"mainColor":128},228793,"ni-zan-qiu-lin-ye-xing-tu-yi-ming-228793","倪瓒秋林野兴图","此作用笔萧疏简淡，近岸枯木虬枝舒展，坡石间茅亭孤峙，一水横陈，远山澹然隐现，将太湖秋郊的荒寒清旷晕染开来。以干笔淡墨皴擦山石，逸笔草草却尽得山水神韵，意境冷寂空濛，尽显幽居林下的散淡意兴。\n\n卷后题咏往复，书画合璧，将文人出世襟怀融于水墨间，淡墨轻岚里满溢疏离尘嚣的隐逸之思，简淡中见真味，把秋日郊野的静穆与林下野兴，尽数铺展在咫尺卷中，尽显文人水墨写意的澹远精神。",[23,24,25,7,114,29,1123,404,116,118,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe698103b9ad62460364be9a270631b54.jpg",[],{"id":12331,"slug":12332,"title":12333,"dynasty":54,"author":8959,"museum":227,"description":12334,"tags":12335,"thumbUrl":12336,"material":1050,"size":1051,"collection":217,"collections":12337,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":128},228393,"shi-liu-luo-han-tu-juan-wu-bin-228393","十六罗汉图卷","画卷为佛教人物题材，描绘释迦牟尼的得道弟子十六罗汉，卷首为明代书画家米万钟题引首：應真變現，卷末有汤宾尹书般若波罗蜜多心经。",[23,24,7,27,28,119,193,61,7958,34,117,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53a6c1c40c19bbcdc893c795d160448.jpg",[],{"id":12339,"slug":12340,"title":12341,"dynasty":133,"author":12342,"museum":227,"description":12343,"tags":12344,"thumbUrl":12345,"material":217,"size":217,"collection":217,"collections":12346,"showCount":12211,"zanCount":791,"manualWeight":48,"mainColor":128},228038,"mo-lou-shu-can-zhi-tu-chang-juan-cheng-qi-228038","摹楼璹蚕织图（长卷）","程棨","此作以长卷铺陈江南蚕织全序，从浴蚕收种、稚蚕养护，直到煮茧缫丝、上机成绸，将蚕户从春到夏的辛劳日常一一绘就，每段配书题诗，图文呼应。笔触温润写实，农妇饲桑、调丝的动作鲜活自然，院舍桑田、织机筐篓细节考究，忠实还原宋本原貌，又晕染出元人清雅的笔墨质感，将耕织烟火揉进细腻笔锋里，是后世窥见古时丝织工艺与乡野民俗的珍贵图像长卷。",[23,24,25,7,60,28,27,119,193,61,62,34,70,298,2887,6295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e1a06d4ccdb8d1b366fe00d978d814.jpg",[],{"id":12348,"slug":12349,"title":12350,"dynasty":18,"author":3193,"museum":227,"description":12351,"tags":12352,"thumbUrl":12353,"material":217,"size":217,"collection":217,"collections":12354,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":128},227594,"xing-song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227594","行送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。\n著录于《装余偶记》卷五、《石渠宝笈初编》卷一。",[23,154,24,25,7,114,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29821737f2406a22c55be35d08a7b3fa.jpg",[],{"id":12356,"slug":12357,"title":12358,"dynasty":250,"author":687,"museum":20,"description":12359,"tags":12360,"thumbUrl":12361,"material":752,"size":12362,"collection":103,"collections":12363,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":49},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","此卷是他晚年辞官之后所作。图绘连绵不断的山峦谷地，平台处，空亭独立，高士寻幽而至。其荒寒萧瑟的山水、高士落寞的行踪，正是画家晚年内心情感的写照。图中山石树木以酣畅的笔墨挥就而成，笔法朴拙、放逸，于简约中不失神采。在明末清初摹古风盛行的画坛下，其满怀激情的画作令人耳目一新。",[23,24,25,7,114,29,118,117,34,31,63,35,690,3077,419,73,405,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[103],{"id":12365,"slug":12366,"title":12367,"dynasty":18,"author":430,"museum":20,"description":12368,"tags":12369,"thumbUrl":12370,"material":140,"size":12371,"collection":217,"collections":12372,"showCount":12211,"zanCount":1106,"manualWeight":48,"mainColor":49},223494,"chun-yan-tu-juan-quan-juan-yi-ming-223494","春宴图卷全卷","此图旧题“唐人春宴图”，为李世民创建文学馆，招纳贤才，杜如晦、房玄龄等被称为十八学士。此图绘十八学士集会宴饮的情景，图卷场面宏大，人物姿态各异，构图繁而不乱。",[23,24,25,7,28,27,61,90,254,7292,7293,156,3477,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5739e812fc48146e4bb8636f43c7fb7.jpg","23x573",[],{"id":12374,"slug":12375,"title":12376,"dynasty":18,"author":3727,"museum":151,"description":12377,"tags":12378,"thumbUrl":12379,"material":140,"size":12380,"collection":543,"collections":12381,"showCount":12211,"zanCount":1106,"manualWeight":48,"mainColor":185},221448,"tao-qian-shang-ju-tu-quan-juan-zhao-ling-rang-221448","陶潜赏菊图全卷","描绘了幽林内、小亭中，陶渊明与访友坐对赏花，江干水渚，群卉争发，树本、房舍、池沼、小路等表现很精致，具有化平凡的事物为美丽的事物的艺术效果，设色艳丽，画中人亦无特殊造形，但拖尾诸跋，均以陶潜赏菊故事为题咏，意境颇为优美。卷尾分别有董其昌、詹同、蔡哲、中山居士、张羽、苏伯衡的跋文。",[23,24,25,7,27,28,29,61,283,116,34,6589,120,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7176750b8b30929f53c7de7d6e7f76.jpg","全卷纵30厘米，横416.4厘米，画心纵30厘米，横84厘米",[543],{"id":12383,"slug":12384,"title":12385,"dynasty":18,"author":415,"museum":151,"description":12386,"tags":12387,"thumbUrl":12388,"material":8908,"size":12389,"collection":42,"collections":12390,"showCount":12211,"zanCount":1106,"manualWeight":48,"mainColor":128},221356,"shan-yin-hui-zhan-tu-juan-li-gong-lin-221356","山阴会战图卷","李公麟（1049～1106），北宋廬州府舒城縣人（今安徽舒城人），宋代傑出畫家。字伯時,號龍眠居士，(1049-1106)享年五十七歲。熙寧三年(公元1070年)進士。李龍眠即李公麟，字伯時，安徽舒城人，因桐城郊外有一龍眠山，李公麟曾長居於山下，所以又自號龍眠居士或龍眠山人。\n出身名門大族，家藏古器名畫法書甚多，自幼知識淵博，好古善鑑，多識奇字，自夏商以來鐘鼎尊彝皆能考訂世次，辨別款識。長於詩文，行楷書有晉人風。與王安石、蘇軾、米芾、黃庭堅為至交，系駙馬王詵之座上客。熙寧三年（1070）中進士，為中書門下省刪定官，後官至朝奉郎。元符三年（1100）病痹告老，居家鄉桐城龍眠山，號龍眠居士。一生勤奮，作畫無數，人物、史實、釋道、士女、山水、鞍馬、走獸、花鳥無所不能，無所不精。人物、道釋深得吳道子旨趣，運筆如行雲流水，造型正確，神態飛動；山水氣韻清秀，得王維正傳；着色山水追李思訓心法；畫馬過韓幹。能集諸家之長，得其大成，師法自然，大膽創新，自成一家，被後代敬為第一大手筆、百代宗師。",[23,154,24,25,7,174,114,61,90,4139,405,986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca6087e9bb8a0ab5fd706b1ea01ef813.jpg","26.6x764",[42],{"id":12392,"slug":12393,"title":12394,"dynasty":18,"author":9159,"museum":20,"description":9160,"tags":12395,"thumbUrl":12396,"material":442,"size":9163,"collection":217,"collections":12397,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":128},221233,"dao-fu-zan-juan-quan-juan-di-er-duan-fan-zhong-yan-221233","道服赞卷全卷-第二段",[23,119,537,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdbf0e7b99ee7c1648bc77cfec7a2ee.jpg",[],{"id":12399,"slug":12400,"title":12401,"dynasty":54,"author":430,"museum":8087,"description":12402,"tags":12403,"thumbUrl":12404,"material":78,"size":217,"collection":261,"collections":12405,"showCount":12211,"zanCount":1106,"manualWeight":48,"mainColor":49},219119,"bai-niu-tu-yi-ming-219119","百牛图","百牛散于郊野，姿态万千：或缓步啮草，或扬蹄奔跃，或抵角相戏，或卧地休憩。稚童身影错落其间，或骑牛背悠然吹笛，或牵绳引犊徐行，或蹲踞石畔观牛群嬉戏。林木疏朗，溪流缓绕，草地茵茵，一派生机盎然的田园牧歌景象。整幅画作笔墨细腻，牛的憨态与童的天真相映成趣，尽显自然之趣与生活之美，令人仿佛置身于宁静悠远的郊野之中，心随牛群漫步，意伴稚童欢嬉，沉醉于这份恬淡自在的烟火气里。",[23,24,7,27,28,91,61,254,639,31,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930c8aa569d3e32ea734c96bb3a9529f.jpg",[261,124],{"id":12407,"slug":12408,"title":12409,"dynasty":133,"author":430,"museum":227,"description":12410,"tags":12411,"thumbUrl":12412,"material":720,"size":12413,"collection":44,"collections":12414,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":49},216729,"cai-wen-ji-gui-han-tu-juan-yi-ming-216729","蔡文姬归汉图卷","蔡文姬归汉图卷是一幅来自中国元朝时期的绘画作品，作者不详。这幅作品描绘了蔡文姬的故事，蔡文姬是中国古代传奇人物，被认为是中国历史上最伟大的女子琴师之一。\n\n蔡文姬归汉图卷描绘了蔡文姬归汉的故事，她最终回到了中国。",[23,154,24,25,7,174,27,61,90,4489,640,654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa205e6ef03d2c82dc7ac2a4de33cb74.jpg","31.5x89.5",[44],{"id":12416,"slug":12417,"title":12418,"dynasty":18,"author":430,"museum":111,"description":12419,"tags":12420,"thumbUrl":12423,"material":217,"size":217,"collection":217,"collections":12424,"showCount":12211,"zanCount":48,"manualWeight":48,"mainColor":12425},202651,"qiu-shan-xiao-si-tu-juan-yi-ming-202651","秋山萧寺图卷","秋意浸染的山水长卷中，层峦叠嶂次第铺展。近山嶙峋，以细密皴法勾勒山石肌理，草木葱茏间隐现萧寺屋宇；远山含烟，墨色渐淡融入天际，与开阔河面相映成趣。河面如镜，几叶扁舟轻泛，岸边林木疏朗，秋意萧疏却不失生机。笔墨细腻处见严谨，雄浑间藏气韵，将秋日山水的清寂悠远与自然野趣完美融合，尽显宋画山水的雅致风骨与意境之美。",[24,29,118,7,2199,12421,12422,605,3643,11887,23],"萧寺","扁舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58eda14d30dd31cd65ccc33e29b11079.jpg",[],"000000",{"id":12427,"slug":12428,"title":12429,"dynasty":250,"author":5086,"museum":227,"description":12430,"tags":12431,"thumbUrl":12432,"material":1050,"size":1051,"collection":217,"collections":12433,"showCount":343,"zanCount":1106,"manualWeight":48,"mainColor":128},288830,"mei-hua-mu-dan-shi-hua-juan-gao-feng-han-288830","梅花牡丹诗画卷","高凤翰（1683—1749年），字西园，号南村，自号南阜山人，山东胶州人。曾任安徽歙县县丞，去官后流寓扬州。擅画山水、花卉。山水师法宋人，近赵令穰、郭熙一派。55岁左右，右手病疫改用左手，更号“尚左生”刻印“丁巳残人”。其画具有宋人雄浑之神，元人静逸之气。秦祖永《桐荫论画》评道：“离奇超妙，脱尽笔墨畦径，法备趣足，虽不规规于法，而实不离于法。”",[23,154,24,25,7,114,209,274,278,1892,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1137d6b12560322e8e67b8b86649204c.jpg",[],{"id":12435,"slug":12436,"title":2937,"dynasty":250,"author":9699,"museum":227,"description":12437,"tags":12438,"thumbUrl":12439,"material":1050,"size":1051,"collection":217,"collections":12440,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":128},287873,"qing-ming-shang-he-tu-juan-shen-yuan-287873","沈源[清]字恰亭，上海人。精科医，工铁笔，善画兰。代表作有《海上墨林》。",[154,24,25,7,28,27,59,61,62,946,1699,34,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c46e55aac8d937ca2cfc4e29bcce68.jpg",[],{"id":12442,"slug":12443,"title":12444,"dynasty":18,"author":415,"museum":227,"description":12445,"tags":12446,"thumbUrl":12447,"material":1050,"size":1051,"collection":217,"collections":12448,"showCount":343,"zanCount":1106,"manualWeight":48,"mainColor":128},287537,"shu-chuan-tu-shou-juan-li-gong-lin-287537","蜀川图手卷","画面从传统的长江发源地汶山、岷山画起，经茂州、石泉、永康军、青城山、成都城区、双流、新津、彭山、龙安、眉州、青神，后大跨越式地跨过嘉州、叙州、泸州、渝州、涪州，后接忠州、梁山、万州、云安、夔州、巫山县结束。\n这件长卷对巴蜀地区建筑形式、历史地理、历史文化研究有一定参考价值。",[23,154,24,25,7,114,174,120,193,274,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b157ace959ea92bd68e1cf5dffe387f.jpg",[],{"id":12450,"slug":12451,"title":12452,"dynasty":250,"author":12453,"museum":227,"description":12454,"tags":12455,"thumbUrl":12456,"material":217,"size":217,"collection":217,"collections":12457,"showCount":343,"zanCount":1106,"manualWeight":48,"mainColor":128},238484,"hua-hong-li-han-shan-xue-hai-shi-yi-juan-jiang-pu-238484","画弘历寒山雪海诗意卷","蒋溥","此作用淡墨晕开云涛，以干笔皴擦山石肌理，苍松虬踞崖畔，丹叶点染峰峦，将翻涌海波与凌天奇山揽入卷中。云雾缠裹岩岫，虚实相生间，尽显山海雄奇又清寂的高旷意境。\n\n卷尾题诗与画意呼应，书画合璧，把缥缈出尘的山海胜境，凝作可赏可游的具象图景，将诗意中的仙幻空灵落于笔端，尽显山海灵奇，是诗画交融的精妙佳构。",[24,25,7,29,114,27,482,1071,1298,468,119,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e07fc6c731d6d48ebf6f49830545eac.jpg",[],{"id":12459,"slug":12460,"title":12461,"dynasty":250,"author":12462,"museum":151,"description":12463,"tags":12464,"thumbUrl":12465,"material":217,"size":217,"collection":124,"collections":12466,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},238256,"wu-da-fu-song-tu-juan-zhang-ruo-ai-238256","五大夫松图卷","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,25,7,114,118,276,230,404,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b2767d1893093d6fd6a0d715c493fd.jpg",[124],{"id":12468,"slug":12469,"title":6646,"dynasty":250,"author":12470,"museum":20,"description":12471,"tags":12472,"thumbUrl":12473,"material":696,"size":217,"collection":217,"collections":12474,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":128},234235,"xi-hu-tu-juan-wang-yuan-qi-234235","王原祁","王原祁（1642—1715）作为名列“四王”之一的“娄东派”领袖，他的山水画在有清一代赢得了无比崇高的声誉，不仅左右了宫廷的山水画风，也成为有清一代文人山水画坛的主流势力。王原祁一生绘制过的西湖图似乎并不多，除了《石渠宝笈》中著录有3幅他的西湖图，其它的记载中并不能找到相关的材料，而实物的流传则更属罕觏。西湖图在王原祁自身的绘画实践中或许并不占有重要的地位。然而在他的西湖图中却显现了某些令人惊异的转变，或许正是这些转变导致了以后西湖图创作的困境。\n《石渠宝笈》著录的三幅王原祁西湖图分别为《西湖图轴》、《西湖十景图卷》以及另一种《西湖十景图卷》，这三幅奉敕应制的作品均只有王原祁本人简单的署衔，而没有标明确切的创作年代。\n据温肇桐《王原祁年表》，可知王原祁升翰林院侍讲学士的时间为康熙四十四年（1705）七月，其年六十四；而充日讲官的时间则是康熙四十七年（1708）四月，其年已六十七矣。至于其由翰林院侍讲学士升转为侍读学士的时间，当在康熙四十七年（1708）二月《佩文斋书画谱》成书之前，因为书中纂辑官员的署衔已标明为“翰林院侍讲学士今转翰林院侍读学士臣王原祁”，可知成书时他已经是侍读学士了。如此，则《西湖图轴》应属其六十四至六十七岁之间所绘，而另两卷十景图则更是六十七岁之后的作品了，无疑都属王原祁在世最后10年间的晚期作品。\n《石渠宝笈》著录的着色《西湖十景图卷》，现今收藏于辽宁省博物馆。这是一件高头大卷，画面从钱塘门开始，将绕西湖一周的景物以长卷的形式向左作平面的伸展，最后结束于涌金门外的问水亭。除了康熙帝钦定的西湖十景在图中有明确的文字标识之外，其它的西湖著名景物也包括其中并标以景点名称。对比清代雍正年间刊刻的《浙江通志》中所附的《西湖图》插图，除了呈现方式有所不同，在描绘的具体景物方面，二图并无大的差异。因此《西湖十景图卷》显然并非出自王原祁的想象臆造而是和《西湖图》插图一样具有实景地图的性质。\n王原祁的家乡是江苏太仓，距离杭州并不算远，他也曾经游历过西湖。清代厉鹗所纂《增修云林寺志》卷六收有王原祁《游韬光，赠山止上人》一诗，然而却并未提到他留有画作，至于具体的游杭时间及其行程更是不得而知了。康熙帝五次巡杭，也没有任何有关王原祁曾经扈驾侍行的记载。所以如果不是旧游时曾经绘制过西湖图的详细画稿，那么王原祁必定是在绘制时参考了《西湖图》之类的实景地图或是他人的画稿，显然以后者的可能性为大。\n作为王原祁这样的文人画宗师，他显然不能容忍自己的画作完全沦为一幅实景地图，所以为了与通常所见的实景地图拉开距离，《西湖十景图卷》在构图上颇费了一番经营，将西湖一周的山水景物特意作平面的延伸，而不是带有实景地图意味的环绕铺陈，画面的下方呈现出大块象征西湖湖水的留白，因此使之更具传统山水画的意蕴。然而细观这卷以黄公望画风为旨归的画作，它与王原祁通常所作的那类文人山水画作的差异无疑还是十分明显的：为了要精确呈现包括西湖十景在内的众多具体的山水景物，无法遗漏或削弱对其中一些景物的描绘，使得王原祁在描绘时，不得不给这些景物以一律的关注，其结果使得全卷呈现出毫无变化的平铺直叙，山峦与树木描绘的节奏也大体相似，完全失去了传统文人山水画在主观营造上的丰富变化。\n事实上，王原祁在山水画的结构方面有极深的研究，这本是他的特长。他在《雨窗漫笔》“论画十则”中对于山水画的结构经营有过一段极为经典的论述：“画中龙脉开合起伏，古法虽备，未经标出，石谷阐明，后学知所矜式。然愚意以为不参‘体用’二字，学者终无入手处。龙脉为画中气势源头，有斜有正，有浑有碎，有断有续，有隐有现，谓之体也……若知有龙脉，而不辨开合起伏，必至拘索失势，知有开合起伏而不本龙脉，是谓顾子失母。故强扭龙脉则生病；开合偪寒浅露则生病；起伏呆重缺漏则生病。且通幅有开合，分股中亦有开合；通幅有起伏，分股中亦有起伏，尤妙在过接映带间，制其有余补其不足，使龙之斜正、浑碎、隐现、断续，活泼泼地于其中，方为真画！如能从此参透，小块积成大块焉，有不臻妙境者乎？”这是借用堪舆学的名词来阐述的文人山水画结构法则，是王原祁通过从长期的绘画实践，从文人山水画体系中总结、提炼出来的规律性因素，它源于自然山水，但又高于自然山水，一旦违背，就会产生各种山水画之“病”。\n如果我们对比王原祁晚年自由状况下描绘的画作，与《西湖十景图》的差异将会十分明显：如辽宁省博物馆收藏的《西岭云霞》作于康熙庚寅（1710），绘制时间与《西湖十景图》（1708年后）大致相近，而且也是王原祁仿黄公望一路的画作。\n只要稍加浏览，就可以发现后图与《西湖十景图》在结构上的巨大差别：后图的山势开合、大小起伏变化多端，丘壑形象丰富生动；而《西湖十景图》山体的开合起伏极不明晰，山峦的大小起伏大体相近，完全没有体现出“宾主历然”的形态，可见为了屈从于对画面实景因素的呈现，王原祁不得不违背了他所总结并且强调要遵行的那一套结构法则。而同样的原因，最终也导致了王原祁在《西湖十景图》表现上的个性风格的削弱与丧失：后图中王原祁极具个性化的层层叠加的山石形象十分明显，这正是他建立的与“龙脉”理论相适应的个人图式。同时在表现这些个性化的图式时，其笔墨的运用随意生动，气势贯通，因而显得变化多端而混沦苍茫，显然描绘时处于较为自由的状态。而在《西湖十景图》中，为了使这幅画图具备可供康熙帝参考的实景特色，王原祁只能牺牲他一贯遵循的传统文人山水画的结构理念，不得不削弱了他个人丰富的笔墨表现，他所强调的“山水画用笔须毛”和自许的“笔端有金刚杵”的精醇笔墨在图中并没有得到充分的展现，大都显得小心翼翼而刻画平板，只是在开头与结尾几笔不涉及具体景物的云水勾勒中，才偶尔显示了他高超的笔墨造诣。\n严格地说，此卷应制的《西湖十景图》并不能符合王原祁自己所说的“活泼泼地”“真画”的要求，它虽然保留了文人画的表面因素，却被抽离了独立的价值。然而它与王原祁自由描绘的文人山水画之间的巨大差异，倒恰恰说明了他的高超之处，他在主体的文人山水画上达到的高度，足以使后人仰止。只是类似《西湖十景图》这样走入误区的文人画式的应制画作，由于具备更多的实用性与可操作性，却更多被王原祁的弟子或再传弟子们加以继承与奉行，而这恐怕并非是王原祁的本意。",[23,24,7,114,118,29,405,32,31,34,66,610,62,63,6490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e6647336c88be860bc28ce6086696.jpg",[],{"id":12476,"slug":12477,"title":12478,"dynasty":250,"author":7393,"museum":20,"description":12479,"tags":12480,"thumbUrl":12481,"material":384,"size":12482,"collection":217,"collections":12483,"showCount":343,"zanCount":1106,"manualWeight":48,"mainColor":49},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,24,25,7,27,26,28,118,29,194,64,63,115,61,34,37,613,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":12485,"slug":12486,"title":12487,"dynasty":18,"author":430,"museum":20,"description":5781,"tags":12488,"thumbUrl":12489,"material":40,"size":6256,"collection":217,"collections":12490,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},232880,"sou-shan-tu-yi-ming-232880","搜山图",[23,154,24,7,28,27,61,1009,4337,29,34,468,196,511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401df44a2b2e19ed21e9557d2cba183.jpg",[],{"id":12492,"slug":12493,"title":12494,"dynasty":168,"author":1006,"museum":4758,"description":12495,"tags":12496,"thumbUrl":12498,"material":140,"size":12499,"collection":217,"collections":12500,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},232625,"xi-cheng-gui-le-tu-juan-han-huang-232625","西成归乐图卷","一说风俗画，各位可别想歪了哈，这风俗画其实是以社会风气习俗为题材的绘画，表现的可能是某地某时的社会活动、风物特产，或是时令气候，风俗画虽然被归在人物画的范畴下，但却具有独特的艺术魅力，要比一般的人物画有意思的多。\n其实，最有名的风俗画便是张择端所绘制的《清明上河图》了，描绘了北宋汴京一带的风景、城郭、市肆、村舍，以及人们的生产生活，是一幅精美绝伦的风俗画巨制，流传至今，备受瞩目。但是今天，我们不说他。\n目前还能见到的风俗画雏形，是各地出土的汉代画像砖，这些图像涉及歌舞宴乐、狩猎农桑等一系列民众活动，直观再现了汉代下至民间百姓，上至贵族的真实生活。\n有表现劳动生产的，如播种、收割、舂米、酿造、盐井、桑园放牧等，有描绘社会风俗的如宴乐、杂技、舞蹈等，有神话故事如西王母、月宫等，还有表现统治阶级车马出行的。\u2028 风俗画的兴盛至晚出现在南宋时期，这和当时的商品经济、市民经济发展有关。",[23,24,25,7,28,174,61,91,90,195,12497,119,193,120],"耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65d45b34c3b7c6f1debaca0eb192617.jpg","27.2 x 101.5",[],{"id":12502,"slug":12503,"title":12504,"dynasty":54,"author":1030,"museum":227,"description":12505,"tags":12506,"thumbUrl":12507,"material":217,"size":217,"collection":217,"collections":12508,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":128},230992,"shao-yao-tu-tang-yin-230992","烧药图","《烧药图》是明朝诗人唐寅所作诗词。\n明 人来种杏不虚寻，彷佛庐山小径深。\n常向静中参大道，不因忙里庆清呤。\n愿随化雨之春泽，未许云间一片心。\n老我近来多肺疾，如另紫雪把 。",[154,24,25,7,114,27,118,120,119,193,61,29,1298,230,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":12510,"slug":12511,"title":3294,"dynasty":54,"author":5215,"museum":227,"description":12512,"tags":12513,"thumbUrl":12514,"material":1050,"size":1051,"collection":217,"collections":12515,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":128},228849,"chang-jiang-wan-li-tu-juan-dai-jin-228849","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[23,154,24,25,7,119,114,27,118,763,29,602,405,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":12517,"slug":12518,"title":12519,"dynasty":133,"author":12520,"museum":227,"description":12521,"tags":12522,"thumbUrl":12523,"material":217,"size":217,"collection":217,"collections":12524,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","陈汝言","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[23,24,25,7,26,27,29,62,63,64,1298,117,37,59,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":12526,"slug":12527,"title":12528,"dynasty":133,"author":12342,"museum":227,"description":12529,"tags":12530,"thumbUrl":12533,"material":217,"size":217,"collection":217,"collections":12534,"showCount":343,"zanCount":1106,"manualWeight":48,"mainColor":128},228037,"mo-lou-shu-geng-zuo-tu-chang-juan-cheng-qi-228037","摹楼璹耕作图（长卷）","此作以长卷铺陈田家岁时劳作全程，从垦壤播种到刈获登场，每段农事场景鲜活写实，农人的动作、形制各异的农具、田陇桑野的细节皆一一细致摹绘，还原出耕织劳作的质朴烟火。笔墨兼具宋画的精工写实，又暗含元人淡和的写意韵致。卷上题跋鉴印层层累叠，带着历代递藏的厚重脉络，将田家稼穑的日常，与文人题咏的雅致融于一卷，既是记录古代农桑的图像实录，也是承载着鉴藏史迹的书画珍存。",[23,24,25,7,60,27,28,119,193,61,91,11674,2562,12531,34,64,12532,63],"田地","稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c64d15f526a4ae7c823223adca9895.jpg",[],{"id":12536,"slug":12537,"title":12538,"dynasty":133,"author":12539,"museum":227,"description":12540,"tags":12541,"thumbUrl":12542,"material":217,"size":217,"collection":217,"collections":12543,"showCount":343,"zanCount":1106,"manualWeight":48,"mainColor":49},227989,"qiu-shan-mu-ai-tu-juan-gao-ke-gong-227989","秋山暮霭图卷","高克恭","以淡墨晕染峰峦，烟岚轻笼岫影，虚实相生间铺展秋日山野的空寂萧疏。近岸苍林错落，村居隐于枝桠间，秋水如镜，映带平远野色，将暮霭沉沉的静谧秋意晕开。\n画作以干湿互用的墨色写就，山峦以淡墨披麻皴辅以晕染，弱化嶙峋棱角，尽显温润秀雅。留白处化作流岚晓雾，将远峰近林织就朦胧诗境。右上角题诗与朱印错落，书画印相映成趣，添就文雅书卷气，将秋山暮时的澹远空寂，融在水墨氤氲里，尽显文人寄情丘壑的写意幽远之致。",[23,154,24,25,7,114,118,29,482,34,37,3004,7835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37365464f0d1bde1301c29f462bf7cdc.jpg",[],{"id":12545,"slug":12546,"title":12547,"dynasty":18,"author":3193,"museum":227,"description":12548,"tags":12549,"thumbUrl":12550,"material":217,"size":217,"collection":217,"collections":12551,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":128},227591,"lian-po-lin-xiang-ru-lie-zhuan-huang-ting-jian-227591","廉颇蔺相如列传","黄庭坚书法《廉颇蔺相如传》白纸本，纵32.5厘米，横1822厘米。美国纽约大都会博物馆藏 。\n\n此卷为黄庭坚书《史记．廉颇蔺相如列传》，文中有节略。卷尾无书写纪年和史款，约书于绍圣二年（1095年）。卷内钤有“ 内府书印”、“绍兴”连珠印、 “内省斋”、“秋壑图书”、欧阳玄印”、“项子京家珍藏”、等印鉴，还有项元汴跋。此卷是传世黄书中的名迹，《式古堂书画会考》、安歧的《黑缘会观》等书均有著录。\n\n草书发展到盛唐，狂草成熟，在流动中求得笔法、节奏、线条、结构的丰富变化，成为草书不可移易的定则。黄庭坚是钦服唐人狂草的，对张旭、怀素都有会心之论，自言“得藏真（怀素）自叙于石杨休家，谛观数日，恍然自得，落笔便觉超异”。\n无疑，黄庭坚对草书笔法的深刻认识和掌握，当是“得张长史、僧怀素、高闲墨迹，乃窥笔法之妙”的。他在《跋此君轩诗》中写道：“近时士大夫罕得古法，但弄笔左右缠绕，遂号为草书可，不知蝌蚪、篆、隶同法同意。数百年来，唯张长史、永州狂僧怀素及余三人悟此法可。苏才翁有悟处而不能尽其宗趣，其余碌碌耳。”\n\n以黄庭坚的颖悟与才力，不至领会不到唐人草书的要义，然而他的草书却一改唐人旧法，速度放慢，略加顿挫，在许多地方放弃线条的连续而着意于空间的摆布，结果形成与唐人迥然不同的一种风格，“草书之法，至此又一变矣”（姜夔语）。黄庭坚的草书，线条中奔放的气势当然不能与唐人相比，但空间结构所表现出来的气度和变化的丰富性，却不让于唐人。\n\n黄庭坚不饮酒，其作草全在心悟，以意使笔。然其参禅妙悟，虽多理性使笔，也能大开大合，聚散收放，进入挥洒之境。而其用笔，相形之下更显从容娴雅，虽纵横跌宕，亦能行处皆留，留处皆行。\n有学者评：“黄庭坚引鹤铭入草，雄强逸荡，境界一新”。黄庭坚所作诸草书帖，乃真得其妙理，也正由此，黄庭坚开创出了中国草书的又一新境。",[1602,119,1892,7,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a8127995eb55ccdd242d64d3f5390a.jpg",[],{"id":12553,"slug":12554,"title":12555,"dynasty":250,"author":12556,"museum":380,"description":12557,"tags":12558,"thumbUrl":12559,"material":140,"size":12560,"collection":124,"collections":12561,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},224334,"tang-jie-yuan-shi-yi-tu-yang-jin-224334","唐解元诗意图","杨晋","本幅平远构图，描绘了一幅江南山水的诗意画。画中农村景物写意，人物写真，花鸟草虫，夕阳芳草意境深远，远山起伏，湖光粼粼；山坡下竹篱茅舍；柳岸边微风摇曳，小舟上渔民捕鱼，乐而忘返；用笔以淡笔渴墨勾轮廓，稍作皴染；树叶以夹叶法绘制，虚实相间，自然天成。\n纵观全画是一幅恬静雅致、祥和安乐的江南水乡生活的再现，此为其难得佳作。",[23,24,7,27,28,118,29,31,33,34,35,63,690,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb384a17571125cd89af94faa6e32aa5.jpg","35X195厘米",[124,45],{"id":12563,"slug":12564,"title":12565,"dynasty":54,"author":430,"museum":227,"description":12566,"tags":12567,"thumbUrl":12568,"material":217,"size":217,"collection":217,"collections":12569,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},223622,"hu-jia-shi-ba-pai-tu-juan-yi-ming-223622","胡笳十八拍图卷","这是诗书画合一的叙事长卷，以古雅绢本为底，绘图配书，徐徐铺展蔡文姬的半生流离。画面里车马辚辚、城郭乡野、人物衣冠皆贴合古制，细节里藏着乱世羁旅的沉郁。每段题笔与场景呼应，将去国的怆然、归汉别子的两难尽数渲染，笔致朴拙温婉，把《胡笳十八拍》里的哀恸与深情具象为可视的场景，让文辞的悲戚落在人物的眉眼、步履之间，带着旧绢的温润底色，诉尽乱世女子的飘零宿命，让千年前的家国离愁跨越岁月，静静铺陈在卷上。",[23,154,24,25,7,27,28,174,61,90,62,4139,640,29,34,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a822cce9a1c19b42a164c7a30f03db9.jpg",[],{"id":12571,"slug":12572,"title":12573,"dynasty":54,"author":7606,"museum":190,"description":7608,"tags":12574,"thumbUrl":12575,"material":442,"size":12576,"collection":543,"collections":12577,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":128},222314,"shi-hu-ba-jue-shi-juan-wang-chong-222314","石湖八绝诗卷",[23,119,120,7,25,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04e45f745a3d97883196f288820ebaa.jpg","30cm×307cm",[543],{"id":12579,"slug":12580,"title":12581,"dynasty":54,"author":7606,"museum":227,"description":12582,"tags":12583,"thumbUrl":12584,"material":442,"size":12585,"collection":543,"collections":12586,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":128},222312,"za-shi-wang-chong-222312","杂诗","其书飞动流转，气度不凡，行笔急速，字距疏密相同，通篇作品给人以拙而不滞、巧而不媚的感觉，可谓是上乘之作。",[23,154,24,25,7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411f8420955b21e3af027f4497c1e2af.jpg","纵28.8厘米，横25.4厘米",[543],{"id":12588,"slug":12589,"title":12590,"dynasty":133,"author":12591,"museum":111,"description":12592,"tags":12593,"thumbUrl":12594,"material":442,"size":12595,"collection":543,"collections":12596,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":185},221843,"zhen-jing-an-mu-yuan-shu-juan-shu-yang-wei-zhen-221843","真镜庵募缘疏卷书","杨维桢","《真镜庵募缘疏卷》是杨维桢的行草书佳作。作者晚年与僧道交往频繁，经常出入于寺庙道院，此卷特地为真镜庵募缘所撰写。其书章局变化丰富，随意而奇崛，用笔力遒韵稚，笔法跳宕，竭尽一唱三叹、回肠荡气的能事。用墨浓淡互济，干湿对比强烈，表现出作者的强烈的艺术个性，怪癖性格的极度张扬。",[23,154,24,25,7,119,120,1892,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4da8dc6697a68cc4bc1fefa0121d77.jpg","纵33.3厘米，横278.4厘米",[543],{"id":12598,"slug":12599,"title":9107,"dynasty":133,"author":12600,"museum":135,"description":12601,"tags":12602,"thumbUrl":12604,"material":442,"size":12605,"collection":217,"collections":12606,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":128},221826,"jie-bo-tu-juan-zhu-yu-221826","朱玉","《揭钵图》在佛教题材绘画中青史留名，在中国古代美术史上占有重要地位。清初《佩文斋书画谱》等史籍中明确记载，朱玉《揭钵图》真迹存世仅有两本。对比浙博本和美国本，后者人物线条更加飘逸，几无断笔，面部结构精准，服饰线条洒脱，而浙博本有近半人物线条出现断笔。",[23,24,25,7,174,173,61,1009,12603,3488,62],"老虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8239e9d61ec1d53ae4c554166623e90.jpg","27.7x111厘米",[],{"id":12608,"slug":12609,"title":12610,"dynasty":18,"author":2005,"museum":20,"description":12611,"tags":12612,"thumbUrl":12613,"material":40,"size":12614,"collection":42,"collections":12615,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},221453,"bin-feng-tu-juan-quan-juan-ma-he-zhi-221453","豳风图卷全卷","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。\n张丑《清河书画舫》、卞永誉《式古堂书画汇考》、吴升《大观录》、《石渠宝笈·续编》、《石渠随笔》等书著录。",[23,24,25,7,174,27,61,29,230,193,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e13d25db108e203ad6d928b942d2a2.jpg","纵25.7厘米，横55.7厘米",[42,124,103],{"id":12617,"slug":12618,"title":12619,"dynasty":54,"author":110,"museum":651,"description":12620,"tags":12621,"thumbUrl":12622,"material":285,"size":12623,"collection":124,"collections":12624,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":128},220083,"yi-zhu-tu-shen-zhou-220083","移竹图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,7,114,118,120,193,2161,275,117,34,35,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b023fa09cc7e63d573812ca97d8e8bb.jpg","24.5 x 98cm",[124],{"id":12626,"slug":12627,"title":12628,"dynasty":18,"author":430,"museum":151,"description":12629,"tags":12630,"thumbUrl":12631,"material":78,"size":12632,"collection":44,"collections":12633,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},219605,"fan-qi-chu-lie-tu-yi-ming-219605","番骑出猎图","画面里两位骑手纵马缓行，左侧胡酋虬髯高冠，身姿沉凝端坐，坐骑鬃尾飘曳，裹挟着塞北雄悍犷野之气。右侧骑士背负箭囊、斜倚长杆，神色警觉四顾，仿佛正凝神扫视周遭，静待逐猎之机。\n\n设色简淡古雅，线条劲挺洗练，人马造型朴拙生动，荒漠底色晕染出辽远荒寒的氛围，将游牧民族出猎前的松弛与暗藏的骁勇刻画入微，寥寥笔墨便勾勒出北方草原的苍茫意趣，尽显描摹世态、传神写意的精妙功底。",[23,154,24,25,7,28,27,61,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a0f7f663c7add49b0108d136ef0824.jpg","纵24.4横56.3厘米",[44],{"id":12635,"slug":12636,"title":12637,"dynasty":54,"author":12638,"museum":111,"description":12639,"tags":12640,"thumbUrl":12641,"material":285,"size":12642,"collection":44,"collections":12643,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":128},219409,"bai-miao-fo-xiang-tu-juan-cui-zi-zhong-219409","白描佛像图卷","崔子忠","崔子忠（约1574-1644年），初名丹，字开予，改名子忠，字道母，号青蚓。山东莱阳人，寓居顺天府（今北京）。善画人物、肖像，传世作品较少。此幅白描佛画，似说法或授经图，取法李公麟，人物高古，衣纹流美，作于崇祯四年（1631)，作者时年约五十八岁，款署“辛未九月九日长安门下士崔子忠识。”另纸有明田大受崇祯四年（1631）手书《金刚经》，款曰“崇祯辛未重阳日瀛州奉佛弟子田大受沐手敬书。”",[54,24,25,7,173,174,61,117,34,193,119,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb93c57ab1883defa55547102439778a.jpg","纵30厘米，横56厘米",[44],{"id":12645,"slug":12646,"title":12647,"dynasty":54,"author":12648,"museum":20,"description":12649,"tags":12650,"thumbUrl":12651,"material":78,"size":12652,"collection":44,"collections":12653,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},216778,"lv-ji-lv-wen-ying-zhu-yuan-shou-ji-tu-lv-ji-216778","吕纪吕文英竹园寿集图","吕纪","这幅画是吕纪和吕文英在1499年画的，根据序言和题诗，吏部尚书屠滽、户部尚书周敬、御史郑捷三人同时过60岁生日，众官员在周敬的府上饮酒庆贺。\n这三位养老金领取者是主要人物，周围有客人、仆人和孩子。画中所有的人（除了孩子）都有名字，有的在院子里看仙鹤跳舞，有的在竹林里用笔墨写字，还有的在石桌上写诗。画卷最后的两个人，看着画卷，是画家陆机和陆文英，分别身着绿色和绿色的官服。\n吕纪和吕文英同时在朝廷任职，被称为 大吕 和 小吕。吕纪以画花鸟著称，这幅画的背景是鸟和树，整齐好看，接近吕纪的风格；吕文英擅长人物，线条沉稳，脸部轮廓平实，形态逼真，五官分明，与吕文英的风格相似",[23,24,25,7,27,28,61,275,276,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee6afe5130a0922557acf3dd49180a0.jpg","33.8x395.4",[44],{"id":12655,"slug":12656,"title":12657,"dynasty":54,"author":5589,"museum":1100,"description":12658,"tags":12659,"thumbUrl":12660,"material":140,"size":12661,"collection":217,"collections":12662,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":128},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[23,24,25,7,114,27,118,120,119,193,29,115,34,117,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 x 75.5",[],{"id":12664,"slug":12665,"title":12666,"dynasty":18,"author":4356,"museum":227,"description":12667,"tags":12668,"thumbUrl":12669,"material":1050,"size":1051,"collection":217,"collections":12670,"showCount":12671,"zanCount":1106,"manualWeight":48,"mainColor":128},290897,"bai-miao-dao-jun-xiang-liang-kai-290897","白描道君像","《白描道君像图》共分为三部分，中段画主神于莲花之上，左右两段各画人间及地狱的活动；右段是道观的日常起居和法事：祈祷、习经、绘塑神像等；左段则绘世俗生活，多为积善行德的场面。左下角为地狱形象，有风刀之苦及鬼官治事，且有火中盛开金莲的场面，疑与咏习《黄庭经》的禁忌科戒有关。该图是梁楷画笔中流传下来的唯一孤本，画中人物形象端庄，周密繁复，笔势劲细，骨体苍劲，确是李公麟画派以后的面貌，与南宋其他人物画叛然殊途。图中的山林泉石，既不是北宋李成、范宽的画派，也不是董源江南画派的体系，工整的形式，出于北宋。",[23,7,24,25,174,6986,5016,61,62,119,537,540,3352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c1d7f06e06834834cdb17f9b89afb4a.jpg",[],31,{"id":12673,"slug":12674,"title":12675,"dynasty":133,"author":1344,"museum":227,"description":6281,"tags":12676,"thumbUrl":12678,"material":1050,"size":1051,"collection":217,"collections":12679,"showCount":12671,"zanCount":1106,"manualWeight":48,"mainColor":49},290293,"lan-ting-ji-xian-tu-qian-xuan-290293","兰亭集贤图",[23,154,24,25,7,114,61,29,694,63,116,12677,1794,922,1892,119],"兰亭雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be4b74de62198fb0532439ca905b07f.jpg",[],{"id":12681,"slug":12682,"title":12683,"dynasty":18,"author":451,"museum":227,"description":10130,"tags":12684,"thumbUrl":12686,"material":1050,"size":1051,"collection":217,"collections":12687,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":49},290071,"feng-wang-tu-zhao-chang-290071","蜂王图",[154,24,7,28,27,209,281,434,12685,557],"蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683e97e6f2357e0884a46de42f289124.jpg",[],{"id":12689,"slug":12690,"title":12691,"dynasty":18,"author":6394,"museum":227,"description":12692,"tags":12693,"thumbUrl":12694,"material":1050,"size":1051,"collection":217,"collections":12695,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":49},289353,"luo-hua-you-yu-tu-liu-cai-289353","落花游鱼图","此图开始先画盛开的杏花，伸向水面，向后展开，落花引来群鱼争食、或聚或散，或潜游，或上浮，或回泳，翻藻戏蒲，以示水中的畅泳自然之态。其画法全用渲染，间或用没骨法，不见钩勒，活泼生动。这种表现方法和诗情画意，独创一格，多为后人所仿效。",[23,24,7,28,27,1820,555,6397,2929,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ffa62a615216e5b528da9cf4e900f74.jpg",[],{"id":12697,"slug":12698,"title":12699,"dynasty":18,"author":8670,"museum":227,"description":8671,"tags":12700,"thumbUrl":12703,"material":1050,"size":1051,"collection":217,"collections":12704,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":49},288946,"xiao-xiang-ba-jing-shan-shi-qing-lan-wang-hong-288946","潇湘八景-山市晴岚",[24,7,763,114,115,64,405,12701,34,12702,118],"村居","雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a8b94010aa0146c8a6e135d48a7ec.jpg",[],{"id":12706,"slug":12707,"title":12708,"dynasty":54,"author":110,"museum":227,"description":12709,"tags":12710,"thumbUrl":12711,"material":217,"size":217,"collection":217,"collections":12712,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":128},239935,"wen-zheng-ming-mei-zhu-xuan-ba-wei-juan-shen-zhou-239935","文徵明梅竹轩跋尾卷","此作为行书题跋，笔墨圆厚灵动，点画舒展温润，章法疏朗匀净，既有晋唐行书的隽逸意趣，又带着吴门书家独有的温雅气质。\n\n题字忆述与旧友三十余年的深挚交情，文辞冲淡真挚，将故友的清雅风骨与二人的知交情谊藏于笔墨流转间。书与文相融相合，尽显江南文人的淡泊襟怀，是兼具书法审美价值与人文意趣的难得佳作。",[25,7,119,120,274,275,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109c328737649499e37c0eeb2fb55101.jpg",[],{"id":12714,"slug":12715,"title":12716,"dynasty":250,"author":12717,"museum":227,"description":12718,"tags":12719,"thumbUrl":12720,"material":217,"size":217,"collection":45,"collections":12721,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":128},239380,"hong-wu-da-yu-zhi-shui-tu-juan-hong-wu-239380","弘旿大禹治水图卷","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,24,25,7,27,29,61,34,196,31,405,37,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe675717ccbee700587769309e68dd62f.jpg",[45],{"id":12723,"slug":12724,"title":12725,"dynasty":250,"author":1958,"museum":20,"description":12726,"tags":12727,"thumbUrl":12728,"material":442,"size":217,"collection":217,"collections":12729,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":128},234128,"lin-yue-yi-qu-tu-juan-hong-ren-234128","林樾一区图卷","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[23,24,7,114,118,119,29,116,34,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9712d4963f78f40a5206cef1b5c061ab.jpg",[],{"id":12731,"slug":12732,"title":12733,"dynasty":250,"author":10072,"museum":20,"description":12734,"tags":12735,"thumbUrl":12736,"material":442,"size":217,"collection":217,"collections":12737,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":128},233746,"hu-fu-tu-er-duan-juan-dai-xi-233746","虎阜图二段卷","戴熙(公元1801-1860年)，清代画家。字醇士，号鹿床、榆庵、松屏、莼溪、井东居士等，浙江钱塘(今杭州)人。咸丰翰林，官至兵部右侍郎，辞官归里后主持崇文书院。擅画山水，学王恽笔墨，兼师宋元诸家，尤善花卉及竹石小品，能治印，著有《习苦斋集》、《题画偶录》等。画作有《云岚烟翠图》、《忆松图》、《满门风华》等。\u2028 工诗书，善绘事。四王以后的山水画大家，被誉为四王后劲，与清代画家汤贻汾齐名。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花鸟、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是:临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。戴熙另著有《习苦斋画絮》，于画理多有论述。题画偶录行世。\n他的子侄受其影响都能绘画:长子有恒(1826-1891)(字大年，号保卿)所作山水笔意疏秀，有倪瓒风韵。以恒(字用伯)、之恒(字仲江，号菊孙)、其恒(字秀渠，又字问水)、尔恒(字子谦)，皆继承家学，善作山水，而各有成就。\n以恒更有声誉，所作山水笔意淹润，墨气淋漓，而屋宇几席亦复精工，著有《醉苏斋画诀》。《清画家诗史》则称之恒画技为戴氏群从之冠。有恒子兆登、兆春亦均能画。",[24,25,7,114,118,29,117,34,116,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d99c23e5f3cf97e36ff8021d4c17f77.jpg",[],{"id":12739,"slug":12740,"title":12741,"dynasty":54,"author":8122,"museum":56,"description":12742,"tags":12743,"thumbUrl":12744,"material":353,"size":12745,"collection":217,"collections":12746,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":185},231569,"fang-ma-yuan-yan-yun-die-zhang-tu-li-zai-231569","仿马远烟云叠嶂图","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[23,24,25,7,114,29,118,405,37,34,117,119,193,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":12748,"slug":12749,"title":12750,"dynasty":133,"author":12751,"museum":151,"description":12752,"tags":12753,"thumbUrl":12755,"material":12756,"size":12757,"collection":217,"collections":12758,"showCount":12671,"zanCount":914,"manualWeight":48,"mainColor":128},231339,"shan-shui-tu-yuan-dai-ji-jin-zhi-qi-lin-juan-a-231339","山水图－元代集锦之七","林卷阿","这件作品是元代集锦卷之一，也是林卷阿传世的唯一的传世国画作品。作品描绘的有坡树，悬崖，阔永远山，有两个人在悬崖上对坐畅谈。江中有一孤舟正泛波而行，远山连绵起伏，境界清旷。作者将董巨、郭熙画风融为一体，用笔圆润秀逸。在作品的尾部有作者自己题的款识“癸丑闰十一月，余访远斋副使于竹崎，谈诗论画。因道余师方壶公及孟循张先生，乃知用行尝与二师游，好古博雅，尤精书法。”",[24,114,763,7,25,118,29,404,12754,34,33,690,786,37,193],"沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc95f024886affd29ce1db2823207e22.jpg","卷,纸本,墨笔","纵25厘米，横61.5厘米",[],{"id":12760,"slug":12761,"title":12762,"dynasty":54,"author":5246,"museum":227,"description":12763,"tags":12764,"thumbUrl":12765,"material":217,"size":217,"collection":217,"collections":12766,"showCount":12671,"zanCount":1106,"manualWeight":48,"mainColor":128},228893,"you-yu-tu-juan-zhu-zhan-ji-228893","游鱼图卷","此卷以没骨淡墨绘就水族盛景，虾蟹轻螯微动，群鱼姿态各殊，或摆尾穿游于荇草间，或结群逐戏，动静相生、灵动鲜活。全图不施一笔画水，仅以飘摇的水藻、鳞鳍的动势，烘托出水流清浅柔润的空濛意境，仿佛可见池底幽谧生机。\n墨色轻晕淡染，将水泽的澄澈质感尽数烘托，简淡笔触里尽显自然生意，将水畔野趣鲜活定格绢素，尽显悠游自在的清致。",[23,24,7,114,28,1820,2929,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6784ede5dbadd64dafc49ae0651dc3.jpg",[],{"id":12768,"slug":12769,"title":12770,"dynasty":54,"author":12771,"museum":227,"description":12772,"tags":12773,"thumbUrl":12774,"material":217,"size":217,"collection":217,"collections":12775,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":49},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","卞文瑜","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。\n因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。\n这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。\n晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。\n”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。\n正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,7,114,118,120,119,193,29,482,34,35,420,37,2520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":12777,"slug":12778,"title":8729,"dynasty":18,"author":6962,"museum":227,"description":12779,"tags":12780,"thumbUrl":12781,"material":217,"size":217,"collection":217,"collections":12782,"showCount":12671,"zanCount":1106,"manualWeight":48,"mainColor":128},227697,"mo-lan-tu-zhao-meng-jian-227697","《墨兰图》卷，宋，赵孟坚作，纸本，淡墨，纵34.5厘米，横90.2厘米。\n\n本幅款署“彜齋趙子固仍賦”。钤“子固寫生”一印。墨兰是赵孟坚善画的题材。画面上绘墨兰二株，呈放射状的长叶参差错落，分合交叉，俯仰伸展。自题诗曰：“六月衡湘暑氣蒸，幽香一噴冰人清。曾將移入浙西種，一歲才華一兩莖。”诗中表露了作者孤高脱俗的思想境界。\n\n图中运笔柔中带刚，花朵及兰草叶均一笔点划，土坡用飞白笔轻拂，略加点苔。兰叶皆用淡墨，花蕊墨色微浓，变化含蓄，形成墨色对比。画虽为水墨，但格调高雅，“远胜着色”。其好友周密曾云：“赵孟坚墨兰最得其好，其叶如铁花，茎亦佳，……前人无此作也。”\n\n清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、吴修《青霞馆论画绝句》等书著录。",[23,24,7,114,174,209,282,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92597e894b5d42c872718b468778597.jpg",[],{"id":12784,"slug":12785,"title":12786,"dynasty":18,"author":10325,"museum":227,"description":12787,"tags":12788,"thumbUrl":12789,"material":217,"size":217,"collection":217,"collections":12790,"showCount":12671,"zanCount":914,"manualWeight":48,"mainColor":49},226558,"fan-qi-tu-juan-quan-juan-hu-gui-226558","番骑图卷全卷","《番骑图》所绘的是一队番骑逆风艰难前行的情形。塞北冬日，漠野荒寒，朔风劲吹，扑鼻冲面。胡人男女或以袖掩鼻、或面纱覆口，马匹、骆驼或低首踉跄、或屏息慢行，“胡天惨冽”的气候特征被刻画得惟妙惟肖。画家通过人物瑟缩之态、马匹蹒跚之形，衬托北地胡天之风疾天寒，以实写虚、虚实结合，可谓“曲尽塞外不毛之景趣”，堪称“番马画”中的出色之作。",[23,154,24,25,7,174,27,61,90,4489,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277e2d10ec8e8cc208f99d4fd1c3a917.jpg",[],{"id":12792,"slug":12793,"title":12794,"dynasty":250,"author":3062,"museum":227,"description":12795,"tags":12796,"thumbUrl":12797,"material":217,"size":217,"collection":217,"collections":12798,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":49},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[23,154,24,25,7,27,29,60,118,64,115,34,196,116,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":12800,"slug":12801,"title":12802,"dynasty":250,"author":12803,"museum":227,"description":12804,"tags":12805,"thumbUrl":12806,"material":1050,"size":1051,"collection":217,"collections":12807,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":128},224166,"lin-yan-zhen-qing-gao-shen-juan-wang-you-dun-224166","临颜真卿告身卷","汪由敦","汪由敦（1692-1758年3月1日），初名汪良金，字师苕，号谨堂、松泉居士。安徽休宁人。雍正二年（1724）进士，改庶吉士。乾隆间，先后担任了工部尚书与刑部尚书又兼署了左都御史一职。乾隆十一年（1746年）任军机大臣，吏部尚书，老诚敏慎，在职勤劳。金川用兵，廷谕皆出其手。\n乾隆二十三年（1758年），汪由敦逝世。乾隆皇帝亲自前往吊唁，加赠其为太子太师，谥号为文端，入祀贤良祠。汪由敦学问渊深，文辞雅正，兼工书法。著有《松泉集》。",[23,25,7,119,60,537,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf59529c1ee02a3b772ccd63884c015.jpg",[],{"id":12809,"slug":12810,"title":12811,"dynasty":250,"author":12812,"museum":4758,"description":12813,"tags":12814,"thumbUrl":12815,"material":752,"size":3490,"collection":44,"collections":12816,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":128},222833,"suo-jian-tu-luo-pin-222833","锁谏图","罗聘","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。",[23,24,25,7,174,114,61,1009,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77aa4d64989e7747df80436c432cebaf.jpg",[44],{"id":12818,"slug":12819,"title":12820,"dynasty":54,"author":12771,"museum":56,"description":12821,"tags":12822,"thumbUrl":12823,"material":442,"size":12824,"collection":124,"collections":12825,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":128},222378,"qiu-chuang-du-yi-tu-bian-wen-yu-222378","秋窗读易图","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,7,114,118,29,482,483,34,35,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5425a26530b9662c58fbbc9ca2f31ae1.jpg","26×108",[124,103],{"id":12827,"slug":12828,"title":12829,"dynasty":54,"author":269,"museum":12830,"description":12831,"tags":12832,"thumbUrl":12833,"material":1892,"size":12834,"collection":217,"collections":12835,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":49},222236,"bai-yan-shi-quan-juan-xu-wei-222236","白燕诗全卷","绍兴市文物考古研究所","释文：\n白燕诗卷\n西飞岁岁侯青阳。花发名园何处藏。天子郊禖呈瑞色。主人台榭有辉光。轻翰掠雨绡初剪。小尾流风练愈长。万里东归看 易没。海天元是白云乡。一时伴侣自应稀。海路空长遇亦非。汉 将玉门投老入。赵妃雪夜待人归。孤回夏日摇寒雪。渐下秋空见羽 衣。却说朱门无可托。玉楼天上任高飞。素壁红芳照苑墙。冲花 泛羽唼群芳。霜迷万瓦单栖渺。草绿千堤片影凉。云母屏深低缟袖。水晶帘动拂流黄。西园蝴蝶浑无赖。暗粉飘尘上海棠。 白燕四首。书似镇南朱内史一笑。天池徐渭。\n徐渭的书法和明代早期书坛沉闷的气氛对比显得格外突出，他最擅长气势磅礴的狂草，但一般人很难看懂，用笔狼藉，他对自己的书法极为喜欢，自认为“书法第一，诗第二，文第三，画第四”。\n他的书法也是从吴门书派主张唐法的反叛中出发，继而吸取北宋苏轼、黄庭坚、米芾追求艺术个性化的积极因素中走来。\n徐渭打破了以“台阁体”为主导的明代书坛的寂寞，开启和引领了晚明“尚态”书风，把明代书法引向了新的高峰。陶望龄认为其书法“称为奇绝，谓有明一人”。袁宏道则称：“予不能书，而谬谓文长书决在王雅宜、文征仲之上，不论书法而论书神，先生者诚八法之散圣，字林之侠客矣！”",[23,154,24,25,7,114,627,1892,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df2f85d03ab6130ec22e417c81f958c.jpg","纵30厘米，横420.5厘米",[],{"id":12837,"slug":12838,"title":12839,"dynasty":54,"author":495,"museum":56,"description":8019,"tags":12840,"thumbUrl":12841,"material":10754,"size":12842,"collection":124,"collections":12843,"showCount":12671,"zanCount":1106,"manualWeight":48,"mainColor":128},222007,"ju-gui-zhai-tu-shou-juan-wen-zheng-ming-222007","聚桂斋图手卷",[23,24,62,119,29,255,254,7451,27,272,7,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bcbef7bb3e97e60135879e28a13a3a.jpg","31.6x56.2厘米",[124,45],{"id":12845,"slug":12846,"title":12847,"dynasty":149,"author":12848,"museum":190,"description":12849,"tags":12850,"thumbUrl":12851,"material":12852,"size":12853,"collection":543,"collections":12854,"showCount":12671,"zanCount":1106,"manualWeight":48,"mainColor":128},221176,"dong-dan-wang-chu-xing-tu-li-zan-hua-221176","东丹王出行图","李赞华","《辽代李赞华东丹王出行图》是辽代画家李赞华（即东丹王耶律倍）创作的一幅中国古画，现收藏于美国波士顿美术馆。作品是表现人物鞍马内容的画，画中绘有六人骑在骏马上，他们各具姿态，衣冠、服饰、佩带皆因身份的不同而各异。\n作品中的马矫健、丰肥，左右顾盼，慢跑前行。东丹王在马背上手把缰绳，面带忧郁，若有所思，情绪正和他弃辽投后唐的处境吻合。人物及马的线条描绘细腻精良，赋色华丽，尽显宫廷绘画之特色。构图布势前后照应，疏密相宜，整个画面人物和马的动态形成—种行进的韵律。卷末有无名氏题“世传东丹王是也”，书风近宋高宗赵构。李赞华自投后唐明宗后，长期居住在中原，其画风对后人影响很大，郭若虚《图画见闻志》、刘道醇《圣朝名画评》均有著录与评价。从文献著录来看，此卷是接近李赞华画风的—件精品。",[23,24,25,7,27,61,90,28,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3f6f9e1883d6b08661f268900a674a.jpg","绢本，立轴","纵27.8厘米，横125.1厘米",[543],{"id":12856,"slug":12857,"title":12858,"dynasty":2618,"author":430,"museum":4758,"description":12859,"tags":12860,"thumbUrl":12861,"material":442,"size":12862,"collection":543,"collections":12863,"showCount":12671,"zanCount":791,"manualWeight":48,"mainColor":128},221046,"sui-ren-xie-jing-da-ban-nie-pan-jing-jia-ye-pu-sa-pin-shou-juan-yi-ming-221046","隋人写经大般涅槃经迦叶菩萨品手卷","该卷经文用笔犀利\n行笔淋漓尽致",[23,540,119,537,7,173,1973,193,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F828a17b3e983bfa837f24dc56406fdc8.jpg","20.9厘米x380.3厘米",[543],{"id":12865,"slug":12866,"title":11294,"dynasty":250,"author":9561,"museum":1270,"description":12867,"tags":12868,"thumbUrl":12869,"material":122,"size":12870,"collection":124,"collections":12871,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":128},219855,"qiu-shan-tu-xiao-yun-cong-219855","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,25,7,27,29,118,119,120,193,61,62,34,117,64,116,1298,1123,6589,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[124],{"id":12873,"slug":12874,"title":12875,"dynasty":18,"author":4114,"museum":151,"description":12876,"tags":12877,"thumbUrl":12878,"material":78,"size":12879,"collection":124,"collections":12880,"showCount":12671,"zanCount":1106,"manualWeight":48,"mainColor":128},218688,"ying-shan-tu-wang-shen-218688","瀛山图","本幅画峻岭回溪，山村茅茨，远水平沙，数艇隐隐。图后一远峰山壁题识云：「保宁赐第王晋卿瀛山既觉，因图梦中所见。甲辰春四月，梦游者。」细审图中绝壑层峦，俱以青绿著色，用笔工细，气韵古雅，良为一梦中山水矣。全画山石以一简单的轮廓线勾勒，再敷以颜色，有古拙之感，近似元代画家钱选的青绿山水，与王诜（约1048—1122）现存的其他作品不类。",[23,24,25,7,26,27,29,62,63,64,116,196,34,118,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78aaab8984587d91e9f82641be9870c.jpg","24.5x145.1cm",[124],{"id":12882,"slug":12883,"title":12884,"dynasty":54,"author":1030,"museum":20,"description":12885,"tags":12886,"thumbUrl":12887,"material":122,"size":12888,"collection":124,"collections":12889,"showCount":12671,"zanCount":48,"manualWeight":48,"mainColor":128},218333,"tong-shan-tu-tang-yin-218333","桐山图","图绘峭壁间长出桐树数株，其中一株横垂探水；石罅间有泉水汩汩流出，汇入平湖。湖面演漾，浩淼无边；远山逶迤而去。构图有南宋院体影响，皴染则化刚为柔，苍润而醇厚。\n自题：“吾闻淮水出桐山，古来贤哲产其间。君今自称亦私淑，渔钩须当借一湾。吴门唐寅作桐山图。”钤：“吴趋”朱文印、“唐伯虎”朱文印、“南京解元”朱文印。引首王鏊题“清樾吟窝”，拖尾有文徵明、袁袠、蔡羽、王宠、王穉登等十四家题跋。",[23,24,25,7,114,118,120,29,468,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ee14b34e9f652e8869f5cb917cf77c.jpg","纵31.2厘米 横137.5厘米",[124],{"id":12891,"slug":12892,"title":12893,"dynasty":18,"author":3136,"museum":1100,"description":3137,"tags":12894,"thumbUrl":12895,"material":78,"size":3140,"collection":217,"collections":12896,"showCount":12671,"zanCount":1106,"manualWeight":48,"mainColor":128},216921,"xiang-shan-jiu-lao-tu-3-ma-xing-zu-216921","香山九老图-3",[23,24,154,25,7,28,27,118,61,230,1298,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d337f51df2c79cfd347b373f8b121f.jpg",[],{"id":12898,"slug":12899,"title":12900,"dynasty":250,"author":7438,"museum":20,"description":9856,"tags":12901,"thumbUrl":9858,"material":122,"size":9859,"collection":124,"collections":12903,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},301856,"heng-shan-qing-ai-tu-wu-li-301856","横山晴霭图",[23,154,24,25,7,29,114,118,405,34,64,115,196,2038,2993,120,193,12902],"晴霭",[124],30,{"id":12906,"slug":12907,"title":12908,"dynasty":18,"author":8670,"museum":227,"description":8671,"tags":12909,"thumbUrl":12910,"material":1050,"size":1051,"collection":217,"collections":12911,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":49},288551,"xiao-xiang-ba-jing-tu-juan-yi-wang-hong-288551","潇湘八景图卷一",[24,154,25,7,114,29,34,4804,196,611,609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf6f310da9c7a8a88cdef72a9fb5139.jpg",[],{"id":12913,"slug":12914,"title":12915,"dynasty":250,"author":8148,"museum":227,"description":12916,"tags":12917,"thumbUrl":12919,"material":1050,"size":1051,"collection":217,"collections":12920,"showCount":12904,"zanCount":1106,"manualWeight":48,"mainColor":128},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,154,24,25,7,763,27,29,32,405,37,34,63,610,62,12918,138,196,115,119,193],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],{"id":12922,"slug":12923,"title":12924,"dynasty":54,"author":430,"museum":227,"description":12925,"tags":12926,"thumbUrl":12930,"material":1050,"size":1051,"collection":217,"collections":12931,"showCount":12904,"zanCount":914,"manualWeight":48,"mainColor":49},287795,"shan-hai-bai-ling-tu-juan-tang-hu-gui-fan-shou-tu-yi-ming-287795","山海百灵图卷·唐胡瓌蕃兽图","此卷以苍莽山野为底，百兽珍灵错落游走于松石崖瀑间。工笔勾勒兼施晕染，各色异兽形神鲜活，或奔腾驰跃，或安卧林间，灵动宛然。布景疏密有致，岩壑古拙、松竹清隽，铺展幽旷林泉秘境，将山野生机尽数铺陈。画风古雅沉静，写生功力扎实，将百兽百态与林泉野趣相融，暗合山海灵韵，复刻出上古灵囿的鲜活图景，尽显古典畜兽画的雅致意趣。",[23,24,7,27,28,1009,3086,5249,12927,12928,8099,486,12929],"山林","山岩","蕃兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcedb0accde94bc9300918503d78dc9e.jpg",[],{"id":12933,"slug":12934,"title":12935,"dynasty":133,"author":534,"museum":227,"description":9648,"tags":12936,"thumbUrl":12937,"material":1050,"size":1051,"collection":217,"collections":12938,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":49},287309,"bai-ma-tu-juan-zhao-meng-fu-287309","百马图卷",[23,154,24,25,7,27,28,61,90,1009,29,34,119,4053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a593e89c3ebaed5bb8b3a9a136f0c5.jpg",[],{"id":12940,"slug":12941,"title":12942,"dynasty":250,"author":994,"museum":20,"description":12943,"tags":12944,"thumbUrl":12945,"material":1892,"size":217,"collection":543,"collections":12946,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},240552,"pi-pa-xing-juan-zhu-da-240552","琵琶行卷","朱耷（1626—1705），字雪个，又字个山、道朗、个山驴、朗月、 庵、传綮、破云樵者、人屋、驴屋和因是僧、八大山人等。江西南昌人。明朱元璋之子宁献王朱权的后裔。八大山人书法成就颇高，但被画名所掩，注目者不多。黄宾虹尝称“书一画二”，确为至言。八大的书体，以篆书的圆润等线体施于行草，自然起截，了无藏头护尾之态，以一种高超的手法把书法的落、起、走、住、叠、围、回，藏蕴其中而不着痕迹。藏巧于拙，笔涩生朴，此中真义必临习日久才能有所悟。简而言之，是用篆书的笔法去写行草书，与《天发神恰似□碑》以隶笔写篆书一样异曲同工。",[23,119,7,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33dcc5e932fd20cc12ee7e8c9c692f64.jpg",[543],{"id":12948,"slug":12949,"title":12950,"dynasty":250,"author":819,"museum":227,"description":1772,"tags":12951,"thumbUrl":12952,"material":217,"size":217,"collection":543,"collections":12953,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},239910,"yuan-ji-shi-juan-shi-tao-239910","原济诗卷",[23,24,25,7,114,120,1892,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5781609d7b62ce41d0583ef62356b2.jpg",[543],{"id":12955,"slug":12956,"title":12957,"dynasty":133,"author":12958,"museum":20,"description":12959,"tags":12960,"thumbUrl":12961,"material":442,"size":12962,"collection":543,"collections":12963,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},239638,"zhou-bo-qi-zhuan-shu-gong-xue-guo-shi-er-zhen-zhou-bo-qi-239638","周伯琦篆书宫学国史二箴","周伯琦","释文：\n宫学箴。惟民生厚，迷复曷反。爰作之师，由近及远。夔兴虞庠，旦扬周典。有美国胄，执经宫馆。养正匪蒙，勿亟勿缓。庸之煣之，圣功斯显。经国子民，所赉岂浅。惟严惟尊，不在躬践。毁范裂模，皋毗有腼。敬谂从者，圅丈有勔。国史箴。乾象昭列，人文肇兴。结绳既邈，方册是徵。姚妃典谟，三代诰命。褒善斯勖，恶有惩。获麟聿削，是式是承。合辞比类，历世相仍。晋狐称良，奸憝齿冰。暴私蔑实，起薉售憎。史尚传信，匪信匪能。执简以告，下严或圣。蕃阳周伯琦述并书。\n本幅钤“周氏伯琦”、“玉雪坡真逸”、“致用斋”印记三方。鉴藏印有：“越琪私印”、“长白李慎勤伯氏鉴赏章”、“叶恭绰誉虎印”等多方。引首有李慎篆书“伯温墨妙”。本幅后有张雨、方鼎录题跋观款。\n“宫学”指为皇族子弟设立的学校，“国史”指一国之史或一朝之史。“箴”乃一种文体，用以规劝他人或戒律自己。由《元史》本传得知，伯琦于元至正元年（1341年）“为宣文阁授经郎，教戚里大臣子弟。每进讲，辄称旨。”上述二箴或是当时进讲用的教材。\n周伯琦之篆书在当时有“本朝之冠”的美誉。陶宗仪在《书史会要》一书中称“伯琦篆师徐铉、张有，行笔结构殊有隶体。”明代杨士奇认为“其作字结构，盖出泰山李斯旧碑。”伯琦虽师法前人，但不拘于古法，在结体和笔法上参以石鼓文，笔兼方圆，使转变化亦多，整体风格于规整圆熟中见生拙萧散之致，有别于稳妥匀称一类的平庸之作。此卷结字严谨端庄，笔势沉稳丰润，为周氏篆书的上佳之作。",[23,664,119,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb068151c2e79aefcb7d9d92cdf0abc72.jpg","纵26厘米，横284.5厘米",[543],{"id":12965,"slug":12966,"title":12967,"dynasty":54,"author":9460,"museum":20,"description":12968,"tags":12969,"thumbUrl":12970,"material":1411,"size":217,"collection":217,"collections":12971,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,25,7,114,27,29,118,120,119,5554,117,34,64,63,116,196,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":12973,"slug":12974,"title":12975,"dynasty":2618,"author":430,"museum":227,"description":12976,"tags":12977,"thumbUrl":12979,"material":217,"size":217,"collection":217,"collections":12980,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},231580,"yu-en-chun-qiu-liang-yuan-ying-hua-pu-tu-juan-yi-ming-231580","浴恩春秋两园樱花谱图卷","虽然日本没有官方的国花，但樱花之于日本的重要性不言而喻，日本文化的精气神都能在樱花身上得到体现，樱花也成为日本绘画中的常见题材。早在远古，日本人就将樱花看作是春天的化身，是花的神灵。日本语中的“樱时”(古语)，意思就是“春天的时节”。每当春天来临，人们最关注的就是樱花一年一度的花开花落。花蕾结得多少好坏，开花时能否躲过春雨的淋洗开得灿烂，凋谢时能不能遇上春风落瓣洁净。樱花是否开花顺利在日本人看来，意味着这一年是否风调雨顺，五谷丰登。所以每当花开时节，人们就聚集在樱花树下，放歌畅饮，祈祷神灵保佑。",[23,7,25,27,28,1892,120,193,12978],"樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f94d981568dc00430a3f7f9eb71592.jpg",[],{"id":12982,"slug":12983,"title":12984,"dynasty":54,"author":495,"museum":227,"description":12985,"tags":12986,"thumbUrl":12987,"material":217,"size":217,"collection":217,"collections":12988,"showCount":12904,"zanCount":1106,"manualWeight":48,"mainColor":128},228868,"dong-yuan-tu-juan-wen-zheng-ming-228868","东园图卷","《东园图卷》是文徵明的作品，绢本，纵：.2cm，横：126.4cm。\n现收藏于 ，画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细。\n名称：明文徵明东园图卷 类别：中国古画 年代：明代 文物原属：故宫旧藏 文物现状：现藏台北故宫博物院 图卷，绢本，设色画，纵：.2cm，横：126.4cm。\n东园位于南京钟山东凤凰台下，原是明代开国重臣中山王徐达的赐园，名为“太府园”，后来其五世孙徐泰时加以修葺扩建，辟作别墅，更名“东园”。\n园内叠有峰嶂，川泽相通，灵岩怪石环列前后，奇花异草郁郁葱葱，亭台楼阁错落有致。\n与徐氏友善的时贤名士常雅集于东园之中，或谈诗论文，或品茗抚琴，或宴乐弈棋，或赏玩书画，其乐融融，快意畅然。\n《东园图》是明四家之一的文征明于61岁（明嘉靖九年，15年）时绘制的，表现了东园雅集时的情景。\n情景图中板桥横于潺潺细流之上，青松翠竹遥相呼应，湖石疏置，碧树成荫，池水为清风吹皱，泛起层层涟漪。\n甬路上二文士边走边谈，携琴童子相随其后；堂内四人凝神赏画，另有手捧数轴书画的小童立侍桌旁，水榭之中对弈的两人神态悠闲安逸。\n文徵明的绘画有两种风格：一是宗法沈周、吴镇，呈水墨粗笔面貌，世称粗文；一是师从赵孟頫、王蒙，多青绿重染，工细缜密，世称细文。\n文氏早年以工细为主，中年之后粗细兼能，愈晚愈工。\n《东园图》便是他晚年细笔的精品。\n画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细，正如王原祁所言：“色不碍墨，墨不碍色，又须色中有墨，墨中有色。\n”全图虽以青绿设色法为之，却丝毫不见工匠之气，充盈于画面的是闲适雅致的文人气息，画中人物颇有魏晋之际名士的风神格调，这是文氏此类雅集题材绘画超乎常人之处。\n图之引首有徐霖隶书“东园雅集”四字。\n画面右上端有篆书“东园图”三字，画尾有款“嘉靖庚寅秋徵明制”，下钤“ 停云”、“玉兰堂印”、“徵仲”等印四方。\n卷后尾纸上有湛若水楷书《东园记》和陈沂行书《太府园讌游记》二则。",[23,154,24,25,7,28,27,61,62,116,63,64,404,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":12990,"slug":12991,"title":12992,"dynasty":54,"author":9744,"museum":1100,"description":12993,"tags":12994,"thumbUrl":12995,"material":217,"size":217,"collection":217,"collections":12996,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","近岸坡坨疏林错落，霜叶点染秋意，远渚青岫浮沉烟霭，一江秋水空濛无际，铺展出江天寥廓的清寂秋光，暗合江州送客的孤凉心境。\n\n整卷诗书画共生，卷首擘窠大字雄沉苍劲，小楷录《琵琶行》全诗文雅端润，笔意随文辞跌宕，把迁客失意羁愁，融在水墨秋光中。画境萧瑟清和，书意或沉郁或秀雅，将曲中天涯沦落的怅惘落寞，与江色秋容织为一体，尽显诗画共情的文人雅趣。",[23,24,25,7,27,118,120,193,29,34,31,115,690,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],{"id":12998,"slug":12999,"title":13000,"dynasty":18,"author":832,"museum":227,"description":13001,"tags":13002,"thumbUrl":13003,"material":217,"size":217,"collection":217,"collections":13004,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":49},227805,"can-shi-tu-liu-song-nian-227805","蚕事图","整作以全景式铺陈桑蚕劳作日常，分构两处空间。左侧棚下匠人各司其职，抽丝、分拣有条不紊；右侧窗内，闺中女眷闲坐观览，将劳作与闲憩相映成趣，右上角民夫搬运蚕茧，更添烟火劳顿之气。\n\n画作以淡墨白描绘就，线条清雅柔和，屋舍瓦楞、林木枝桠皆刻画入微，人物神态鲜活自然。将江南蚕织农家的日常图景如实铺展，平和质朴间尽现宋代田园的生活真味，把风俗烟火融于清淡笔墨中，尽显写实风俗画的雅致意趣，藏着宋时江南的悠悠烟火意。",[24,25,154,28,27,59,7,61,35,34,6295,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e367156bf61318f3d34559af6f02c1.jpg",[],{"id":13006,"slug":13007,"title":13008,"dynasty":18,"author":6962,"museum":227,"description":13009,"tags":13010,"thumbUrl":13011,"material":217,"size":217,"collection":217,"collections":13012,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},227699,"shui-xian-juan-zhao-meng-jian-227699","水仙卷","本幅画水仙四十余株，花苞花蕊百八十余朵。全卷结构严谨，花叶繁简得宜，繁而不乱，疏密有致，或花蕊盛开，或含苞待放；花叶组合、穿插映带，阴阳相背，抵昂顾盼，层次分明，画面处理得有条不紊而生意盎然，墨色的浓淡深浅都掌握得恰到好处，既合于水仙的自然生长状态，又高于自然，清雅绝俗。可以看出此图作者扎实非凡的写实功力。此图土坡采取“飞白石”画法，用笔轻拂，笔墨十分虚灵，与他的两幅墨兰卷土坡画法极为相近；其丛丛小草采用中锋浓墨写出，笔法劲利，沈稳而富于变化，凡此种颇有宋元人淡雅蕴藉、气韵淳古的风致，诚为一幅难得的佳作，绝非一般庸工俗史所能及。此卷比起以前所见诸卷赵款水仙画都要精彩得多，故陈鹏年在后幅题记中写道：此卷“长寻丈有奇，花凡数十百本，姿态百出，生动变化，自非功力精到不能有此，几案间足令寒香袭人衣袂也”。",[154,24,25,7,174,114,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c28b3132251b00b97bb0370e0a7c06.jpg",[],{"id":13014,"slug":13015,"title":13016,"dynasty":18,"author":2035,"museum":227,"description":5061,"tags":13017,"thumbUrl":13018,"material":217,"size":217,"collection":217,"collections":13019,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},227294,"yun-shan-de-yi-tu-juan-mi-you-ren-227294","云山得意图卷",[24,25,7,114,118,1071,482,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f6696c7db63fd91413ad5ba48a8e1e.jpg",[],{"id":13021,"slug":13022,"title":13023,"dynasty":250,"author":13024,"museum":227,"description":13025,"tags":13026,"thumbUrl":13027,"material":217,"size":217,"collection":217,"collections":13028,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},224540,"re-he-xing-gong-quan-tu-guan-nian-ci-224540","热河行宫全图","管念慈","采用全景鸟瞰视角，将行宫城池与环伺群山铺陈于卷间，界画工致严整，山林皴染苍劲古拙。规整的朱红宫墙楼宇，错落嵌入层峦叠翠之间，山道逶迤串联起星罗棋布的山野梵宇行宫。\n\n整体疏密相宜，既细致还原了行宫的恢弘规制与山水格局，又晕染出塞北离宫融于山野林泉的清旷意趣，色彩沉雅厚重，细节入微，是兼具纪实地理价值与传统工笔审美意韵的佳作。",[23,24,7,27,59,28,29,62,592,93,9039,405,34,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbd962cf16f4ca63b56ed8d350b757a.jpg",[],{"id":13030,"slug":13031,"title":13032,"dynasty":250,"author":12470,"museum":227,"description":13033,"tags":13034,"thumbUrl":13035,"material":217,"size":217,"collection":217,"collections":13036,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},224404,"lu-tai-nan-shan-ji-cui-chang-juan-wang-yuan-qi-224404","麓台南山积翠长卷","此作以全景铺展江南盛景，浅绛间糅青绿晕染，层峦叠嶂迤逦开合，丘壑繁密却丝毫不失章法，尽显山川龙脉走势。汀渚渔舟、山居村舍错落点缀，水烟澹澹，山林苍郁，笔墨沉厚老辣，干笔皴擦间又带秀润，层层积染出山峦的雄浑华润质感。将元人简逸笔意化为沉雄苍浑的气度，恪守文人画理法的同时，以细密繁复的构图铺陈胸中丘壑，尽数绘就江南山川的郁茂苍翠与静穆灵秀，是兼具笔墨意趣与山水神韵的佳作。",[23,154,24,25,7,29,27,118,405,34,35,115,64,116,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a81172077ff8b61901ecd9eb2cce38.jpg",[],{"id":13038,"slug":13039,"title":13040,"dynasty":168,"author":430,"museum":13041,"description":13042,"tags":13043,"thumbUrl":13044,"material":140,"size":13045,"collection":543,"collections":13046,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},223396,"tang-mo-lan-ting-xu-yi-ming-223396","唐摹兰亭序","湖南省博物馆","这卷原托名为褚遂良所书《兰亭序》，正文质地为绢本，黄褐色，亦称“黄绢本”。这卷唐摹《兰亭序》，尽管看不出是哪一家的墨迹，却反映了初唐时期的书法风尚。\n卷前引首有明代著名书画家、鉴赏家董其昌题书“墨宝”二字（残存）。",[23,154,24,25,7,60,120,119,1229,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3875c37e8068d0dba2f56617e5948b96.jpg","24.5×65cm",[543],{"id":13048,"slug":13049,"title":13050,"dynasty":54,"author":5246,"museum":20,"description":13051,"tags":13052,"thumbUrl":13053,"material":353,"size":13054,"collection":44,"collections":13055,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},222421,"wu-hou-gao-wo-tu-juan-zhu-zhan-ji-222421","武侯高卧图卷","从款中“宣德戊申”可知，此幅作于明宣德三年（1428年），是宣德皇帝赐予陈瑄的御作。当时陈瑄已六十有余，宣宗赐画给他的目的是激励他效法前贤为国鞠躬尽瘁。\n作品描绘的是诸葛亮出茅庐辅助刘备之前隐居南阳的形象。修竹丛下，诸葛亮坦胸露怀，头枕书匣，躺卧于草地上，神态安逸。\n整幅构图饱满，人物用“钉头鼠尾” 法描绘，线条洗练流畅，背景画竹林一片，笔墨潇洒，显示出相当高的绘画技巧。",[23,24,25,7,114,174,275,61,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F819d2965a332e5986283ad45900d2c5f.jpg","纵27.7厘米，横40.5厘米",[44,103],{"id":13057,"slug":13058,"title":13059,"dynasty":54,"author":7606,"museum":111,"description":13060,"tags":13061,"thumbUrl":13062,"material":627,"size":13063,"collection":217,"collections":13064,"showCount":12904,"zanCount":1106,"manualWeight":48,"mainColor":49},222313,"you-bao-shan-ji-juan-wang-chong-222313","游包山集卷","1520年，王宠游昆陵包山，曾任游诗数首，结为《包山集》。1526年冬，王宠过鸿溪宿友人补菴居士处，居士几他索书。第二年（1527年），他便将八年前游包山所作的游诗用小楷抄录了二十二首寄给了补菴居士。他的朋友文嘉在居士处见到这卷小楷后，称之为“天才妙绝”。后人普遍认为《游包山集》是王宠的小楷代表作。宋苏轼曾说：“大字难于结密而无间，小字难于宽绰而有余。”王氏这卷《游包山集》，其结体“宽绰而有余”，其书风旷适疏宕，遒媚飘逸，谓王氏上乘之作言而不虚。",[23,119,7,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d485a391896b76017a1fa0081d0aa1.jpg","纵21.6cm，横323.5cm",[],{"id":13066,"slug":13067,"title":13068,"dynasty":168,"author":2186,"museum":151,"description":13069,"tags":13070,"thumbUrl":13071,"material":13072,"size":13073,"collection":217,"collections":13074,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},221148,"lin-wang-xian-zhi-fei-niao-tie-juan-chu-sui-liang-221148","临王献之飞鸟帖卷","褚遂良临王献之《飞鸟帖》正书二十一行，麻纸本，纵二二公分，横四七.四公分。后有元柯九思、王守诚二跋，《石渠宝笈初编》有著录，原迹今藏台北故宫博物院。卷内钤有“绍兴”（宋内府）、“子固”（赵子固）、“欧阳玄”、“应召”（张应召），又项墨林及诸内府等收传印记。帖后有项墨林手书小字一行曰“唐褚遂良临晋王大令献之《飞鸟帖》项元汴真赏，其值……（下模糊不清）”。元人柯九思跋称其：“具有元常遗意，绝无宋人气，是唐无疑耳”。然献之之文既属荒诞，褚遂良临亦非真笔，唯运笔精敛，气韵高古。则此卷虽非褚氏真笔，亦不失为唐人妙迹。",[154,24,25,7,60,120,119,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167a534360a4f83c33c8b431e70cafa6.jpg","手卷 纸本 水墨","22x47.4厘米",[],{"id":13076,"slug":13077,"title":13078,"dynasty":168,"author":430,"museum":227,"description":13079,"tags":13080,"thumbUrl":13082,"material":217,"size":217,"collection":543,"collections":13083,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":49},221123,"miao-fa-lian-hua-jing-di-7-chang-bu-qing-pu-sa-pin-di-er-shi-yi-ming-221123","妙法莲华经第7常不轻菩萨品第二十","此卷小楷精劲凝练，结体端稳匀整，通篇气息肃穆沉静，笔底带着写经人奉持的至诚之心。古纸泛着沉郁昏黄，乌墨历久弥亮，卷上的修补痕迹，是时光镌刻下的印记。它带着唐代民间写经的典型风貌，将信仰融于毫端，每一笔都带着安定的力量，无刻意妍美雕琢，只以质朴工整的笔墨，承载着佛法传播的厚重脉络。我们得以透过这卷经文，触摸千年前日常书写的真实温度，窥见那个时代里宗教虔诚与书法美感相融的独特质感。",[23,6048,540,537,119,7,173,1973,13081,3196],"纸质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f3f7e7cae4bafa85eb99d5b485a537.jpg",[543],{"id":13085,"slug":13086,"title":13087,"dynasty":133,"author":534,"museum":380,"description":13088,"tags":13089,"thumbUrl":13090,"material":13091,"size":13092,"collection":261,"collections":13093,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[23,24,25,7,114,28,90,61,193,119,120,664,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[261,45],{"id":13095,"slug":13096,"title":13097,"dynasty":133,"author":534,"museum":4167,"description":13098,"tags":13099,"thumbUrl":13100,"material":442,"size":13101,"collection":543,"collections":13102,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},220882,"gui-qu-lai-ci-juan-hua-xin-zhao-meng-fu-220882","归去来辞卷画芯","自东晋陶渊明的一曲《归去来辞》问世以来，为历代文士所雅好。赵孟頫以宋室后裔入仕元朝，在其任官期间许多次以真、行书写过此篇，其归隐思乡情绪全在其中。\n此卷书于元延佑五年，即1318年，是年赵孟頫六十五岁。\n全篇以行、楷为主，偶参草书，笔法秀媚典雅，苍劲浑厚，结构严密，用笔婉转停匀，具有晋人风范。",[23,154,24,25,7,120,174,61,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58edf3bc226e67307b138bb359553070.jpg","纵48厘米，横455厘米",[543],{"id":13104,"slug":13105,"title":13106,"dynasty":133,"author":534,"museum":380,"description":13107,"tags":13108,"thumbUrl":13109,"material":11351,"size":13110,"collection":44,"collections":13111,"showCount":12904,"zanCount":48,"manualWeight":48,"mainColor":128},220872,"hong-yi-xi-yu-seng-tu-juan-zhao-meng-fu-220872","红衣西域僧图卷","《红衣罗汉图》重彩画一红衣僧人，头上有光环，坐于大树下，满头深褐色短发，络腮胡须浓密，鼻子隆起，耳佩金环，目光深邃，皮肤黝黑，寿眉朱唇，座下铺朱红毛毡，身傍置一双红色僧鞋，面带微笑，表情静穆而慈祥，左手伸出，手心向上。\n《红衣罗汉图》是借悼念去逝的萨迦派帝师胆巴之名， 隐喻正在萨迦大寺做总持的故宋恭帝（瀛国公），以寄托画家内心的哀婉情思\n《红衣罗汉图》，全画无论人物、衣饰、树石，均用勾勒法，其风格并非写实，而系仿古手法。\n《红衣罗汉图》绘一红色袈裟的僧人，盘膝端坐在嘉树下的坡石上。此僧浓眉深眼，大鼻隆突，胡须络腮，肤色黝黑，一看就不像是汉人。其目光深邃，面容慈祥，左手向前平伸，掌心向上，右手抱入红衣之内，身后藤蔓缠绕着菩提树。似在说法布道，而头后有光环，则显示此僧已经得道修成，是一个了脱生死的罗汉了。这不是一个普通的僧人，而是一个来自印度的罗汉。\n赵孟頫在元初画坛中，无论在画艺上或理想上，都居于领导地位。他提倡古意之说。主要是以为南宋晚年，画风过于浮薄，于是提倡古意，从古画中吸取古人写真实人物牛马山水精神，而再创出新的作风。人物画到了宋代，其重要地位已为山水画代替。但到了元初，赵孟頫，钱选等仍希望从魏晋以来的古画中，吸取其传统的精神，而开创新的道路。《红衣罗汉图》就代表了赵孟頫及元初复古过程中的一个重要阶段。\n赵孟頫长时期提学江南，南宋的故国山河实在太容易使他这样的宗室后裔触景生情，浮想连翩，远在西南做萨迦寺总持的灜国公，也使他同样难以忘怀。转辗传来的萨迦方面的消息，不管是直接的或间接的与少帝有关，都会在赵孟頫的心头激起波澜，当他闻知曾与瀛国公有来往的胆巴喇嘛过世时，就情不自禁地挥动起画笔，以唐人的古意为准范，借西域僧的形象，一吐心中的情愫。\n红衣袈裟是萨迦派喇嘛的象征，背景中小青绿的树石，将此鲜红的记号衬托得更为夺目。尤其是赵孟頫对喇嘛手印的处理，似乎亦有寓意。左手掌平直伸出，大拇指贴掌微翘，罗汉的手印，此“吉尼印”，取外道邪法之意，修其法者得自在之通力。赵孟頫的方外好友释大诉好象通晓此义，故以“岩石宁须着幼奥，陵烟不必求诸将”的典故隐喻之。这是一种对大唐盛世的追慕来补偿眼前赵宋皇帝无可奈何的境遇，对赵孟頫和释大诉来说，瀛国公无疑是《红衣罗汉图》名实关系中最终亮相的主角了。\n《红衣罗汉图》中，僧盘腿而坐，全身披红衣，仅胸部稍露，胸毛甚多。此外其左手伸出，掌向上。以印度之手势而言，当为施恩之意。僧头部之背后，有光环，表示此僧已成罗汉。僧座石上，眥后亦有大石数堆，并有一大树，枝开两旁，一部分树叶垂下；全画中，罗汉之衣及坐下之兽皮与脚下之皮履，均为红色；地下及石块，均用青绿，树干则用褐色。全画无论人物衣饰、树石，均用勾勒法，其风格井非写实，全系仿古。\n《红衣罗汉图》与前代的一些作品相比，也具有明显变化：人物采用工笔画法，衣纹用遒劲圆畅的中锋作铁线勾描，洋红底上晕染朱砂，色彩效果鲜艳而厚重。背景采用小青绿山水的画法，地面和石头以较细而灵活的线条勾出轮廓，每以干笔侧锋作粗略的麻点皴，在浅草绿底色上薄薄地晕染一层石绿，地面凹陷处，轻扫几笔淡赭色，而在僧人背后，则画了一棵根深叶茂、古藤缠绕的大树。树和藤的画法染色，又与坡石不同，更显得古拙而苍秀。树根、石缝以及石头与地面相接处，均以墨绿色剔画小草十数丛，穿插其间，笔笔见力，起到一种统一协调的作用。僧人前边，又画小花两株，亦用双勾法，花着洋红，茎叶染石绿，看上去画法似不甚经意。\n《红衣罗汉图》把人物画与山水画的技法结合起来，在色彩运用和线条的变化等方面进行大胆的尝试，充分发挥出了自己的特长，为研究者研究元代的重彩人物画，提供了宝贵的资料。",[23,24,25,7,27,28,173,61,254,117,193,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933dfda15f02d818beff78391ced69d4.jpg","（画心）纵25.7厘米、横51.3厘米；（全卷）纵31厘米、横168.2厘米。",[44,45],{"id":13113,"slug":13114,"title":13115,"dynasty":133,"author":12520,"museum":151,"description":13116,"tags":13117,"thumbUrl":13118,"material":122,"size":13119,"collection":124,"collections":13120,"showCount":12904,"zanCount":1106,"manualWeight":48,"mainColor":49},219926,"qiao-mu-shan-zhuang-tu-chen-ru-yan-219926","乔木山庄图","陈汝言（1331-1371年），元末明初画家、诗人。字惟允，号秋水，先世系本蜀阆州（今四川阆中市）人，后居江西南康，父陈征流寓吴中，遂为吴县人。 能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[24,25,7,114,118,29,482,37,34,35,193,38,64,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 24.3×65.4",[124],{"id":13122,"slug":13123,"title":13124,"dynasty":18,"author":430,"museum":111,"description":9187,"tags":13125,"thumbUrl":13126,"material":78,"size":9190,"collection":44,"collections":13127,"showCount":12904,"zanCount":1106,"manualWeight":48,"mainColor":49},219449,"ying-luan-tu-yi-ming-219449","迎銮图",[154,24,25,7,28,27,61,90,34,117,3099,177,10602,178,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c505d6dabe982edce0ab1aacf74d41.jpg",[44],{"id":13129,"slug":13130,"title":13131,"dynasty":133,"author":534,"museum":227,"description":9648,"tags":13132,"thumbUrl":13133,"material":1050,"size":1051,"collection":217,"collections":13134,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":49},290413,"shan-shui-tu-juan-wei-zhao-meng-fu-290413","山水图卷（伪）",[23,24,25,7,26,27,29,138,35,34,4994,2143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff568bd01744e2038c0a18a7d77628d07.jpg",[],{"id":13136,"slug":13137,"title":8771,"dynasty":18,"author":1598,"museum":227,"description":13138,"tags":13139,"thumbUrl":13141,"material":1050,"size":1051,"collection":217,"collections":13142,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":128},288729,"yuan-pu-gui-fan-tu-mu-xi-288729","法常，南宋画家。僧，号牧溪，蜀（今四川）人，生卒年不详，其艺术活动主要约在13世纪60－80年代之际。薜居下（乾德初兵部侍郎）之后，宣和间在长沙出家，南宋理宗、度宗时为临安（今杭州）长庆寺僧，与日僧圆尔辨圆（1202—1280）同为径山无准禅师（1178—1249）之法嗣。性英爽，嗜酒。正义爱国，敢于语伤奸相贾似道，遭追捕后，避祸于绍兴丘氏家。至元朝，在天台山万年寺圆寂。法常既是位佛教阐扬者，又是位天才画家。工山水、佛像、人物、龙虎、猿鹤、禽鸟、树石、芦雁等，皆能随笔写成，极有生决心书，墨法蕴藉，幽淡含蓄，形简神完，回味无穷。他继承发扬了石恪、梁楷之水墨简笔法，对沈周、徐渭、八大、“扬州八怪”等均有影响。虽在生时受冷遇，却开后世文士禅僧墨戏之先河，并对日本水墨画之发展产生巨大影响，被誉为“日本画道之大恩人”。",[23,154,24,25,7,114,29,115,230,13140,12701,12702],"远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd72a6c21acecbf019c1048b0e1f9f786.jpg",[],{"id":13144,"slug":13145,"title":13146,"dynasty":54,"author":430,"museum":151,"description":13147,"tags":13148,"thumbUrl":13150,"material":215,"size":13151,"collection":217,"collections":13152,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":49},287976,"chu-jing-tu-juan-yi-ming-287976","出警图卷","《出警入跸图》乃是中华民族的珍贵国宝。《出警图》绘皇帝骑马，由陆路出京，《入跸图》画皇帝坐船，走水路还宫。这两幅图是台北故宫博物院所收藏手卷画作中最长的两幅（《出警图》的宽26米，《入跸图》超过30米），人物众多，场面宏伟，是历代绘画作品中少见的超级巨作。\n这两幅作品，均未署名作者姓名。但可以确定是许多宫廷画师的合力创作，才能完成这两幅布局精采生动的巨作。《出警图》与《入跸图》虽是各自分开的两幅长卷，但是所绘的却同是扫墓、巡视的过程，因而通常被合称为《出警入跸图》。 画家将皇室谒陵的整个时空历程出发→抵达→返回，浓缩于两幅长卷之中。传统观赏《出警图》是由右往左；《入跸图》则由左往右。\n这幅画描绘出明朝皇帝出京谒陵盛况的宫廷画卷。描绘的是皇帝在宫廷侍卫的护送下，骑马出京，声势浩大的来到京郊的十三陵拜先祖，然后再坐船返回北京的情景。皇帝一出一入，相互呼应，气势壮观，栩栩如生。",[23,154,24,7,27,28,1357,61,2241,1298,62,29,592,177,13149,4053],"帝王出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f612a4c13fe43c6ae1dd2d169566a19.jpg","本幅 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一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。",[23,154,24,25,7,174,27,119,61,29,34,35,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ae8f0c67abd521009f2b1403a7787c.jpg",[],{"id":13215,"slug":13216,"title":13217,"dynasty":18,"author":13218,"museum":227,"description":13219,"tags":13220,"thumbUrl":13221,"material":217,"size":217,"collection":217,"collections":13222,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":128},227708,"mei-hua-shi-yi-tu-chang-juan-wang-yan-sou-227708","梅花诗意图（长卷）","王岩叟","《梅花诗意图》是南宋朝时期画家岩叟所作，现藏于弗利尔美术馆。\n\n图中画盛开的梅花，树干上墨书有岩叟”二字，应是作者的名或号。从画风上看，不似北宋，或为南末后期至元初之作。\n\n以北宋王岩叟为作者，不足为信。此图运笔道劲有力，构图疏密有致，枝条穿插，富有韵味，具扬补之遗法，为补之传派中上乘之作。\n\n岩叟，生卒年不详，即北宋王岩叟。字彦霖，《宋史》有传，未称其擅画，或为画家之号。南宋宋伯仁，号雪岩，擅画梅叟或即宋伯仁自号，待考。",[23,154,24,25,7,114,274,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9933a60aeb10151b1d452b59e5b1ccc4.jpg",[],{"id":13224,"slug":13225,"title":6961,"dynasty":18,"author":6962,"museum":227,"description":13009,"tags":13226,"thumbUrl":13227,"material":217,"size":217,"collection":217,"collections":13228,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":128},227700,"shui-xian-tu-zhao-meng-jian-227700",[23,24,25,7,174,114,27,119,120,193,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff0e9ff39b8a658d8889d784b15fb6f.jpg",[],{"id":13230,"slug":13231,"title":13232,"dynasty":18,"author":430,"museum":227,"description":13233,"tags":13234,"thumbUrl":13235,"material":217,"size":217,"collection":217,"collections":13236,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":49},227371,"luo-shen-fu-tu-di-yi-juan-yi-ming-227371","洛神赋图第一卷","曹植的作品中，除了“七步诗”，最有名的就是《洛神赋》了，后来，著名的画家顾恺之依据《洛神赋》，画了流传千古的名画《洛神赋图》，其中最感人的一段描绘是曹植与洛神相逢，但是洛神却无奈离去的情景。\n\n全卷分为三个部分，曲折细致而又层次分明地描绘着曹植与洛神真挚纯洁的爱情故事。人物安排疏密得宜，在不同的时空中自然地交替、重叠、交换，而在山川景物描绘上，无不展现一种空间美。\n\n此图卷无论从内容、艺术结构、人物造形、环境描绘和笔墨表现的形式来看，都不愧为中国古典绘画中的瑰宝之一。",[23,24,7,27,28,174,119,193,61,155,5016,854,29,34,64,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda06f1d6798502716c251cdbc934d11d.jpg",[],{"id":13238,"slug":13239,"title":13240,"dynasty":250,"author":13241,"museum":227,"description":13242,"tags":13243,"thumbUrl":13244,"material":217,"size":217,"collection":217,"collections":13245,"showCount":529,"zanCount":914,"manualWeight":48,"mainColor":49},224116,"ping-ding-tai-wan-zhan-tu-qian-long-224116","平定台湾战图","乾隆","《平定台湾战图册之清音阁凯宴将士》是清代佚名创作的纸本设色画。\n画幅上部乾隆皇帝御题诗，款识：“赐凯旋将军福康安、参赞海兰察等宴，即席成什。\n乾隆戊申孟秋御笔。\n”钤“古希天子”朱文方印、“犹日孜孜”白文方印、“太上皇帝”朱文方印。\n清内府鉴藏印“三希堂精鉴玺”朱文印、“宜子孙”白文印。\n引首钤“乾隆鉴赏”白文圆印。\n“戊申”为乾隆五十三年（1788年），乾隆皇帝时年78岁。\n图绘乾隆皇帝在河北承德避暑山庄的清音阁款待平台有功的福康安、海兰察等将领，君臣一道观吉祥戏的庆贺场景。\n清音阁与紫禁城内畅音阁大戏台的建造形制一样，共分福、禄、寿三层。\n这三层可以同时出现人物、鬼怪、神仙，从而给人更为全面、强烈的视觉感受。\n此图具有极强的真实感，画家以工整细腻的笔法一丝不苟地刻画人物与建筑。\n虽然人物众多，各个小仅寸许，但是造型比例准确，衣冠穿戴合乎典制，乾隆皇帝等重要人物不失肖像画的特征，具有重要的历史价值。\n乾隆五十一年（1786年），居台湾的福建籍天地会首领林爽文率众起义，反抗清政府驻台腐败的吏治。\n乾隆皇帝面对如火如荼的起义，从乾隆五十二年（1787年）始，多次遣兵派将赴台镇压，同时命钦差大臣福康安督办军务。\n清军在有勇有谋的福康安指挥下，仰仗与天地会党敌对的台湾各地“义民乡勇”的密切配合，终于扭转了处处被动挨打的局面，先后拘捕了起义军领袖林爽文、庄大田等人。\n乾隆皇帝于镇压起义后，有针对性地采取了一些措施，如在乾隆五十三年（1788年）批准了经大学士、九卿议覆，福康安上奏的《清查台湾积弊酌筹善后事宜》章程十六条，以严明台湾吏治、加强管理，从此，清政府对台湾的统治进入了一个新的阶段。\n为了纪念平定台湾的胜利，乾隆皇帝命宫廷画家按照每打一次大的战役，画一本战图册的惯例，创作一套纪实性的《平定台湾战图册》。\n此图册从乾隆五十二年十月二十八日，将军福康安统兵进发台湾开始，至乾隆五十三年乾隆皇帝在避暑山庄款待得胜而归的将士止，表现了解嘉义之围、大埔林战役、斗六门战役、大里栰战役、集集埔等大大小小的战役十余起，形象地记录了镇压林爽文起义的经过。",[23,24,25,27,28,59,7,61,62,70,34,731,4139,875,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c22e95113d4b8059a9049e6a536f14.jpg",[],{"id":13247,"slug":13248,"title":13249,"dynasty":18,"author":430,"museum":227,"description":13250,"tags":13251,"thumbUrl":13252,"material":217,"size":217,"collection":42,"collections":13253,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":49},223639,"xiao-yi-zhuan-lan-ting-tu-juan-yi-ming-223639","萧翼赚兰亭图卷","画面以淡彩铺陈会面场景，踞坐交椅的老僧神情淡然沉静，端坐访客敛容凝神，二人对谈间似藏暗涌。两侧侍童垂首恭立，衬出静谧肃穆的氛围。\n\n笔线细劲圆转，妥帖勾勒衣褶起伏，将不同衣物质感细细区分，设色简雅清淡，赭石晕染与墨色勾勒相融，古雅沉静。画家捕捉神态入微，老僧的从容自持、访客的内敛机警皆跃然绢上。连交椅的榫卯结构都精细描摹，尽显写实功底。构图疏密相宜，以人物互动牵起叙事张力，尽显雅致写实的风韵，暗合画面之下暗藏的机锋故事底色。",[23,24,154,7,28,27,61,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e77b0a5b2d7c045dc29fe2b86e9abbc.jpg",[42],{"id":13255,"slug":13256,"title":13257,"dynasty":250,"author":430,"museum":227,"description":13258,"tags":13259,"thumbUrl":13269,"material":442,"size":13270,"collection":543,"collections":13271,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":128},223385,"gu-dai-shen-xian-shi-ba-dong-yi-ming-223385","古代神仙十八洞","此作为书画合璧手卷，山水以全景铺陈，披麻皴绘峰峦浑厚苍润，茂林修竹遍布丘壑，村居田庐错落溪谷之间，烟波澹澹漾于浅滩，将洞天幽寂出尘的隐逸之境尽皆铺展，尽显林泉高致。\n\n满卷狂草题跋与山水相映，笔势奔放纵逸，枯湿浓淡间墨色富于变化，跌宕的笔意打破山水的静穆，书画相生相融。整体既带着道家洞天的清寂闲雅，又饱含文人以笔遣怀的酣畅意气，把出世雅趣与笔墨风神糅合一处，尽显传统文人的精神意趣。",[23,154,24,25,7,114,29,889,9130,3641,13260,12701,13261,13262,13263,1892,13264,13265,7930,7932,13266,13267,13268],"修竹","田庐","溪谷","浅滩","狂草","道家","清寂闲雅","文人意趣","出世雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8597d140b6ab4f6c62fb17633e69fe0.jpg","26x717",[543],{"id":13273,"slug":13274,"title":13275,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":13276,"thumbUrl":13278,"material":140,"size":6245,"collection":217,"collections":13279,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":128},223070,"hong-lou-meng-56-sun-wen-223070","红楼梦56",[23,24,25,28,27,26,61,13277,90,63,64,29,34,62,74,38,69,7],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa186e96779f40e9867ffeb1c4651429c.jpg",[],{"id":13281,"slug":13282,"title":13283,"dynasty":54,"author":2680,"museum":13284,"description":13285,"tags":13286,"thumbUrl":13287,"material":442,"size":13288,"collection":543,"collections":13289,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":49},222470,"ji-yang-deng-tai-bai-jiu-lou-que-ji-shi-hu-zhou-zhu-yun-ming-222470","济阳登太白酒楼却寄施湖州","贵州省博物馆","本书内容包括：《居延误死马驹册》、《永元兵器册》、《出师颂》、 、《 》、《孔侍中帖》、 、《适得书帖》、《疖肿帖》、《 》、《中秋帖》等。\n所著《中国行草名帖一百讲》对 的《适得书帖》，张旭的《古诗四帖》等名家名作都有扎实透彻的解读。\n全书遴选古帖名作1篇，对蕴含在作品中的意象，韵律，节奏，情绪展开了深入的美学探讨；并对作品的结构，章法，线条甚至留白都有独到的分析并全面阐释作品的精神内涵与作品特色。\n朱以撒，195年出生，福建泉州人。\n现为 教授、博士生导师， 副主席，中国书法家协会学术委员会委员， 会员。\n长期从事书法教学、创作及理论研究工作，出版书法论著及散文集多部，29年被评为“中国书坛十大年度人物”。\n汉 《居延误死马驹册》 汉 《永元兵器册》 索靖 《出师颂》 陆机 《平复帖》 王羲之 《兰亭序》 王羲之 《孔侍中帖》 王羲之 《丧乱帖》 王羲之 《适得书帖》 王荟 《疖肿帖》 王徽之 《新月帖》 王献之 《廿九日帖》 王献之 《中秋帖》 王献之 《鸭头丸帖》 王献之 《东山I阽》 王殉 《伯远帖》 王慈 《翁尊体安帖》 王志 《一日无申帖》 智永 《草书千字文》 隋人 《出师颂》 欧阳询 《仲尼梦奠帖》 欧阳询 《张翰思鲈帖》 虞世南 《汝南公主墓志铭》 陆柬之 《文赋》 李世民 《温泉铭》 唐 《赵丑胡贷练契》 武则天 《升仙太子碑》 高正臣 《明征君碑》 孙过庭 《书谱》 怀仁 《集王羲之书三藏圣教序》 唐 《康才艺牒》 唐 《杨大智租田契》 唐 《功德文簿》 李邕 《李思训碑》 李隆基 《鹊钨颂》 张旭 《古诗四帖》 李白 《上阳台帖》 李怀琳 《绝交书》 贺知章 《孝经》 颜真卿 《祭侄文稿》 颜真卿 《瀛州帖》 颜真卿 《裴将军诗》 徐浩 《朱巨川告身》 林藻 《马斋帖》 怀素 《自叙帖》 怀素 《论书帖》 柳公权 《蒙诏帖》 高闲 《千字文残卷》 杜牧 《张好好诗并序》 李煜 《入其国帖》 杨凝式 《神仙起居法》 杨凝式 《韭花帖》 杨凝式 《 》 李建中 《土母帖》 蔡襄 《去德帖》 苏轼 《黄州寒食诗》 苏轼 《一夜帖》 黄庭坚 《刘梦得竹枝九篇》 黄庭坚 《赠张大同卷跋尾》 米芾 《蜀素帖》 米芾 《真庥帖》 赵佶 《草书千字文》 薛绍彭 《上清连年帖》 吴琚 《观唐李氏谱牒》 赵构 《行草千字文》 陆游 《致原伯知府判院》 赵眘 《法书赞》 朱熹 《述庐陵秋谷残卷》 范成大 《 》 赵孟叛 《洛神赋》 赵孟頫 《致季宗源二札卷》 赵孟頫 《行书三段卷》 鲜于枢 《苏轼海棠诗》 吴镇 《题松泉图诗》 张雨 《自书诗册》 康里恫巎巎 《述笔法》 杨维桢 《张氏通波阡表》 宋克 《急就章》 祝允明 《济阳登太白酒楼却寄施湖州》 文徵明 《乐志论》 唐寅 《七律四首卷》 蔡羽 《书说》 王宠 《瞻眺诗》 王宠 《访王元肃虞不值诗卷》 徐渭 《青天歌卷》 邢慈静 《自书诗册》 董其昌 《宋词册》 张瑞图 《邓公聪马行》 黄道周 《山中杂咏》 王铎 《诗翰四首》 倪元璐 《草书信札》 陈洪绶 《两日帖》 傅山 《丹枫阁记》 查士标 《诗文册》 金农 《行书尺牍》 黄慎 《五言诗卷》 郑燮 《七言诗卷》 刘墉 《米芾诗轴》 王文治 《剪水山房诗序》 何绍基 《临王羲之兰亭序》 赵之谦 《忆昔从军诗》 附录：《行草书欣赏论》 后记",[23,119,1892,7,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68492318509a690999cf7fc20f2abb.jpg","高24.5公分，长84公分",[543],{"id":13291,"slug":13292,"title":13293,"dynasty":133,"author":1344,"museum":4758,"description":13294,"tags":13295,"thumbUrl":13296,"material":40,"size":13297,"collection":217,"collections":13298,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":128},221716,"xiao-yi-zhi-zhuan-lan-ting-xu-tu-juan-qian-xuan-221716","萧翼智赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。 现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。 该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。 徐邦达先生认为辽博、台北故宫藏本大致全是宋人临本，北京故宫藏本衣纹带方折而多顿挫，为南宋人作无疑。北京故宫藏本前后旧绢隔水钤“南师中印”、“伯谦精鉴”、“龙有鉴赏”等收藏印五方，尾纸附旧拓《兰亭序》帖，帖后有南宋王厚之，元王蒙、张翥题跋，三人题跋中均未谈及图画，该帖钤有收藏印二十九方。",[23,24,25,7,27,28,61,298,193,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8090c7e77955e254b3f443be55f54090.jpg","纵26.6cm，横44.3cm",[],{"id":13300,"slug":13301,"title":13302,"dynasty":18,"author":2005,"museum":20,"description":13303,"tags":13304,"thumbUrl":13305,"material":40,"size":13306,"collection":42,"collections":13307,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":49},221627,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-tu-juan-quan-juan-ma-he-zhi-221627","诗经·小雅·节南山之什图卷全卷","马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教",[24,25,7,174,27,29,61,34,116,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555b229615a13e54be0497c1481073c.jpg","纵26.2厘米，横857.6厘米",[42,124,45],{"id":13309,"slug":13310,"title":7945,"dynasty":18,"author":13311,"museum":151,"description":13312,"tags":13313,"thumbUrl":13314,"material":442,"size":13315,"collection":543,"collections":13316,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":128},221565,"shu-juan-zhu-xi-221565","朱熹","朱熹（1130年10月18日－1200年4月23日），字元晦，又字仲晦，号晦庵，晚称晦翁。祖籍徽州府婺源县（今江西省婺源），生于南剑州尤溪（今属福建省尤溪县）。中国南宋时期理学家、思想家、哲学家、教育家、诗人。\n朱熹十九岁考中进士，曾任江西南康、福建漳州知府、浙东巡抚等职，做官清正有为，振举书院建设。官拜焕章阁侍制兼侍讲，为宋宁宗讲学。晚年遭遇庆元党禁，被列为“伪学魁首”，削官奉祠。庆元六年（1200年）逝世，享年七十一岁。后被追赠为太师、徽国公，赐谥号“文”，故世称朱文公。\n朱熹是“二程”（程颢、程颐）的三传弟子李侗的学生，与二程合称“程朱学派”。他是唯一非孔子亲传弟子而享祀孔庙，位列大成殿十二哲者。 朱熹是理学集大成者，闽学代表人物，被后世尊称为朱子。他的理学思想影响很大，成为元、明、清三朝的官方哲学。\n朱熹著述甚多，有《四书章句集注》《太极图说解》《通书解说》《周易读本》《楚辞集注》，后人辑有《朱子大全》《朱子集语象》等。其中《四书章句集注》成为钦定的教科书和科举考试的标准。",[154,24,25,7,120,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbefdf97e9d6ba231c73ef175f4ea8fd.jpg","25.2x251.5",[543],{"id":13318,"slug":13319,"title":13320,"dynasty":18,"author":2005,"museum":20,"description":13321,"tags":13322,"thumbUrl":13325,"material":40,"size":13306,"collection":217,"collections":13326,"showCount":529,"zanCount":1106,"manualWeight":48,"mainColor":128},221452,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-quan-juan-ma-he-zhi-221452","诗经·小雅·节南山之什全卷","《诗经·小雅·节南山之什图》卷，南宋，传为马和之作，绢本，设色，纵26.2厘米，横857.6厘米。\n此卷取《诗经·小雅》中《节南山》等十篇之大意描绘成图，每段前书《诗经》原文，依次为《节南山》、《正月》、《十月之交》、《雨无正》、《小旻》、《小宛》、《小弁》、《巧言》、《何人斯》、《巷伯》。书画均无款印，旧传宋高宗赵构书文，马和之作画。马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教。",[23,154,24,25,7,27,1044,13323,119,13324],"兰叶描","儒家礼教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc501efc83bf8d990bb555af8f71224f8.jpg",[],{"id":13328,"slug":13329,"title":13330,"dynasty":18,"author":3193,"museum":56,"description":4020,"tags":13331,"thumbUrl":13332,"material":470,"size":4023,"collection":217,"collections":13333,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":128},221278,"lian-po-lin-xiang-ru-lie-zhuan-can-di-er-duan-huang-ting-jian-221278","廉颇蔺相如列传(残)第二段",[23,25,119,1892,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0b7f2742fc34b19f8a020a3c9a7761.jpg",[],{"id":13335,"slug":13336,"title":13337,"dynasty":54,"author":3999,"museum":1100,"description":13338,"tags":13339,"thumbUrl":13341,"material":122,"size":13342,"collection":124,"collections":13343,"showCount":529,"zanCount":1106,"manualWeight":48,"mainColor":128},220416,"qiu-jing-shan-shui-tu-sun-zhi-220416","秋景山水图","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,24,7,114,27,29,1123,196,613,690,692,404,28,118,34,13340],"平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd0e13ab93b8454684db3a24e5563cd.jpg","28.2×120.9厘米",[124],{"id":13345,"slug":13346,"title":13347,"dynasty":54,"author":3914,"museum":56,"description":4982,"tags":13348,"thumbUrl":13349,"material":442,"size":217,"collection":217,"collections":13350,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":128},220345,"fang-mi-fei-shan-shui-tu-juan-2-wen-dong-qi-chang-220345","仿米芾山水图卷-2文",[24,25,7,114,60,118,29,690,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca2b8e1d8c5f8ab047812b476da7701.jpg",[],{"id":13352,"slug":13353,"title":13354,"dynasty":13355,"author":13356,"museum":111,"description":13357,"tags":13358,"thumbUrl":13362,"material":217,"size":217,"collection":261,"collections":13363,"showCount":529,"zanCount":48,"manualWeight":48,"mainColor":12425},203391,"bai-qin-tu-juan-jiang-han-ting-203391","百禽图卷","近代","江寒汀","这幅长卷铺展百禽之态，或栖枝啁啾，或振翅掠空，或啄食嬉戏，神情毕肖。笔墨兼工带写，禽鸟羽毛勾勒精细，纹理毕现；花木枝干墨色灵动，设色清雅中见艳丽。梅、竹、牡丹等景致错落，与禽鸟相映成趣，画面疏密有致，动静相宜，满溢自然生机，尽显笔墨功底与对生命的细腻体察，堪称花鸟佳作。",[24,7,209,28,27,274,275,278,196,1528,4484,13359,13360,13361,23],"羽毛纹理","花木","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b255eb679be70f777ef7738be689750.jpg",[261],{"id":13365,"slug":13366,"title":13367,"dynasty":2618,"author":430,"museum":227,"description":13368,"tags":13369,"thumbUrl":13370,"material":1050,"size":1051,"collection":217,"collections":13371,"showCount":388,"zanCount":1106,"manualWeight":48,"mainColor":128},290710,"tang-wu-shang-jin-xuan-shang-miao-dao-de-jing-juan-shou-gao-zheng-mian-yi-ming-290710","唐 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。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。",[23,119,120,7,114,442,13482,482,255,1071],"铁船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1411d7dfebd52277f93e0eef00d69aa.jpg",[],{"id":13486,"slug":13487,"title":13488,"dynasty":54,"author":1030,"museum":227,"description":13489,"tags":13490,"thumbUrl":13491,"material":217,"size":217,"collection":217,"collections":13492,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":128},228469,"nan-you-tu-tang-yin-228469","南游图","《南游图》是明朝唐寅写的一首诗。\n江上春风吹嫩榆，扶琴送子曳长裙。\n相逢若有知音者，随地芟茅好结庐。\n唐寅（147---152），初字伯虎，更字子畏，号六如居士，明代画家，吴县（今江苏苏州）人。\n他是吴门画派的代表人物，与沈周、文徵明、仇英并称明代四大家（吴门四家）。\n出生于一个商人家庭，从小聪明好学，诗文书画，无一不精。\n29岁时，他考中应天府（今南京）乡试第一名解元，自诩为“江南第一才子”。\n但在第二年的会试中，因好友科举舞弊案的牵连，被捕入狱，从此功名断绝。\n出狱后，唐伯虎性情大变，从此绝意仕途，潜心书画，终成一代大家。\n唐伯虎擅长画山水、人物、花鸟等。\n他的山水画师法周臣、李唐、刘松年，风格秀逸清俊，笔墨细秀，布局疏朗。\n人物画师承唐代传统，多以仕女和历史故事为题材，色彩或艳丽或清雅，线条清细，体态优美。\n花鸟画洒脱随意，格调秀逸，长于水墨写意。\n传世画作有《骑驴思归图》、《山路松声图》、《事茗图》、《王蜀宫妓图》、《秋风纨扇图》等。",[23,24,25,7,27,28,118,120,119,193,29,34,61,63,64,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85449ec179089e2a5b76fcc8c7693e.jpg",[],{"id":13494,"slug":13495,"title":13496,"dynasty":18,"author":1133,"museum":227,"description":13497,"tags":13498,"thumbUrl":13499,"material":217,"size":217,"collection":217,"collections":13500,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":128},228164,"lao-shu-han-ya-tu-juan-zhao-bo-ju-228164","老树寒鸦图卷","此作用淡墨晕染铺就江天寥廓，滩渚浅岸清寂冷逸，枯木虬枝错落舒展，干笔皴擦尽显苍劲老辣，不着多余修饰，便将冬日江郊的荒疏萧索尽数铺陈。\n画面以平远取景，水墨清润简淡，把寒水空濛、林梢凝寒的江洲冬境，化作空寂禅意。简淡笔墨暗合宋人极简美学意趣，于萧索冷冽间晕染出悠长幽远的诗意，尽得荒寒淡远的文人山水意境。",[23,154,24,25,7,114,27,29,230,1485,404,34,193,119,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab012e2191f40ce6f95225846f98cfe1.jpg",[],{"id":13502,"slug":13503,"title":13504,"dynasty":18,"author":11856,"museum":151,"description":13505,"tags":13506,"thumbUrl":13507,"material":470,"size":11860,"collection":217,"collections":13508,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":128},227718,"dao-yi-tu-juan-mou-yi-227718","捣衣图卷","《捣衣图》南宋画家牟益创作的纸本水墨画作品，现收藏于台北故宫博物院。\n\n《捣衣图》描绘南朝谢惠连《捣衣诗》之诗意。画中庭院秋深，高槐叶落，景象凄凉，绘三十二位妇女捣练、裁衣、缝衣之劳动情景。画家通过建筑物的相连、人物的往来、花木的点缀，前后贯通，画中的人物造型准确，生动有致，面容圆润，衣裙宽大，犹有唐人余韵。",[23,24,154,25,7,174,61,155,70,34,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff35647b7e53622cc6bfd8715853cbc.jpg",[],{"id":13510,"slug":13511,"title":13512,"dynasty":225,"author":2105,"museum":1100,"description":13513,"tags":13514,"thumbUrl":13515,"material":217,"size":217,"collection":217,"collections":13516,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":128},227047,"bao-mu-tie-wang-xian-zhi-227047","保母帖","王献之《保母帖》，清宫旧藏，流散后，本帖和部分题跋存弗利尔美术馆（赵子昂、郭天锡、董其昌、徐守和等），大部分题跋存故宫博物院（姜夔、赵子昂、周密、仇远、鲜于枢等）。",[23,119,120,2917,7,193,1229,2119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614954f526555092c1e1af4e18e4ebab.jpg",[],{"id":13518,"slug":13519,"title":13520,"dynasty":250,"author":819,"museum":227,"description":13521,"tags":13522,"thumbUrl":13523,"material":217,"size":217,"collection":217,"collections":13524,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":128},224530,"li-pu-yi-pei-juan-shi-tao-224530","醴浦遗佩卷","以水墨绘就兰竹顽石，起手野兰配淡墨牡丹，焦墨兰叶纵逸跌宕如虬龙逶迤，花瓣含露，幽姿绰约。中段蕙兰丛生繁花绽枝，笔意渐趋简淡，与疏竹交错，清寂之致尽显。末段兰草倚石而生，苔痕皴染古雅，顽石朴拙苍劲。\n\n全卷以草书笔意入画，墨色干湿浓淡互衬，一气呵成。题识榜书朴茂雄浑，与画作清逸互为表里，将兰之幽贞、石之古厚融为一体，绘写出幽兰遗世独立、如佩环叮咚的清逸风骨，墨痕间满溢疏淡幽远的林下风致，尽显文人以物明志的清雅意趣。",[23,24,25,7,114,282,275,404,119,193,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167157fb1e1c6dcb8e7e354c9d500e8.jpg",[],{"id":13526,"slug":13527,"title":13528,"dynasty":250,"author":10827,"museum":227,"description":13529,"tags":13530,"thumbUrl":13531,"material":217,"size":217,"collection":217,"collections":13532,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":49},224432,"qian-jiang-xi-shan-tu-wang-shi-min-224432","浅绛溪山图","此作用浅绛写层叠溪山，以密集细笔皴擦出山峦苍郁厚重的肌理，林麓茅舍隐现其间，暗合幽居野逸的文人情致。后幅行书题跋笔意苍劲朴拙，书画合璧尽显文人风雅。\n整体气息浑穆沉厚，循传统山水丘壑程式又自出灵趣，简淡赭石晕染烘出山林秋意，将江南溪山的温润秀逸藏于繁密点染之间，是文人卧游林泉、澄怀观道的精神寄托，笔墨间浸着历经世事的澹然平和，尽显静雅悠长的山水意韵。",[23,24,25,7,7358,27,118,120,193,29,63,64,116,230,117,34,420,405,694,613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":13534,"slug":13535,"title":13536,"dynasty":250,"author":13537,"museum":227,"description":13538,"tags":13539,"thumbUrl":13540,"material":217,"size":217,"collection":217,"collections":13541,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":128},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","渐江","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,25,7,114,27,118,60,193,119,29,62,34,1298,1123,64,115,116,138,6490,690,3077,69,63,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":13543,"slug":13544,"title":9229,"dynasty":168,"author":430,"museum":20,"description":13545,"tags":13546,"thumbUrl":13547,"material":384,"size":13548,"collection":217,"collections":13549,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":49},223442,"gong-yuan-tu-juan-yi-ming-223442","绘皇家园林景致。远处山峦起伏，林木葱郁，河道萦回，楼、阁、亭、台、廊、桥星罗棋布，气派宏大雄伟，富丽堂皇。画中游人悠闲风雅又热闹欢快，虽然熙熙攘攘，却如人间仙境。体现了唐代宫廷及贵族阶层悠闲而奢华的生活。此画可能为南宋时期所绘。",[23,24,25,7,59,27,28,62,29,61,116,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F477ef8865840f821a8da02c867a064c2.jpg","24.54*291.85",[],{"id":13551,"slug":13552,"title":13553,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":13554,"thumbUrl":13557,"material":140,"size":6245,"collection":217,"collections":13558,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":128},223039,"hong-lou-meng-164-sun-wen-223039","红楼梦164",[23,24,28,27,7,61,155,677,62,63,196,13555,2144,29,610,13556],"风筝","红楼故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F723c41928dddb37a89147153dd533a62.jpg",[],{"id":13560,"slug":13561,"title":13562,"dynasty":54,"author":1030,"museum":20,"description":13563,"tags":13564,"thumbUrl":13568,"material":1319,"size":13569,"collection":543,"collections":13570,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":128},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,5431,119,120,7,114,193,921,2153,29,115,63,64,116,196,2791,230,274,282,275,283,277,278,194,280,1820,5005,1282,1185,1071,6798,1284,6712,13565,13566,13567],"夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纵23.3厘米，横551.3厘米",[543],{"id":13572,"slug":13573,"title":13574,"dynasty":18,"author":861,"museum":20,"description":13575,"tags":13576,"thumbUrl":13577,"material":442,"size":13578,"collection":543,"collections":13579,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":128},221308,"xin-sui-zhan-qing-ren-lai-de-shu-tie-su-shi-221308","《新岁展庆人来得书帖》","《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[23,119,120,1229,193,7,626,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ad00b3f14d230ed716a804c1d3a34fd.jpg","前帖30.2X48.8cm，后帖29.5X45.1cm",[543],{"id":13581,"slug":13582,"title":4699,"dynasty":18,"author":4700,"museum":380,"description":4701,"tags":13583,"thumbUrl":13584,"material":1319,"size":4704,"collection":217,"collections":13585,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":128},221198,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221198",[23,119,120,7,114,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd86e4e28de5c93a83e0f57568a97a.jpg",[],{"id":13587,"slug":13588,"title":13589,"dynasty":54,"author":1030,"museum":56,"description":13590,"tags":13591,"thumbUrl":13592,"material":285,"size":13593,"collection":124,"collections":13594,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":128},220055,"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[23,24,25,7,114,120,119,193,118,29,34,64,115,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[124],{"id":13596,"slug":13597,"title":13598,"dynasty":18,"author":430,"museum":13599,"description":13600,"tags":13601,"thumbUrl":1187,"material":78,"size":13603,"collection":124,"collections":13604,"showCount":388,"zanCount":1106,"manualWeight":48,"mainColor":49},219867,"song-ren-fang-chang-jiang-ji-xue-tu-yi-ming-219867","宋人仿长江积雪图","火奴鲁鲁艺术博物馆","此作为平远雪景长卷，以淡墨晕染出空濛寒雪，山峦覆雪如凝脂玉砌，留白尽显素净冷寂。江岸枯木虬曲，偶缀浅蓝霜色的苍松，于冰寒中透出些许生机；汀渚错落铺陈，江波敛息如镜，将雪色天光尽数揽入。\n\n用笔清简秀润，以留白代积雪，淡墨轻勾慢皴山体肌理，冷色调晕开冬日萧寒，铺陈开千里江天雪境，将冬日江野的空阔清寒融于尺幅，尽显静穆辽远的荒寒之美，带着雅致空灵的宋韵，把雪锁江山的清冷孤寂与天地一色的澹然意境刻画入微，观之如临朔雪江天。",[23,24,7,27,763,118,13602,482,483,1123,1298,196,115,468,35,193],"积雪","纵28.8厘米，横449.3厘米",[124],{"id":13606,"slug":13607,"title":13608,"dynasty":18,"author":415,"museum":151,"description":13609,"tags":13610,"thumbUrl":13611,"material":285,"size":4636,"collection":217,"collections":13612,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":128},218503,"gui-qu-lai-ci-juan-2-li-gong-lin-218503","归去来辞卷-2","画面以白描勾勒归隐行舟之景，墨线如行云流水，于极简处见真章。船身轻捷，篷布纹理隐现，衣袂飘举间人物情态毕肖：舟中高士凭舷远眺，眉宇舒展似含释然；舟子撑篙划桨，动作从容如伴清风。水面微波淡扫，衬出船行的悠然。整幅画不着色彩，却以线条粗细疾缓传递《归去来辞》的超脱意韵——天地清旷，心向田园，每道笔触都浸透着归隐的闲适自在。观者仿佛随舟而行，闻桨声欸乃，见衣袂翻飞，于淡墨轻痕中触摸那份遗世独立的淡然心境。",[154,24,25,7,174,61,115,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecadbdbdb99b8cbda50307e6ef1e4b3e.jpg",[],{"id":13614,"slug":13615,"title":13616,"dynasty":168,"author":430,"museum":1239,"description":13617,"tags":13618,"thumbUrl":13619,"material":1244,"size":217,"collection":217,"collections":13620,"showCount":388,"zanCount":48,"manualWeight":48,"mainColor":49},217284,"jiang-mo-bian-dun-huang-tu-juan-5-yi-ming-217284","降魔变·敦煌图卷-5","画面以线性叙事铺展，左段人物衣袂飘举，神情肃穆；中段降魔场景张力十足，鬼怪狰狞却露畏色，光头形象安坐如磐，气场沉稳；右段说法场面庄静，众僧与护法环绕，气韵祥和。线条稚拙却精准，如行云流水般勾勒百态——信徒的虔诚、护法的威严、鬼怪的惶惑皆跃然纸上。古雅设色晕染出敦煌艺术的质朴厚重，民间画工以巧思将佛经故事的庄严与生动融于一卷，每处细节都藏着丝路文化的温度，尽显中古绘画的叙事魅力与精神内核。",[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一太监和两名宫女在后，另一扛衣太监骑青鬃马紧随三位夫人前行，以便随时救护。左前白马上面，是雍容华贵的韩国夫人，体态苗条，全神贯注于怀中女儿。虢国夫人则轻盈地单勒马缰，使马四蹄舒缓，马首右转。她身着粉色长裙，鲜红背心，流目女童。外侧绿衣宫女护卫的，是朱丹峨眉的秦国夫人，骑的是一匹花马，她艳红低胸长袖，紫蓝背心，双手控缰，虽慎骑谨坐，仍不失其娇美。李公麟的画，较完美地表现了杜甫的诗意。",[154,24,7,27,61,90,155,1506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e5c06b27d66314b6ea8a81ff447653.jpg",[],{"id":13646,"slug":13647,"title":5686,"dynasty":18,"author":4114,"museum":227,"description":11221,"tags":13648,"thumbUrl":13649,"material":1050,"size":1051,"collection":217,"collections":13650,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":49},288511,"xi-shan-qiu-ji-tu-wang-shen-288511",[23,154,24,25,7,114,29,118,405,34,420,138,2520,119,2119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549c065a57fcd8e41e55a4d3ea391e6.jpg",[],{"id":13652,"slug":13653,"title":4897,"dynasty":18,"author":1598,"museum":227,"description":13654,"tags":13655,"thumbUrl":13656,"material":1050,"size":1051,"collection":217,"collections":13657,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":128},288368,"shui-mo-xie-sheng-tu-mu-xi-288368","二图卷绘果蔬、花木禽鸟、鱼蟹果蔬有石榴、桃、梨、枇杷、萝卜、茄子；禽鸟有燕子、喜鹊、鹊鸽、赤麻鸭；水族有鱼、虾、蟹等全卷川水墨勾染，不施颜色，在南宋画坛极其罕见，为写意花鸟开创了新路。",[23,154,24,7,114,1818,209,4901,1820,2928,196,277,1819,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4421a4fc00d03c3c87c5ed2ebd989b87.jpg",[],{"id":13659,"slug":13660,"title":5839,"dynasty":18,"author":1133,"museum":227,"description":10858,"tags":13661,"thumbUrl":13664,"material":1050,"size":1051,"collection":217,"collections":13665,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":49},287813,"hai-tian-xu-ri-tu-juan-zhao-bo-ju-287813",[23,154,24,25,7,26,27,29,119,120,13662,13663,3874],"海天","旭日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0cb79aa321968bf59f167e748dd9de4.jpg",[],{"id":13667,"slug":13668,"title":13669,"dynasty":54,"author":3914,"museum":227,"description":11458,"tags":13670,"thumbUrl":13671,"material":1050,"size":1051,"collection":217,"collections":13672,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":49},287610,"fang-wen-zheng-ming-xi-shan-qiu-ji-tu-dong-qi-chang-287610","仿文徵明溪山秋霁图",[23,24,7,763,60,27,2520,405,3730,605,2038,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70f2bf98b6ce2773a2ec1467d076c57e.jpg",[],{"id":13674,"slug":13675,"title":13676,"dynasty":225,"author":7079,"museum":227,"description":13677,"tags":13678,"thumbUrl":13679,"material":1050,"size":1051,"collection":217,"collections":13680,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":128},287290,"ping-fu-tie-quan-juan-zhang-cao-lu-ji-287290","平复帖全卷章草","陆机（261年－303年），字士衡，吴郡吴县（今江苏省苏州市）人。西晋著名文学家、书法家。出身吴郡陆氏，为孙吴丞相陆逊之孙、大司马陆抗第四子，与其弟陆云合称“二陆”，又与顾荣、陆云并称“洛阳三俊”。\n陆机在孙吴时曾任牙门将，吴亡后出仕西晋，太康十年（289年），陆机兄弟来到洛阳，文才倾动一时，受太常张华赏识，此后名气大振。时有“二陆入洛，三张减价”之说。历任太傅祭酒、吴国郎中令、著作郎等职，与贾谧等结为“鲁公二十四友”。赵王司马伦掌权时，引为相国参军，封关中侯，于其篡位时受伪职。司马伦被诛后，险遭处死，赖成都王司马颖救免，此后便委身依之，为平原内史，世称“陆平原”。太安二年（303年），任后将军、河北大都督，率军讨伐长沙王司马乂，却大败于七里涧，最终遭谗遇害，被夷三族。\n陆机“少有奇才，文章冠世”，诗重藻绘排偶，骈文亦佳。与弟陆云俱为西晋著名文学家，被誉为“太康之英”。与潘岳同为西晋诗坛的代表，形成”太康诗风“，世有”潘江陆海“之称。陆机亦善书法，其《平复帖》是中古代存世最早的名人书法真迹。",[23,154,25,7,1892,119,1229,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02ab8ee1752eeb283ebf01aa1970883.jpg",[],{"id":13682,"slug":13683,"title":13684,"dynasty":54,"author":13685,"museum":13686,"description":13687,"tags":13688,"thumbUrl":13690,"material":13691,"size":13692,"collection":543,"collections":13693,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":128},241159,"rong-song-juan-huang-dao-zhou-241159","榕颂卷","黄道周","东山县图书馆","黄道周（1585～1646）明末学者、书画家、文学家、儒学大师、民族英雄。字幼玄，一作幼平或幼元，又字螭若，螭平，号石斋，汉族，福建漳浦铜山（现东山县铜陵镇）人。天启二年进士，深得考官袁可立赏识，历官翰林院修撰、詹事府少詹事。南明隆武时，任吏部兼兵部尚书、武英殿大学士（首辅）。抗清失败，被俘殉国，谥忠烈。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人才。世人尊称之黄圣人、石斋先生。著作甚丰。有《儒行集传》、《石斋集》、《易象正义》、《春秋揆》、《孝经集传》等，后人辑成《黄漳浦先生全集》，现存诗两千余首，被俘后“见三光”的牢室中所作三百多首诗，出自忧愤，最为感人。\n他被视为明代最有创造性的书法家之一。他的书法擅长楷书、行书和草书。他的行书和草书，行笔转折刚劲有力，体势方整，书风雄健奔放。有力量，又有姿态，是黄道周行草书的主调。他以隶书铺毫和方折行笔，点画多取隶意；字虽长，但强调向右上横势盘绕，让点画变得绵而密，虽略带习气，但奇崛刚劲，形成了自己独特的形式语言，尤显出其人刚直不阿的个性。其立轴代表作有行草书《赠蕨仲兄闻警出山诗轴》、《闻奴警出山诗轴》等，两作均加大行距，以连绵草书而成，有奋笔直下之势，激情燃纸，振迅耳目，如闻钟声、蹄声于道。他的楷书主要学习钟繇，比起钟繇的古拙厚重来，更显得清秀、飘逸。 黄道周善楷、行、草诸体书，又工隶书。他的楷书，如《孝经卷》、《张溥墓志铭》，字体方整近扁，笔法健劲，风格古拙质朴，十分类似钟繇楷法。不同处是，钟书于古拙中显得浑厚，黄书则见清健，可以看到其受王羲之楷法的影响。他的行草书，如《五言古诗轴》，大略类其楷书的体势，行笔转折方健，结字欹侧多姿，朴拙的风格同样接近钟繇。他的隶书正具有“清截遒媚”的特点，不如楷书那样古拙清刚。从黄道周书论中，反映出他对魏晋书法是比较倾心的，尤其对钟繇、索靖等具有古朴书风的书法更为欣赏，而对其当代书法，如董其昌的书法，则并非如此。",[119,25,7,120,114,193,13689],"榕树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36769674ee7c84e872e15c893bbd6a2.jpg","绫本楷书","12．5X 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创作的一幅中国古画。\n画作是纸本，设色，纵.8厘米,横59.7厘米。\n现收藏于美国 。\n此图以横卷式构图展开画面：依次绘出各种各样、大大小小的鱼类，在长满水草的水中，它们自由自在地漫游着，或有聚有散地沉浮穿梭着。\n画家以精细的笔调描绘出群鱼的轻巧灵动，萍藻的随波摇曳，以及碧水的流动之感和水中游鱼自得其乐的趣味。\n表现手法以没骨为主，以淡色、淡墨或极轻之笔触细加晕染，先画出鱼的形体，再用细线略勾鱼鳞和斑纹。\n萍藻是用更淡的墨勾染，生动地营造出其若隐若现之状。\n还有整个画面所呈现出的流动着的韵律，体现了群鱼恣肆盎然的生机，进而把观者带入轻松自由、疏放闲适的意境。\n是宋元的画鱼名家。\n关于他的生平，史料记载甚少。\n有文天祥赞周东卿画鱼诗云：“观君潇湘图，起我濠上心。\n”可见他还另有作品流传。",[23,154,24,25,7,28,114,27,1820,2929,193,2213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeae98aad7836a3579ce62bca5af282e.jpg",[],{"id":13745,"slug":13746,"title":13747,"dynasty":2618,"author":13748,"museum":227,"description":13749,"tags":13750,"thumbUrl":13754,"material":1050,"size":1051,"collection":217,"collections":13755,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":128},226548,"zhen-yan-mi-mi-tu-xiang-chao-man-tu-luo-juan-cai-hui-juan-ri-ben-zhen-yan-zong-seng-hui-shen-226548","《真言秘密图像钞》（曼荼罗卷）彩绘卷","日本－真言宗僧惠什","日本真言宗僧惠什撰。又称尊容钞、惠什钞、十卷抄。本书类聚诸尊之梵号、密号、种子、三形、道场观、印契及真言，且绘出诸尊之形像与曼荼罗，并述密供之次第。依今京都鸣泷常乐院所藏之古写本，其内容分为诸佛部、经部、诸菩萨部、观音部、忿怒部、诸天部等六部，总为百尊六法。真言宗，日本佛教主要宗派之一，密宗的一种，空海法师在唐求法，回国后以东寺为道场弘法，故称东密。其后逐渐分为小野、广泽二流，从此二流又分化出大量分派，大致可分为新义、古义二派。真言宗僧惠什，日本和尚，出生年日本真言宗自根本之小野、广泽二流开始，虽衍生众多流派，然中世以来仅大别为新义、古义二派，江户时代，古义派多属高野山，新义派则隶属智山、丰山二山。月不详，本名惠什。",[23,25,7,3601,27,28,173,61,13751,13752,1613,13753],"曼荼罗","神祇","图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab090e546a33f6addd580955eec18a4.jpg",[],{"id":13757,"slug":13758,"title":3847,"dynasty":250,"author":12470,"museum":227,"description":13759,"tags":13760,"thumbUrl":13761,"material":217,"size":217,"collection":217,"collections":13762,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":128},224402,"wang-chuan-tu-juan-wang-yuan-qi-224402","此作用全景式铺展林壑烟波，干笔焦墨反复皴擦，层层晕染出苍润浑厚的山峦丘石。水泽横陈，将错落山居、葱郁林木串联，渔舟泛于空蒙水面，村落藏于深林岩岫之间，尽显幽寂萧散的山居雅意。\n\n画作恪守元人山水的淡远意趣，又以娄东画派绵密繁复的笔法铺陈，虚实相生间复刻出辋川栖居的林泉之胜，把文人理想中的幽隐之境凝于尺幅，笔墨苍秀兼具，静穆雅致中尽显传统山水的隽永意趣。",[23,24,7,27,114,29,118,63,64,115,116,62,117,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a55542ac04f40c6195375482a7fc7f2.jpg",[],{"id":13764,"slug":13765,"title":13766,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":13767,"thumbUrl":13769,"material":140,"size":6245,"collection":217,"collections":13770,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":49},223063,"hong-lou-meng-49-sun-wen-223063","红楼梦49",[23,154,24,25,7,28,27,59,61,62,70,34,13768,211,281],"屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0005ec926a0d206e783104f1a358f952.jpg",[],{"id":13772,"slug":13773,"title":13774,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":13775,"thumbUrl":13776,"material":140,"size":6245,"collection":217,"collections":13777,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":128},223053,"hong-lou-meng-178-sun-wen-223053","红楼梦178",[23,24,25,7,28,27,4081,61,62,70,10007,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbde10915be8c63a5dcc911fd3eef1228.jpg",[],{"id":13779,"slug":13780,"title":13781,"dynasty":54,"author":9460,"museum":227,"description":13782,"tags":13783,"thumbUrl":13784,"material":114,"size":13785,"collection":124,"collections":13786,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":185},222140,"yu-zhong-shan-se-tu-li-liu-fang-222140","雨中山色图","李流芳的《雨中山色图》手卷，可见画面全貌近似宋人笔意与董华亭画法而稍露方折，整体图画层次明晰又显出笔墨清润，构图完满又富有变化。顺形追踪，开卷就顿见留有“米家云山”之痕迹，持续读去又感山石含有董源披麻皴遗法，全图结尾处似乎蕴有沈周秀润散淹墨法。若拈笔墨技法论，画家大胆以泼墨、积墨、渗墨、破墨为主，间以少许勾勒皴染。名士奚冈曾跋李流芳山水册时赞云：“流芳以笔墨诗酒自娱，……擅长山水，尤好吴仲圭，布白奇古，笔笔有意，墨痕浑化，神味盎然，亦善写生，出入宋元，逸气飞动，水墨浅深，韵味深永。”此手卷从一定层面反映出李流芳的笔墨修炼已达纯青火候，心胸境界已臻上乘。\n李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[23,24,7,114,118,29,482,254,35,37,138,484,3517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c2fd96e90502f2d98d5cc83b16fe4c.jpg","27x278",[124,103],{"id":13788,"slug":13789,"title":13790,"dynasty":133,"author":1867,"museum":20,"description":13791,"tags":13792,"thumbUrl":13793,"material":696,"size":13794,"collection":217,"collections":13795,"showCount":264,"zanCount":48,"manualWeight":48,"mainColor":128},221818,"yang-zhu-xi-xiao-xiang-quan-juan-ni-zan-221818","杨竹西小像全卷","这是一幅元代人物肖像画的经典作品，由王绎与著名山水画家倪瓒共同绘制。图绘一老者策杖立坡间，旁点缀松石等简单衬景。本幅左侧倪瓒题款：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年（1363年）。据款识可知此卷为王绎、倪瓒合作而成。此图所绘应为杨氏归老林泉后的晚年肖像。图中杨谦头戴乌巾，右手执杖，衣袍宽松，面相清癯、磊落而有神。描绘精细，人物面部均以淡墨为之，以线为主，略事烘染，着墨不多而神情毕肖，表现出很高的艺术水平。倪瓒所补松石，笔墨枯淡、松秀，与人物相得益彰，共同构成了一幅精美的肖像画作品。\n此图由王绎画杨谦（号竹西）小像，倪瓒补画松石平坡。图中杨谦留着长发，头戴小帽，身着长袍，持杖独立。人物面部用细笔勾描，略用淡墨烘染，形象生动逼真。笔墨不多，却较好地表现了杨竹西“清谦谨慎”的性格。画像后亲以小石的弧松，更加烘托了杨竹亡在宋亡后不仕朝迁的气节。画中倪瓒题云：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年，即公元1363年。卷后有元人邓元祜、杨维祯等十一家题记。",[23,24,25,7,174,114,61,404,230,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2134019448775058ad4a63eadde0d16a.jpg","纵27.7厘米，横86.8厘米",[],{"id":13797,"slug":13798,"title":13799,"dynasty":54,"author":3914,"museum":56,"description":4982,"tags":13800,"thumbUrl":13801,"material":442,"size":3918,"collection":217,"collections":13802,"showCo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9年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[119,537,540,6986,13874,25,1973,1229,193,7],"老子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5aba8b7779fcd5b62ea030585851adf.jpg",[],{"id":13878,"slug":13879,"title":13880,"dynasty":54,"author":55,"museum":227,"description":1503,"tags":13881,"thumbUrl":13883,"material":1050,"size":1051,"collection":217,"collections":13884,"showCount":357,"zanCount":1106,"manualWeight":48,"mainColor":128},287637,"lin-guan-xiu-bai-miao-luo-han-tu-juan-nian-ban-chou-ying-287637","临贯休白描罗汉图卷(年版)",[23,24,7,174,114,173,7958,13882,60,4337,117,119,193],"佛教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f0756cfbb86969cca76cc0ca73962d.jpg",[],{"id":13886,"slug":13887,"title":13888,"dynasty":54,"author":3914,"museum":227,"description":11458,"tags":13889,"thumbUrl":13892,"material":1050,"size":1051,"collection":217,"collections":13893,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},283733,"lin-chu-sui-liang-ku-shu-fu-juan-dong-qi-chang-283733","临褚遂良枯树赋卷",[23,119,7,120,60,1229,193,1123,196,13890,13891,230],"孤木","霜露","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cbe2efc33ab5122230daa6a160596c8.jpg",[],{"id":13895,"slug":13896,"title":5839,"dynasty":18,"author":1133,"museum":227,"description":10858,"tags":13897,"thumbUrl":13898,"material":1050,"size":1051,"collection":217,"collections":13899,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},283636,"hai-tian-xu-ri-tu-juan-zhao-bo-ju-283636",[23,24,154,7,26,27,29,3874,2460,2143,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ff9b82a5d0dcd32cd304f2da2955de.jpg",[],{"id":13901,"slug":13902,"title":13903,"dynasty":54,"author":269,"museum":227,"description":13904,"tags":13905,"thumbUrl":13906,"material":1050,"size":1051,"collection":217,"collections":13907,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},240852,"qian-zi-wen-juan-xu-wei-240852","千字文卷","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[23,25,119,7,120,1892,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6408452e577c55dc92323b19a5b6fc.jpg",[],{"id":13909,"slug":13910,"title":13911,"dynasty":168,"author":7042,"museum":20,"description":13912,"tags":13913,"thumbUrl":13914,"material":442,"size":13915,"collection":543,"collections":13916,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},239554,"zhang-hao-hao-shi-juan-du-mu-239554","张好好诗卷","释文：\n张好好诗并序。 牧大和三年佐故吏部沈公江西幕。好好年十三，始以善歌舞来乐藉中。后一岁，公镇宣城，复置好好于宣城藉中。后二年，沈著作述师以双鬟纳之。又二岁，余于洛阳东城重睹好好，感旧伤怀，故题诗赠之。 君为豫章姝，十三才有余。翠茁凤生尾，丹脸莲含跗。高阁倚天半，晴江连碧虚。此地试君唱，特使华筵铺。主公顾四座，始讶来踟蹰。吴娃起引赞，低徊暎长裾。双鬟可高下，才过青罗襦。盼盼下垂袖，一声离凤呼。繁弦迸关纽，塞管引圆芦。众音不能逐，袅袅穿云衢。主公再三叹，谓之天下殊。赠之天马锦，副以水犀梳。龙沙看秋浪，明月游东湖。自此每相见，三日以为疏。玉质随月满，艳态逐春舒。绛唇渐轻巧，云步转虚徐。旌旆忽东下，笙歌随舳舻。霜凋小（此字点去）谢楼树，沙暖句溪蒲。身外任尘土，罇前且欢娱。飘然集仙客（著作任集贤校理），讽赋期相如。聘之碧玉佩，载以紫云车。洞闲水声远，月高蟾影孤。尔来未几岁，散尽高阳徒。洛阳重相见，绰绰为当炉。怪我苦何事，少年生白须。朋游今在否，落拓更能无。门馆恸哭后，水云愁景初。斜日挂衰柳，凉风生座偶。口口口（洒尽满）襟泪，短章聊口口（一书）\n此卷鉴藏印有“弘文之印”、“宣龢”、“政和”（连珠）、“宣和”、“政龢”、“内府图书之印”、“秋壑图书”、“张氏珍玩”、“北燕张氏珍藏”、“项子京家珍藏”、“张则之”、“蕉林居士”、“宋荦审定”、“张伯驹珍藏印”等，以及清代乾隆、嘉庆、宣统三帝御览及清内府鉴藏印11方，朱文）等张伯驹鉴藏印。\n此卷是唐代诗人、书法家杜牧的仅存墨迹，也是稀见的唐代名人书法作品之一。张好好是一名歌妓，容颜娇美，才华出众。杜牧的这首五言长诗，就是为她而作。诗中描写了作为少年歌妓的张好好始得高官沈传师宠遇，终因沈的去世而流落市井的不幸身世，寄托了对她的无限同情，是杜牧诗作名篇。诗载杜牧《樊川集》中，墨迹的末二句，因伤残缺“洒尽满”、“一书”五字，然不伤书诗的整体精神。\n该卷书用麻纸，制作相当精细。书用硬笔，笔法劲健，颇多叉笔。这些都是唐代书法的用纸、笔法的特点。《宣和书谱》一书评杜牧书法：“气格雄健，与文章相表里”，是说作者诗文、书法有统一的风格。卷前有宋徽宗赵佶书签“唐杜牧张好好诗”，并钤有宋徽宗御府的诸玺印，保存着北宋内府装潢式样。兹后曾递藏于宋贾似道、明项元汴、张孝思、清梁清标等人，乾隆年间入藏内府。据《式古堂书画记考·卷七》所记，该卷后元人诸跋，是从唐赵模《千字文》后移来。《宣和书谱》、《悦生所藏书画别录》、《平生壮观》、《大观录》、《吴越所见书画录》、《石渠宝笈·初编》等书著录。\n该卷曾被清逊帝溥仪携出宫外，流散民间后归张伯驹所有。1956年张伯驹先生将其捐赠政府，此珍贵文物重为故宫博物院收藏。",[23,25,119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6dc7418c00d9320a7545a844dc2089e.jpg","纵28.2厘米，横162厘米",[543],{"id":13918,"slug":13919,"title":13920,"dynasty":54,"author":932,"museum":227,"description":13921,"tags":13922,"thumbUrl":13923,"material":1411,"size":217,"collection":217,"collections":13924,"showCount":357,"zanCount":1106,"manualWeight":48,"mainColor":128},234258,"dan-chang-zhou-chen-hong-shou-234258","弹唱轴","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺为僧，后还俗，以卖画为生，死因说法不一。亦能画水墨写意花卉，酣畅淋漓。还长于为文学作品创作插图，能表现出原作人物的精神气质。其画手法简练，色彩沉着含蓄，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。\n陈洪绶去世后，其画艺画技为后学所师承，堪称一代宗师，名作《九歌图》（含《屈子行吟图》）、《插图》、《水浒叶子》、《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,24,25,7,28,27,174,61,298,1795,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b56da018814c611b2efc6f220be42d.jpg",[],{"id":13926,"slug":13927,"title":13928,"dynasty":54,"author":13929,"museum":227,"description":13930,"tags":13931,"thumbUrl":13932,"material":824,"size":824,"collection":217,"collections":13933,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},234205,"zhu-lan-shi-juan-yang-ming-shi-234205","竹兰石卷","杨明时","杨明时，字存吾，号不弃。今属安徽省黄山市歙县。诗书画俱擅，又精鉴别，《余清斋帖》双钩上石出其手。画宗董源，工山水、兰竹。",[23,24,25,7,114,272,282,275,255,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b8f72a8ff9518fa2e5b87befb33598.jpg",[],{"id":13935,"slug":13936,"title":13937,"dynasty":133,"author":1344,"museum":20,"description":13938,"tags":13939,"thumbUrl":13940,"material":679,"size":13941,"collection":217,"collections":13942,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},232986,"gu-shan-tu-juan-qian-xuan-232986","孤山图卷","本幅设色，左方自题七绝一首，款：”吴兴钱舜举“。题跋：引首陈沂篆书”溪诗画“本幅上面弘历题诗，后隔水弘历书诗，后幅文征明书林逋诗数首，梁诗正书赋。印记：引首四方，本幅及前后隔水有项子京，乾隆，宣统等引49方，半印一方，后幅印24方。",[23,24,25,7,29,27,28,119,193,116,254,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12955f6e35b97926ac45250b8c8c005a.jpg","纵92.5cm，横23.4cm",[],{"id":13944,"slug":13945,"title":13946,"dynasty":250,"author":819,"museum":227,"description":1772,"tags":13947,"thumbUrl":13948,"material":1050,"size":1051,"collection":217,"collections":13949,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},228988,"bai-miao-luo-han-tu-juan-shi-tao-228988","白描罗汉图卷",[23,154,24,25,7,174,173,61,117,34,4337,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9099139807f3e55a6295db547dc07a8.jpg",[],{"id":13951,"slug":13952,"title":13953,"dynasty":18,"author":7002,"museum":227,"description":13954,"tags":13955,"thumbUrl":13956,"material":217,"size":217,"collection":217,"collections":13957,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},228326,"qiu-shan-qing-ai-tu-juan-xu-dao-ning-228326","秋山晴霭图卷","《题吴少宰题许道宁秋山晴霭图》是明代诗人沈周创作的一首诗。\n匏公题句真成画，说到江山妙有声。\n一个道宁消不得，老夫只作辋川平。\n沈周（1427-159年），字启南，号石田、白石翁，长洲（今苏州）人。\n隐居乡里，奉母耕读，终身不仕。\n其画闻名当代，与唐寅、文徵明、仇英并称“明四家”。\n且善诗，任情随事，不主一家。\n有《石田先生集》行世。",[23,154,24,25,7,29,27,2520,12902,405,602,605,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2f872b00a877fa253bba1f9c3c8f1d.jpg",[],{"id":13959,"slug":13960,"title":13961,"dynasty":133,"author":11122,"museum":227,"description":13962,"tags":13963,"thumbUrl":13964,"material":217,"size":217,"collection":217,"collections":13965,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},228257,"mo-hua-tu-juan-chang-juan-zhao-zhong-228257","墨花图卷长卷","此作用淡墨白描写就，分绘三种花卉，以清隽挺秀的笔线勾勒花叶轮廓，淡墨晕染出阴阳向背，不施丹青却尽现花卉娇柔雅致之态。芍药秾而不俗，水仙清逸出尘，玉簪幽淡含露，墨色清润柔和，将草木风姿描摹入微。\n\n三段皆配题诗，诗画相映，书卷气浓厚，以墨代色，以意写形，把文人幽淡的情思寄寓在一花一叶间，尽显简淡雅致的审美意趣，是水墨花鸟小品中的佳构。",[23,154,24,25,7,174,114,28,209,278,280,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83039bd32439ba7bcc1e7f007efb14a8.jpg",[],{"id":13967,"slug":13968,"title":13969,"dynasty":18,"author":3193,"museum":151,"description":13970,"tags":13971,"thumbUrl":13972,"material":217,"size":217,"collection":217,"collections":13973,"showCount":357,"zanCount":1106,"manualWeight":48,"mainColor":128},227590,"ku-sun-fu-tie-huang-ting-jian-227590","苦笋赋帖","此帖凡11行，181字，书于元符二年(1099年)。曾经吴桢、安岐、陈定等人收藏.《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《故宫书画录》等著录。《御刻三希堂石渠宝笈法帖》、《仁聚堂法帖》、《墨缘堂藏真帖》、《宋四家墨宝》等收录。现藏台北故宫博物院。\n\n宋徽宗曾说：“黄书如抱道足学之士，坐高车駟马之上，横钳上下，无不自如。”山谷书法对当时及后世影响很大，受到极高的评价，為北宋四大家之一。此帖笔势遒劲，中宫敛结，长笔外拓，英俊洒脱，显示出山谷纵逸豪放的雅韵，并充分发挥倾侧的动向美感。选自《宋四家墨宝》册。",[154,25,119,120,114,442,2224,3196,193,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7eb941959901f32fb43c8955cbc0a87.jpg",[],{"id":13975,"slug":13976,"title":10636,"dynasty":18,"author":5991,"museum":227,"description":13977,"tags":13978,"thumbUrl":13979,"material":217,"size":217,"collection":217,"collections":13980,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},226545,"yu-le-tu-juan-jing-hao-226545","荆浩（约850-？），五代后梁最具影响的山水画家，博通经史，并长于文章。字浩然，沁水（一说为山西，一说为河南济源）。士大夫出身，后梁时期因避战乱，曾隐居于太行山洪谷，故自号“洪谷子”。擅画山水，常携笔摹写山中古松。所作云中山顶，能画出四面峰峦的雄伟气势。自称兼得吴道子用笔及项容用墨之长，创造水晕墨章的表现技法。亦工佛像，曾在汴京（今河南开封）双林院作有壁画。是中国山水画发展过程中具有重要影响的画家之一。\n\n存世《匡庐图》。其他均已失传。至于目前传为荆浩所作的五幅画——美国纳尔逊美术馆收藏的《雪景山水图》、日本大阪市立美术馆收藏的《江山瑞霭图》、台湾故宫博物院收藏的《渔乐图》等，其真伪都存有争议。\n\n荆浩不仅创造了笔墨并重的北派山水画，被后世尊为北方山水画派之祖，还为后人留下著名的山水画理论《笔法记》，以假 托在神镇山遇一老翁，在互相问答中提出了气、韵、思、景、笔、墨的所谓绘景“六要”，是古代山水画理论中的经典之作，比更早时期南齐谢赫的“六法论”有所发展，具有更高的理论价值。",[23,24,25,7,114,118,29,34,468,31,609,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd4a6217abf7c4e35efebb8fee6960f.jpg",[],{"id":13982,"slug":13983,"title":13984,"dynasty":54,"author":6373,"museum":568,"description":13985,"tags":13986,"thumbUrl":13990,"material":353,"size":13991,"collection":217,"collections":13992,"showCount":357,"zanCount":1106,"manualWeight":48,"mainColor":185},222375,"liu-mang-tu-juan-zhou-chen-222375","流氓图卷","此卷共绘人物12人，形态各异，或身背锣鼓，或手牵小动物，皆衣衫褴褛。作画背景是明武宗朱厚照统治时期，所谓的流氓多是因战争流离失所而逃难的百姓。也许他们有着正当的职业，稳定的收入，但战争降临后，一切都化为了乌有。逃难的人们为了生计想法设法赚钱，有能力的可以凭借自己的能力勉强果腹，没有能力的人连乞丐都不如。\n“流氓”的界定：流氓是指“脱离了古代社会最基本的生产资料——田地，因此没有正当的业务可恃且又愚昧无知的社会底层成员；而作为流氓之'流'的字义中，又可包涵或引申出向坏的方向嬗变以及放纵成弊等内容。合而言之，大致可以把'流氓'一词从词义上界定为：特指脱离生产不务正业而在社会上游荡，并以悖离传统道德文化和破坏社会秩序为基本行为特征的不良分子。 因此称之为《流民图》亦可。",[23,24,25,7,174,27,61,5861,2214,5814,13987,13988,13989,157,120,119],"拐杖","篮子","鼓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd181c6127f25e533180376f904c665f0.jpg","纵28厘米，横384厘米",[],{"id":13994,"slug":13995,"title":13996,"dynasty":54,"author":7606,"museum":151,"description":7608,"tags":13997,"thumbUrl":13998,"material":442,"size":13999,"collection":543,"collections":14000,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},222310,"shu-za-shi-juan-wang-chong-222310","书杂诗卷",[119,120,7,193,539,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a6b4b44c3a956de196f240c247d3843.jpg","25.7x317.6",[543],{"id":14002,"slug":14003,"title":14004,"dynasty":54,"author":14005,"museum":227,"description":14006,"tags":14007,"thumbUrl":14008,"material":442,"size":14009,"collection":217,"collections":14010,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},222164,"huai-su-shang-ren-cao-shu-ge-zhang-bi-222164","怀素上人草书歌","张弼","张弼(1425～1487年)字汝弼，晚号东海翁，松江华亭人。此卷书《任华〈怀素上人草书歌〉》，应是张弼传世最好的作品，它包含了张弼对僧怀素的钦敬，而且随着诗意的伸展，隐然把自己代入其中，成了诗中的主角。正如《自叙帖》是怀素草书一次淋漓尽致的表演，张弼亦借任华赞美怀素的诗句，把自己在狂草书上的成就尽情发挥。怀素耶，张弼耶，写到后来，明显有照花前后镜的狂喜了。\n任华，公元8世纪时人，活跃于唐玄宗时期，有《杂言寄李白》、《杂言寄杜拾遗》诗，与李白杜甫同时或稍晚。《怀素上人草书歌》通篇音韵铿锵，句法多变，三言、四言、五七言，缓急错落，随意所之，而且描写生动，使人如目睹怀素的狂草作品，跌荡纵横，动人心弦。此处介绍的手卷，乃明代张弼以狂草书录写，水墨纸本，淋漓酣畅，精彩动人，把任华诗中的境界、怀素草书的风貌及作书者本身对草书的狂热，结合在书法中，实为张氏传世作品中的颠峰之作。",[23,119,1892,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe6dc27fb39e26b9da591ae48237e94e.jpg","31.5×526cm",[],{"id":14012,"slug":14013,"title":14014,"dynasty":133,"author":4516,"museum":7607,"description":14015,"tags":14016,"thumbUrl":14017,"material":7349,"size":14018,"collection":543,"collections":14019,"showCount":357,"zanCount":914,"manualWeight":48,"mainColor":49},221835,"lao-ren-xing-fu-ke-jiu-si-221835","老人星赋","《上京宫词》是柯九思创作的一幅书法作品。\n《上京宫词》卷是柯九思在朝廷任职期间奉敕记载元文宗赏赐皇姑大长公主情状的诗，后录呈无言大禅师。\n此卷用笔纵击，富有弹力，其入纸处颇类著名北碑张玄墓志，俊美中露峭拔，平和中寓筋力。\n直点多作短竖，深得《兰亭序》“犹”字点意态；横画虽波磔不露，但多呈隶书笔致，又颇似褚遂良书风。\n《兰亭序》“天朗气清”的神韵，褚遂良“瑶台春林”的清丽同张玄墓志的俊俏笔意的结合，正是柯九思历观前代书迹后的自然流露。\n字形有长有扁，以扁为多。\n长字取纵势，挺拔而不松懈，扁字取横势，笃实而不呆板，既有钟繇《戎路》、《宣示》帖的体格，更有苏东坡“石压虾蟆”般的沉稳紧密。\n特别值得一提的是，长字同扁字虽各逞姿态，但又和谐协调，体现了美的多样统一。\n整体书风坦然清纯，字字挺立，体态舒朗，结体的纵横聚散恰倒好处，而笔势连贯，用笔挺拔爽健，富于弹性美和节律感，点画之形态随笔势的节奏而起伏，不无表现出肯定明确的法度。\n题目“上京宫词”四字，节奏均匀而稍缓，雍容典雅，悠长清丽，正合“宫词”意境。\n而正文的书写节奏，也同题目四字，大有宫廷气象。\n但作者在主调统一的前提下很注意局部的变化，如“伏”字、“多”字、“冷”字、“锡”字、“独”字、“暇”字以参用行书笔法变，“暑”字、“飘”字、“高”字、“日”字、“有”字、“立”字、“禾”字以加粗线条，加重墨色变，而在字形上则更以长扁互用变，这些变化在“平和”的水面上时泛涟漪，正契合了《上京宫词》的内容。\n它们产生的微刺激，也正符合了记号中的角色“九重”与“千官”们的心态。\n通篇节奏平和。\n柯九思在书写《上京宫词》卷时，对词意是有很深的感悟的。\n作为一位“鉴书博士”，他虽然也有积极思维的时候，但“闲暇”决不会少，也正因为如此，这书迹也应是“千官”之一的柯九思的“心画”。\n不过，书画对心态的反映毕竟是模糊的，“九重”的平和节奏会同“千官”的混同，“庙堂”的闲暇也难同“山林”的闲暇区分，也正因为如此，博学如何良俊者，也只好说柯九思的绘画似逸非逸、似神非神而难以名状了，对于更为抽象的书法当然更是如此。",[23,119,537,7,193,539,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8950c49521b1c45b07c366f4d4502a.jpg","25cm*268cm",[543],{"id":14021,"slug":14022,"title":14023,"dynasty":133,"author":534,"museum":56,"description":14024,"tags":14025,"thumbUrl":14026,"material":353,"size":14027,"collection":217,"collections":14028,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},221785,"san-shi-ren-ma-tu-zhao-meng-fu-221785","三世人马图","为赵孟頫、赵雍、赵麟祖孙三人所画人马图合卷。卷后有陈洪绶等人题跋，谓其“三老不失笔墨宗风，古来大小李将军、高家父子、米家父子之类比。”、“古来父子祖孙以忠孝节义道应文学相传，不替者之类耳。”对比吴湖帆题款中所及“蒋氏密韵楼藏赵氏三世画马卷对临一本，并记原题款识于后，王蒙等跋亦入。”可见吴湖帆所临乃是另一卷传世“赵氏三世人马图”，由雪庭禅师收藏，王蒙、文征明等五家曾于其上题跋。",[23,154,24,25,7,27,174,61,90,120,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09f2e833da4843b79c3641463d061b4a.jpg","纵30.2厘米，横178.1厘米",[],{"id":14030,"slug":14031,"title":9626,"dynasty":18,"author":2980,"museum":56,"description":14032,"tags":14033,"thumbUrl":14034,"material":140,"size":14035,"collection":42,"collections":14036,"showCount":357,"zanCount":1106,"manualWeight":48,"mainColor":128},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","作品开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,154,24,25,7,114,27,118,29,2199,9039,34,117,37,405,2791,230,692,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[42,124,103],{"id":14038,"slug":14039,"title":14040,"dynasty":18,"author":415,"museum":56,"description":14041,"tags":14042,"thumbUrl":14043,"material":442,"size":14044,"collection":217,"collections":14045,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},221357,"zhuo-se-shi-ba-luo-han-tu-juan-li-gong-lin-221357","着色十八罗汉图卷","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,154,24,25,7,173,27,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167d3053971be5b0a03db8dec8fa2736.jpg","26.7×384.2厘米",[],{"id":14047,"slug":14048,"title":14049,"dynasty":54,"author":3914,"museum":20,"description":14050,"tags":14051,"thumbUrl":14052,"material":14053,"size":14054,"collection":543,"collections":14055,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":185},220957,"bai-yu-shan-fu-dong-qi-chang-220957","白羽扇赋","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。董其昌这件作品写于七十八岁（1632）高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[23,154,24,25,7,120,119,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2567439e23f4a801151c3d6db729acb.jpg","绫本，轴","纵长：136.5厘米，横长：60.2厘米",[543],{"id":14057,"slug":14058,"title":14059,"dynasty":54,"author":3914,"museum":14060,"description":14061,"tags":14062,"thumbUrl":14063,"material":140,"size":14064,"collection":543,"collections":14065,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":128},220899,"shu-du-gong-bu-shi-dong-qi-chang-220899","书杜工部诗","昆仑堂美术馆","董其昌世称“董香光”、“董文敏”、“董华亭”，在明末以书画名重海内。行书以“二王”为宗，用笔精到，用墨讲究，布局闲适舒朗，神采风韵自足。\n董其昌是明代重要的画家、书法家。《明史》中称其：“自成一家，名闻外国，其画集宋元诸家之长行以己意，潇洒生动，非人力所及也。四方金石之刻，得其制作手书，以为二绝，造请无虚日，尺素短札流布人间，争购宝之。精于品题，收藏家得片语只字以为重。”\n董其昌的书法对后人的影响极大，康熙帝赞其：“天姿迥异，其高秀圆润之致流行于褚墨间，非诸家所能及也。 每于若不经意处丰神独绝，如微云卷舒，清风飘拂，尤得天然之趣。”董其昌作为学古而成的书家，其风格面貌的形成与其独特的学书观密切相关。\n在中国古代艺术理论中，一直有“师古”和“师心”的论争，各自从不同角度出发衍生出一整套艺术理论。董其昌在这个时期坚持“师古”观点，要求在对古代作品的临摹中锻炼自己的技法并深入领悟古人的精神内蕴。在这个过程中形成自己的风格，结合历史时代背景后，最终产生新的艺术风格。",[23,119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9c1043aa026bf462ec1c1d0cf17a9c.jpg","横279cm，纵28.5cm",[543],{"id":14067,"slug":14068,"title":14069,"dynasty":54,"author":6014,"museum":8087,"description":14070,"tags":14071,"thumbUrl":14073,"material":14074,"size":14075,"collection":217,"collections":14076,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":217},220736,"yan-jiang-die-zhang-tu-hua-xin-you-wen-bo-ren-220736","烟江叠嶂图画心右","此作用笔清隽秀雅，以平远之境铺展烟江盛景。左侧峰峦层叠，苍木氤氲在烟岚之中，山石皴擦简淡却见苍劲；右侧江岸怪石嶙峋，棕榈摇曳生姿，野意盎然。\n\n浩渺江面之上，帆影错落穿梭，岛屿隐现于烟波之间，云雾晕染柔化了山水边界，虚实相生间尽显江南烟水的朦胧柔婉。笔墨晕染柔和清润，将水雾空濛的氛围感尽数铺陈，把观者带入静穆又灵动的烟水天地，尽显吴门画派的写意风神，藏着文人画清雅淡远的诗意。",[23,24,25,7,114,29,118,30,2560,14072,115,196,34,117,890],"烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775d4d497ec1f44b4dd939d7664eb627.jpg","设色,纸本","25.6 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画中环境清静美，确为理想的隐居之处。该图布局疏密有序，人物景致描写严谨准确，色调富于变化",[23,24,7,27,114,29,61,63,64,613,1298,117,690,3730,14121,193,14122,14123],"隐居","伏案","洒扫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e5dc319d728780ab969bd3b16b9003.jpg",[],{"id":14127,"slug":14128,"title":14129,"dynasty":149,"author":6425,"museum":227,"description":14130,"tags":14131,"thumbUrl":14134,"material":1050,"size":1051,"collection":217,"collections":14135,"showCount":163,"zanCount":48,"manualWeight":48,"mainColor":49},289959,"lang-yuan-nv-xian-tu-ruan-gao-289959","阆苑女仙图","是一幅以西王母侍女萼绿与董双成的神仙故事为题材的画卷。该画卷是阮郜唯一的传世作品。该图中，阮郜运用铁线描以平行排列地方式，将瑶池翠水的形象塑造地坚硬且有实感。",[23,154,24,7,28,27,61,677,14132,1045,14133,34,2241,157,119,193],"女仙","仙苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e6c6018f75aa517ccb4614fba86ea2.jpg",[],{"id":14137,"slug":14138,"title":14139,"dynasty":18,"author":8670,"museum":227,"description":8671,"tags":14140,"thumbUrl":14141,"material":1050,"size":1051,"collection":217,"collections":14142,"showCount":163,"zanCount":48,"manualWeight":48,"mainColor":49},288943,"xiao-xiang-ba-jing-dong-ting-qiu-yue-wang-hong-288943","潇湘八景-洞庭秋月",[24,7,114,763,115,34,32,690,4804,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa807359ab7054471f13478c28203b3ee.jpg",[],{"id":14144,"slug":14145,"title":14146,"dynasty":18,"author":415,"museum":227,"description":14147,"tags":14148,"thumbUrl":14149,"material":1050,"size":1051,"collection":217,"collections":14150,"showCount":163,"zanCount":1106,"manualWeight":48,"mainColor":128},288277,"xiao-xiang-wo-you-tu-li-gong-lin-288277","潇湘卧游图","《潇湘卧游图》该画中主要描绘了当时的潇湘奇景。作者以轻灵、淡雅的水墨风格在纸上作画，使用了将画面大片留白的画法。",[23,154,24,7,25,114,29,605,196,37,120,1892,193,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd68985dcb3dc40da32929dd1bf1f4.jpg",[],{"id":14152,"slug":14153,"title":14154,"dynasty":225,"author":1472,"museum":227,"description":1732,"tags":14155,"thumbUrl":14156,"material":1050,"size":1051,"collection":217,"collections":14157,"showCount":163,"zanCount":48,"manualWeight":48,"mainColor":128},288194,"da-dao-tie-wang-xi-zhi-288194","大道帖",[23,154,25,7,1892,119,1229,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1473d3c9f1fd7965415f14ac17b5d934.jpg",[],{"id":14159,"slug":14160,"title":14161,"dynasty":54,"author":3914,"museum":227,"description":11458,"tags":14162,"thumbUrl":14163,"material":1050,"size":1051,"collection":217,"collections":14164,"showCount":163,"zanCount":48,"manualWeight":48,"mainColor":128},283714,"fang-mi-wu-zhou-shan-tu-juan-dong-qi-chang-283714","仿米五洲山图卷",[154,24,7,114,29,34,35,60,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65509d7542b4a31ac4d2c12723acfc9d.jpg",[],{"id":14166,"slug":14167,"title":14168,"dynasty":250,"author":13424,"museum":227,"description":11431,"tags":14169,"thumbUrl":14170,"material":1050,"size":1051,"collection":217,"collections":14171,"showCount":163,"zanCount":1106,"manualWeight":48,"mainColor":128},239445,"fang-gu-si-shi-hua-hui-juan-dong-gao-239445","仿古四时花卉卷",[23,24,7,12226,27,28,281,278,3565,194,279,435,434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b83d14673298c9664e912c132a9dbc.jpg",[],{"id":14173,"slug":14174,"title":14175,"dynasty":54,"author":430,"museum":227,"description":14176,"tags":14177,"thumbUrl":14180,"material":217,"size":14181,"collection":217,"collections":14182,"showCount":163,"zanCount":48,"manualWeight":48,"mainColor":49},232908,"fang-hui-zong-cha-hua-ge-niao-tu-yi-ming-232908","仿徽宗茶花鸽鸟图","中国茶花画历千年而不衰，名家辈出，流派风格纷纭，成为中华民族传统艺术瑰宝之一，屹立于世界美术之林。古往今来的画家以茶花为题作画，表现它的千姿百态，笔情墨韵。众多茶花画向我们展示了风云迭起的美的历程，给人以酣畅淋漓的美的享受和奋发向上的民族精神的感召。\n唐代茶花画的形成和发展具有深刻的社会历史背景。\n其一，从茶花栽培史看，三国时代至隋代，茶花已经从野生状态发展到人工栽培，成为观赏花卉；及至唐代，中国主要茶花产区的人工栽培已经普及，并出现了茶花品种的名称和重瓣茶花。这些茶花的物质财富必然要反映到文学艺术中来。\n其二，从社会文化看，唐代是中国长期封建社会的辉煌时代，经济繁荣，物力殷阜，宫苑私园遍于各地。茶花被视作最珍贵的花木，它与牡丹花一样，成为宫廷显贵的荣耀。在寺院里，这种具有深刻宗教色彩的曼陀罗花，受到成千上万信徒的顶礼膜拜。茶花成为盛唐文化的一个亮点。\n其三，从中国花鸟画的生存衍化来看，花鸟画历经南北朝的萌芽状态，到唐代逐渐发展成为一门独立的画科，出现一批专门的花鸟画家，其技艺亦达到精湛的水平。在这三大因素的作用和催化下，茶花题材的绘画作品应运而生。特别值得提出的是唐南诏名画《南诏画传》。在这幅唐光化二年（公元899年）由南诏画师绘就的画卷里，有两株高大的植于南诏奇王庭院圆形花坛中的山茶，画面生动精美，系典型的唐人笔法，为中国古代绘画珍品（该画卷原藏北京故宫，现在日本）。《南诏画传》中这两株高过屋檐开着大朵红色鲜花的古茶花树，是中国绘画中最早出现的山茶形象。\n此外，在唐代的花鸟画家中，晚唐的滕昌是一位具有代表性的画家。滕昌擅作花鸟草虫、蔬果，亦工书法，号称“滕书”。滕昌在居室旁栽植竹石花木，以供写生。《宣和画谱》记有滕昌茶花作品《山茶家鹩图》一幅。可以想见，画家在居室旁栽植的花木中，定然有茶花。《山茶家鹩图》当为写生之作。此传世作品后被宋徽宗藏于宫廷。滕昌的画，“笔迹轻利，傅彩鲜泽，宛有生意”。他的《山茶家鹩图》当为早期花鸟画中的茶花画代表作品。\n五代茶花画在唐人基础上迅速发展并走向成熟，至两宋，茶花画达到了兴盛时期。其主要标志有三：\n一是画院的成立和发展。这是茶花画兴盛的物质基础之一。五代西蜀、南唐正式成立画院，称“翰林图画院”，一时名画家皆归附，绘事盛极一时。至两宋，画院繁荣，尤其是在宋徽宗的倡导下，扩充画院、兴画学，画院及绘画得到空前的发展。\n二是宋代造园植树之风大盛，茶花的引种栽培发展到一个鼎盛时期。其茶花新品种之多，园艺技术水平之高，盆栽与插花艺术拓展之快，都是前所未有的。这是宋代茶花画兴盛的物质条件。\n三是茶花画领域出现以黄筌为代表的在绘画史上具有重要地位和成就的画家。五代和宋前期的花鸟画家，首推黄筌。黄筌（约903～965年）为五代西蜀画家，是五代院体画家主要代表人物。曾入西蜀画院为翰林待诏。黄筌承前启后，创黄筌画派。黄筌的“富丽画风”，适合统治者和宫庭的需要及审美趣味。所谓“黄氏富贵”，即以严谨的用笔，惟妙惟肖的形象刻画，富丽堂皇的色彩为基本特点。黄筌的茶花作品有四幅。《宣和画谱》记有三幅：《山茶鹑雀图》一幅和《山茶雪雀图》二幅，均无画迹可考。只有近代画家于非闇临黄筌《彩鸠山茶图》一幅尚存。摹本上有临宋徽宗题款：“彩鸠山茶，黄筌妙笔。”\n两宋时期的茶花画家，院体画家（即宫廷画家）主要有北宋画家崔悫、吴元瑜，南宋画家林椿、李嵩（1166～1243年）、苏汉臣、董祥（1068～？）等，其身份均为画院待诏。林椿工画花鸟翎，重布局经营，是一位卓有成就的花鸟画家，代表作有《山茶霁雪图》和《茶花鸽子图》。崔悫有《山茶图》。吴元瑜有《山茶鹩子图》。李嵩茶花代表作为《花篮图》（藏台北故宫博物院）。苏汉臣为人物画家，作品《冬日婴戏图》（现藏台北故宫博物院）是一幅以山茶为背景的人物画作。董祥茶花作品有《岁朝图》（现藏台北故宫博物院）。\n院外画家（非宫廷画家）主要有北宋画家赵昌（？～1016年）、易元吉、丘庆余等。赵昌的茶花作品有折枝茶花、二色茶花，其画作“不特取其形似，直与花传神者也”，称“写生赵昌”，名重一时。《宣和画谱》录有其茶花作品《山茶图》、《山茶竹兔图》等十幅之多，另有《四季花卉卷· 山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[23,24,154,25,7,28,27,60,209,14178,14179,196,7015,117,256],"茶花","鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 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七子过关图》，均辑入《中国历代名画集》。",[23,24,7,25,174,27,1044,60,14445,10837,623,1505,11601,4712,193,119],"萧翼赚兰亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5e4507f97cac7a1fafa57455dce2a.jpg",[],{"id":14449,"slug":14450,"title":8862,"dynasty":149,"author":8863,"museum":227,"description":14451,"tags":14452,"thumbUrl":14454,"material":1050,"size":1051,"collection":217,"collections":14455,"showCount":234,"zanCount":1106,"manualWeight":48,"mainColor":49},287430,"fan-bu-xue-wei-tu-juan-hu-qian-287430","镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,154,24,25,7,27,61,90,3487,9179,973,1123,14453,193,119],"骑射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c2666de7fd20238ba4a96ca82410b4f.jpg",[],{"id":14457,"slug":14458,"title":14459,"dynasty":149,"author":1525,"museum":227,"description":12243,"tags":14460,"thumbUrl":14461,"material":1050,"size":1051,"collection":217,"collections":14462,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},287307,"cui-zhu-cao-chong-tu-juan-huang-quan-287307","翠竹草虫图卷",[23,154,24,25,7,209,28,275,336,119,120,537,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d53909ea73552937b92b2443bc246.jpg",[],{"id":14464,"slug":14465,"title":14466,"dynasty":54,"author":3914,"museum":227,"description":11458,"tags":14467,"thumbUrl":14468,"material":1050,"size":1051,"collection":217,"collections":14469,"showCount":234,"zanCount":1106,"manualWeight":48,"mainColor":49},283713,"zhou-jin-tang-tu-bing-shu-ji-juan-dong-qi-chang-283713","昼锦堂图并书记卷",[23,154,24,25,7,1892,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa79adb9493bdbd017a01b352f912a3a0.jpg",[],{"id":14471,"slug":14472,"title":13478,"dynasty":54,"author":13479,"museum":20,"description":14473,"tags":14474,"thumbUrl":14475,"material":1319,"size":14476,"collection":543,"collections":14477,"showCount":234,"zanCount":1106,"manualWeight":48,"mainColor":128},241154,"tong-ling-guan-tie-chuan-ge-juan-wang-shou-ren-241154","释文:\n铜陵观铁船，录寄士洁侍御道，契见行路之难也。青山滚滚如奔涛，铁船何处来停桡。人间刳木宁有此，疑是仙人之所操。仙人一去已千载，山头日日长风号。船头出土尚仿佛，后冈有石云船稍。我行过此费忖度，昔人用心无己忉。由来风波平地恶，纵有铁船还未牢。秦鞭驱之不能动，奡力何所施其篙。我欲乘之访蓬岛，雷师皷舵虹为缫。弱流万里不胜芥，复恐驾此成徒劳。世路难行每如此，独立斜阳首重搔。\n署款：“阳明山人书于铜陵舟次，时正德庚辰春分献俘还自南都。”钤印“阳明山人王伯安印”。\n鉴藏印有“林□周印”、“杜是鉴藏书画之印”、“杜是收藏书画”、“星衍”、“伯渊审定真迹”。\n此书是王守仁在铜陵献俘后回南都的舟中所作，由“铁船”引发出内心感慨，感叹人生道路的坎坷，时年49岁。\n作品每行以三个字居多，行间疏朗，字间互不连属，但每个单字却牵丝不断，如“观”、“洁”、“难”等。通篇字体修长，行笔快捷，骨力内涵，豪放中见沉着，遒劲中见秀丽，有米芾书法“沉着飞翥”的神韵。徐渭曾云：“古人论右军以书掩其人，新建乃不然，以人掩其书。”",[23,119,120,7,114,29,13482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85fe9447d0f222fefa21325307366f7d.jpg","纵31.5厘米，横771.8厘米",[543],{"id":14479,"slug":14480,"title":14481,"dynasty":54,"author":11973,"museum":227,"description":14482,"tags":14483,"thumbUrl":14484,"material":1050,"size":1051,"collection":217,"collections":14485,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},240419,"zhuan-shu-qian-zi-wen-juan-xu-lin-240419","篆书千字文卷","徐霖（1462年-1538年），字子仁，号九峰、髯仙，又称徐山人。先世长洲（今江苏苏州）人，出生于华亭（今上海松江），后移居金陵。明代戏曲作家。\n徐霖性格倜傥、豪爽，工于书法，又兼善绘画。填曲富有才情，且颇精于格律，他与散曲作家陈铎在当时并有“曲坛祭酒”的称号，并与谢承举一起被称为“江东三才子”。",[664,119,7,5431,193,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ca668f53888a848e6792c65866a2ea.jpg",[],{"id":14487,"slug":14488,"title":14489,"dynasty":54,"author":14490,"museum":227,"description":14491,"tags":14492,"thumbUrl":14493,"material":217,"size":217,"collection":217,"collections":14494,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},234216,"bai-miao-jiu-ge-tu-juan-wu-gui-234216","白描九歌图卷","吴桂","《九歌》是屈原《楚辞》的篇名之一。此《九歌图》卷由元代张渥绘，褚奂隶书题词。画卷依次描绘了《九歌》的十一篇：东皇太一、云中君、湘君、湘夫人、大司命、少司命、东君、河伯、山鬼、国殇、礼魂。此卷现藏于美国克利夫兰艺术博物馆，约绘于元至正二十一年，拖尾有陆时化、叶恭绰、吴湖帆、吴华源、徐邦达等人跋。",[23,24,25,7,174,61,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b4805ad4afd40f680d4258ef202e2b.jpg",[],{"id":14496,"slug":14497,"title":14498,"dynasty":54,"author":5246,"museum":20,"description":14499,"tags":14500,"thumbUrl":14502,"material":14503,"size":14504,"collection":217,"collections":14505,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},233830,"san-shu-tu-juan-zhu-zhan-ji-233830","三鼠图卷","该画卷由三件画作组成，分别为：苦瓜鼠图（纸本墨笔）、菖蒲鼠荔图（绢本设色）、食荔图。卷末有明宪宗朱见深御制题跋。此卷现藏于北京故宫博物院，钤明末宋荦、清乾隆、嘉庆、宣统等藏印。\n虽然同为一卷画，但《苦瓜鼠图》与《菖蒲鼠荔图》《食荔图》的风格有很大的不同。《苦瓜鼠图》用笔爽朗，逸笔草草，与朱瞻基《武侯高卧图卷》（北京故宫博物院藏）中的墨竹、丛草以及《松云荷雀图卷》中的荷叶、兰草和寿石的笔法一致。而《菖蒲鼠荔图》和《食荔图》则工整秀逸，笔法精到。画中老鼠偷食苦瓜及红荔饶有趣味，前者将并不为人待见的老鼠的憨态与顽皮神态鲜活地表现出来，正如韩昂在《图绘宝鉴续纂》中评朱瞻基画艺所说：“万几之暇，留神词翰，于图画之作，随意所至，尤极精妙” ；后者所写 “荔枝” 有语带双关之意，“红荔” 与 “红利” 谐音，而 “荔枝” 又有 “一本万利” 之义，故老鼠啃食荔枝，具有吉祥寓意，其画中的内涵，已然超越了画作本身。",[24,25,7,28,27,14501,4262,1335,909,338,193],"鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37524d5d18f707fb2aabe2b8bb52ec5.jpg","纸本墨笔、绢本设色","纵28.2，横 38.5 厘米",[],{"id":14507,"slug":14508,"title":14509,"dynasty":133,"author":1344,"museum":20,"description":14510,"tags":14511,"thumbUrl":14512,"material":1411,"size":1561,"collection":217,"collections":14513,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[154,24,25,7,27,29,114,118,119,120,664,193,63,64,115,116,34,765,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg",[],{"id":14515,"slug":14516,"title":14517,"dynasty":18,"author":832,"museum":151,"description":8107,"tags":14518,"thumbUrl":14519,"material":442,"size":14520,"collection":217,"collections":14521,"showCount":234,"zanCount":1106,"manualWeight":48,"mainColor":49},232783,"yang-zheng-tu-juan-yi-liu-song-nian-232783","养正图卷一",[23,154,24,25,7,28,27,59,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ba766b8433f57a3fb63e40cb7d3497.jpg","30*322.97厘米",[],{"id":14523,"slug":14524,"title":14525,"dynasty":18,"author":294,"museum":227,"description":14526,"tags":14527,"thumbUrl":14529,"material":217,"size":217,"collection":217,"collections":14530,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},230166,"shui-qin-tu-juan-zhao-ji-230166","水禽图卷","此卷以淡墨勾勒晕染，一对鸳鸯悠游清波，翎毛纹理纤毫毕现，翅羽灵动舒展，柔波随漾尽显缱绻。右侧汀渚之上，野花莠草错落横生，野趣盎然。\n\n卷首题字清隽秀挺，与题跋诗文呼应画意，墨色温润雅致。整作工致写实兼具写意空灵，将水禽相依的情态与郊野水畔的幽谧生机融为一体，静雅之中暗藏灵动鲜活，尽显宋画雅致清和的意趣，是工写相融的精妙佳构。",[23,24,25,7,28,27,209,3232,2929,7015,14528],"水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87932b955e2126b5dfaa51f8b1ed5b54.jpg",[],{"id":14532,"slug":14533,"title":14534,"dynasty":54,"author":495,"museum":227,"description":14535,"tags":14536,"thumbUrl":14537,"material":217,"size":217,"collection":217,"collections":14538,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},228874,"gu-song-tu-wen-zheng-ming-228874","古松图","此作用笔苍秀老辣，古松盘虬屈曲，躯干以淡墨皴擦晕染，尽显嶙峋斑驳的百年肌理。留白勾出枯槎如银铁之骨，横斜扭转间尽露倔强姿态。松针以焦墨攒簇锋芒毕现，如寒戟森森，满溢凌然风骨。\n\n左侧题字笔意清劲挺拔，与画中奇松相得益彰，书画合璧。整幅以素净纸色衬出古松孤高，水墨洗练却真气弥满，将古松岁寒不凋的君子品格刻画得入木三分，尽抒孤傲清刚的文人意趣。",[23,24,25,7,114,118,276,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2dec8a1811c9c694ad2963a886ad04d.jpg",[],{"id":14540,"slug":14541,"title":4872,"dynasty":133,"author":1206,"museum":227,"description":14542,"tags":14543,"thumbUrl":14544,"material":217,"size":217,"collection":217,"collections":14545,"showCount":234,"zanCount":1106,"manualWeight":48,"mainColor":185},228173,"ren-ma-tu-juan-ren-ren-fa-228173","此卷绘三匹神骏，或昂首徐行，或垂目安步，筋骨肌理刻画入微，膘肥体健，神骏之态毕现。牵马者神情各异，衣冠服饰线条劲挺流畅，设色雅致沉稳，将人物的身份气度描摹得鲜活自然。\n\n画作写实精妙，比例精准，尽显创作者观察细致、笔力深厚。搭配的题字笔墨酣畅，与绘作相映成趣，整卷古意悠然，将人马之间的呼应刻画得浑然天成，尽显鞍马人物画的高古雅致风韵。",[23,154,24,25,7,28,27,61,90,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27670cfe79fb7e698f1516afb9d52f7.jpg",[],{"id":14547,"slug":14548,"title":14549,"dynasty":133,"author":4953,"museum":227,"description":14550,"tags":14551,"thumbUrl":14554,"material":217,"size":217,"collection":217,"collections":14555,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},228077,"zhong-kui-ye-you-tu-yan-hui-228077","钟馗夜游图","此作用铁线游丝般的白描铺陈夜游盛景，开篇主角被鬼卒前呼后拥，伞盖高张、锣声隐隐，群鬼或扛矛开道、或携琴捧酒，狞怪形貌下藏着憨拙灵动的神态。画师以刚柔相济的墨线，勾勒出鬼物各异的怪谲身形，将幽冥出行的诡谲，化作带市井烟火气的诙谐游行。没有浓墨重彩，仅以枯淡墨痕衬出清冷幽冥的氛围感，把搜神题材的森然消解为戏谑意趣，尽显笔底奇思与线描功力，让这场夜游跳出幽冥的可怖，鲜活如人间市集的巡行。",[23,154,24,25,7,174,114,61,1047,14552,14553],"武器","动作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c9e76964e6d5a4befe37e1f51e3f10.jpg",[],{"id":14557,"slug":14558,"title":14559,"dynasty":133,"author":1344,"museum":227,"description":14560,"tags":14561,"thumbUrl":14562,"material":217,"size":217,"collection":217,"collections":14563,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":185},228017,"shan-ju-tu-quan-juan-qian-xuan-228017","山居图全卷","《山居图》是元代画家钱选创作的一幅纸本设色画。\n卷尾作者自题：“山居惟爱静，日午掩柴门。\n寡合人多忌，无求道自尊。\n鷃鹏俱有志，兰艾不同根。\n安得蒙庄叟，相逢与细论。\n吴兴钱选舜举画并题。\n”钤“舜举印章”、“舜举”、“钱选之印”三方。\n卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。\n细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。\n钱选，字舜举，号玉潭、清癯老人、巽峰，晚年更号溪翁，吴兴（今浙江省湖州市）人。\n生卒不详，主要活动在1世纪中后期至14世纪初。\n南宋景定（126—1264年）年间的进士，入元不仕，遂寄情山水，流连诗酒，隐于绘事，终其一生。\n他是一位技法全面的画家，花鸟、山水、人物、鞍马无一不擅，且造诣颇深，时人有“老钱丹青当世无”的赞誉。\n元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,25,7,27,29,118,120,34,35,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e6a316c87208793db9c136df079a22.jpg",[],{"id":14565,"slug":14566,"title":14567,"dynasty":18,"author":2556,"museum":227,"description":14568,"tags":14569,"thumbUrl":14570,"material":217,"size":217,"collection":217,"collections":14571,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 清明上河图\u002F张择端 睢阳五老图\u002F侠名 晋文公复国图\u002F李唐（传） 山水图（二幅）\u002F李唐 潇湘奇观图\u002F米友仁 林峦积翠图\u002F江参 前赤壁图\u002F杨士贤（传） 四季牧牛图\u002F阎次平 ……",[23,24,154,25,7,114,118,29,34,63,64,115,117,116,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":14573,"slug":14574,"title":14575,"dynasty":250,"author":3062,"museum":227,"description":14576,"tags":14577,"thumbUrl":14578,"material":217,"size":217,"collection":217,"collections":14579,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},224448,"tang-ren-shi-yi-tu-juan-wang-hui-224448","唐人诗意图卷","此作以长卷铺展江南胜景，开篇浩渺江天，远帆孤悬于烟霭之间，水天相融尽得平远之致。继而丘壑渐起，田畴村落错落于林麓溪畔，野趣盎然。中段奇峰崛立，皴笔苍劲厚重，林木蓊郁间隐见山居梵塔，兼得高远深邃。末段山峦复归淡远，墨色晕染间烟岚轻笼。\n全作用笔清润灵秀，干笔皴擦间兼具宋元山水之妙，以诗意入画，将江南山水的温润清和、林泉雅趣缓缓铺陈，移步换景间，尽显山河安闲悠然之态。",[23,24,7,763,118,27,29,405,690,34,35,196,986,420,117,3517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9deecc02f68f4e5c292be2c407e77717.jpg",[],{"id":14581,"slug":14582,"title":14583,"dynasty":18,"author":430,"museum":20,"description":14584,"tags":14585,"thumbUrl":14587,"material":40,"size":14588,"collection":543,"collections":14589,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},223361,"hui-chang-jiu-lao-tu-juan-yi-ming-223361","会昌九老图卷","此卷描绘的是唐会昌五年（845年）白居易居洛阳香山时与友人的“尚齿”之会。虽以人物为题材，但建筑部分不论整体还是细部都描绘得准确精微，水榭、房舍、板桥、河堤、护栏、石凳乃至屋内的陈设交代得一清二楚，可谓“咸取砖木诸匠本法，略不相背”，几乎可以按图构建。画家不仅对建筑的构造和做法至详至悉，而且已经开始注意通过高超的写实技巧和一定程度的透视画法在二维平面上更为真实地表现建筑物三维空间的立体感和通透感，达到使观者“望之中虚，若可蹑足”的艺术效果。尤为重要的是，图中的建筑采用北宋的界画手法，匀细的线条有利于刻画建筑物复杂的结构和构件的细部，这种水墨白描的建筑画法延续至元代并发展到了极致。",[23,154,24,7,59,174,114,61,62,63,604,1794,14586],"写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ade434f61458b68f926c3828411c458.jpg","纵40cm，横69cm",[543],{"id":14591,"slug":14592,"title":14593,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":14594,"thumbUrl":14595,"material":140,"size":6245,"collection":217,"collections":14596,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},223057,"hong-lou-meng-182-sun-wen-223057","红楼梦182",[23,24,25,7,28,27,61,89,29,34,156,3960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d4b98e1d2c02477657bf80b0a7cefc.jpg",[],{"id":14598,"slug":14599,"title":14600,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":14601,"thumbUrl":14603,"material":140,"size":6245,"collection":217,"collections":14604,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},223024,"hong-lou-meng-149-sun-wen-223024","红楼梦149",[23,24,28,27,7,6242,14602,61,70,34,5923],"楼台亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F049953b53226424f854466dd370d0417.jpg",[],{"id":14606,"slug":14607,"title":14608,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":14609,"thumbUrl":14611,"material":140,"size":6245,"collection":217,"collections":14612,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},223021,"hong-lou-meng-146-sun-wen-223021","红楼梦146",[23,24,28,27,7,6242,14610,62,610,2144,70,90,34,921,29],"古装人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62c76177cac49c4471790bae375b2831.jpg",[],{"id":14614,"slug":14615,"title":14616,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":14617,"thumbUrl":14620,"material":140,"size":6245,"collection":217,"collections":14621,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},223017,"hong-lou-meng-142-sun-wen-223017","红楼梦142",[23,24,28,27,7,61,14618,2144,4994,13403,29,14619],"古建筑","红楼题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5da4a987ea8c73575cae802c4869f0.jpg",[],{"id":14623,"slug":14624,"title":14625,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":14626,"thumbUrl":14630,"material":140,"size":6245,"collection":217,"collections":14631,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":49},222903,"hong-lou-meng-28-sun-wen-222903","红楼梦28",[23,24,28,27,7,59,1044,14627,70,34,8098,10006,7814,14628,8707,14340,5411,213,14336,14629],"古典绘画","室外场景","山水纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbf114af71bd44fc7209522477504afd.jpg",[],{"id":14633,"slug":14634,"title":14635,"dynasty":54,"author":2680,"museum":151,"description":14636,"tags":14637,"thumbUrl":14638,"material":442,"size":14639,"collection":543,"collections":14640,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},222480,"shi-tie-mei-nv-pian-zhu-yun-ming-222480","诗帖《美女篇》","书曹植《乐府》四首，又称《手卷曹植诗四首》又名《箜篌引》。《手卷曹植诗四首》是祝允明草书成就的最杰出代表。作品狂而不乱，情浓势足，激跃奔发，气度不凡。其将字中妍媸和巧丽的笔画起收动作幅度缩短，增加行笔过程中的饱满度和厚实感。使人在视觉上既感到朴拙、沉劲而又不失流丽多姿。祝允明在这一卷后自识“冬日烈风下写此，神在千五百年前，不知知者谁也”，道出了他意在追摹汉人，以及对自己作品的自负。是祝允明的代表作品。",[23,5431,119,1892,7,1229,114,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47cd6be28ec531ffe99cbe4cf7f8f1aa.jpg","纵36.1厘米，横1147.5厘米",[543],{"id":14642,"slug":14643,"title":14644,"dynasty":54,"author":2680,"museum":111,"description":14645,"tags":14646,"thumbUrl":14647,"material":442,"size":14648,"collection":543,"collections":14649,"showCount":234,"zanCount":48,"manualWeight":48,"mainColor":128},222471,"mu-dan-fu-zhu-yun-ming-222471","牡丹赋","此卷笔法精熟,恣肆纵逸,夺人心魄，是为记园内牡丹盛开而书即兴之赋。祝氏中年行草居多，至晚年则喜作大草。由于涉猎广博才分自高，祝氏所书下手便直接晋唐宋元，融会贯通之下独立高标。尤其是他五十岁之后的草书之作，更是吞吐腾挪出神入化。他的此类创作显然得法于唐代张旭、怀素两家，同时也受“宋四家”中黄庭坚的影响，但相形之下愈加狂放烂漫",[23,119,1892,7,114,193,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a84f256639e0c7480e9acd4a8875bf.jpg","纵30.8 厘米 横925.5 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。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。\n擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,25,7,174,27,120,61,34,196,29,404,654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb39b1e043ef15aca59080d2812129.jpg","32.4 1304.9 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。\n线条细劲柔丽，将仕女纱衣的通透莹润、幼童肌肤的软嫩质感晕染恰到好处，复刻出周昉一派柔婉绮丽的仕女画格调。整卷将深宅里寻常嬉游的日常，绘就为传世温情，尽显雅致世俗意趣，是宋摹唐画里颇具情致的佳作。",[23,24,25,7,60,28,27,61,155,14857,1590,193],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe007d3c6b842efb4988a0404266ac130.jpg",[],{"id":14861,"slug":14862,"title":14863,"dynasty":18,"author":14864,"museum":227,"description":14865,"tags":14866,"thumbUrl":14868,"material":1050,"size":1051,"collection":217,"collections":14869,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":128},227328,"zi-zhi-tong-jian-can-gao-si-ma-guang-227328","资治通鉴残稿","司马光","是司马光手迹原本",[23,25,119,7,120,193,1973,539,14867],"稿本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7b7aadcc6600349ef79463d337d6b2.jpg",[],{"id":14871,"slug":14872,"title":14873,"dynasty":18,"author":430,"museum":20,"description":14874,"tags":14875,"thumbUrl":14876,"material":442,"size":14877,"collection":124,"collections":14878,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":49},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,24,25,7,60,114,118,29,254,419,468,116,64,61,404,63,1123,654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[124,103],{"id":14880,"slug":14881,"title":3659,"dynasty":18,"author":430,"museum":322,"description":14882,"tags":14883,"thumbUrl":14884,"material":40,"size":14885,"collection":217,"collections":14886,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":128},223377,"bei-qi-xiao-shu-tu-yi-ming-223377","《北齐校书图》所绘内容为天宝七年（556年）文宣帝高洋命樊逊等人校勘内府所藏图书的事件。旧传此卷为唐阎立本所作，现多将其归于北齐画家杨子华名下。\n图中三组人物。第一段共七人，其中胡服文士持书卷踞胡床（三国时传入中国的坐具，形制近似于今天使用的马扎），为此段中心；第二段共十人，四文士坐于榻上，婢女、小童伺立榻周，文士中二人校勘书卷，另二人似乎正因意见相左而有所争执；第三段为侍从和牵马的奚奴。\n画中的家具器用、人物服饰皆胡汉杂糅，符合北齐的实际情况。人物面庞呈椭圆形是此卷的鲜明特点，联系到近年来的考古发现，似乎与北齐时期的墓室壁画中人物有同样的特征，因此《北齐校书图》也屡屡为学界引用以论证北齐画风。尽管北齐是一个极短命的王朝，但是越来越多的考古发现证明，在这一时期，艺术呈现出极鲜明的面貌，并很可能影响到唐代的审美趣味。",[23,154,24,25,7,28,27,61,90,156,193,119,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5da306b34154b0d7c31d14521fdcc73.jpg","27.6*114CM",[],{"id":14888,"slug":14889,"title":14890,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":14891,"thumbUrl":14894,"material":140,"size":6245,"collection":217,"collections":14895,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":128},223031,"hong-lou-meng-156-sun-wen-223031","红楼梦156",[23,154,24,25,7,28,27,59,61,62,5924,2097,211,281,14328,14892,2852,14893],"传统建筑","聚会场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa653142b82fe372c69258835ddd281d8.jpg",[],{"id":14897,"slug":14898,"title":14899,"dynasty":250,"author":2321,"museum":227,"description":2322,"tags":14900,"thumbUrl":14902,"material":752,"size":2325,"collection":124,"collections":14903,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":128},222621,"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2",[23,154,24,25,7,14901,118,114,29,34,117,37,119,120],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg",[124,103,543],{"id":14905,"slug":14906,"title":14907,"dynasty":133,"author":534,"museum":56,"description":14908,"tags":14909,"thumbUrl":14910,"material":40,"size":14911,"collection":217,"collections":14912,"showCount":304,"zanCount":1106,"manualWeight":48,"mainColor":128},222607,"xi-cheng-gui-le-tu-tu-juan-zhao-meng-fu-222607","西成归乐图图卷","这幅画以人和家畜为材料，描绘了人们的欢乐。 图中的家畜包括牛、驴和狗。 人物包括老、中、轻、女人和婴儿。 他们手里拿着东西，脸上挂着微笑。 作者用丰富自然的表情精心绘制了每一张笑脸，表达了人们幸福的心情！",[23,24,25,7,27,61,91,5813,2214,28,120,119,5815,3034,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","22.9×89.5",[],{"id":14914,"slug":14915,"title":14916,"dynasty":54,"author":2680,"museum":14917,"description":14918,"tags":14919,"thumbUrl":14920,"material":217,"size":14921,"collection":217,"collections":14922,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":128},222474,"li-bai-shi-er-shou-zhu-yun-ming-222474","李白诗二首","上海朵云轩","明代中期的书坛以吴门祝允明（1460-1526）、文徵明（1470-1559）、陈淳（1483-1544）、王宠（1494-1533）最为著名，他们生活在同时代、同地域，在书法艺术方面都成就斐然，影响深远，为书史上一奇观。这四人中，祝允明、陈淳书风以劲健放纵见长，文徵明、王宠书风偏于劲健工稳。所同者在“劲健”，用笔讲求力度，结体尚端正，即使祝、陈的狂草亦难脱此风。其中祝、文二人虽学通魏晋、唐宋，但受黄山谷影响较重，祝之草、文之行皆脱胎于山谷，无山谷之温文尔雅，但大开大合处亦可称道。陈淳出于文徵明而颠逸放纵以成自家面目，端庄逊于文而姿态过之。王宠用心魏晋，宋后习气稍少，相比于前三人，个性不足却韵致为高。",[23,24,25,119,1892,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26105ef6460b281c4ecbfaf6305aa842.jpg","25.3X310cm",[],{"id":14924,"slug":14925,"title":14926,"dynasty":54,"author":2680,"museum":1934,"description":14927,"tags":14928,"thumbUrl":14929,"material":442,"size":14930,"collection":543,"collections":14931,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":128},222472,"yun-jiang-ji-zhu-yun-ming-222472","云江记","此卷写于弘治八年（1495年），祝允明35岁，是他早期的草书。末署“弘治八年秋日，长洲枝山祝允明书”，并钤“允明之印”和“希哲”二印。\n该卷写得劲健豪放，刚柔相济，点画狼藉，烟云变幻。可以看到他已经将二王、怀素、张旭、黄山谷融会贯通。但较其晚年狂草作品，则显出用笔稍轻，因而有人疑为伪。\n祝允明（1460—1527年），字希哲，因为他多生一指，又号枝指生，枝指山人，枝山等。祝允明的祖父祝颢、外祖父徐有贞都是进士，学问渊博，工诗善书。由于先天的禀赋和祖父外、外祖父的影响祝允明的才华很早就显露出来了。\n祝允明五岁能作径尺大字，读书一目数行，九岁即能作诗，而且出语惊人。当他晚年回忆童年学书时说：“所幸独蒙先人之教，自髫丱以来，绝其令学近人书，目所接皆晋、唐帖也。”由于先辈的教诲，他一开始学书，就取法乎上，打下很好的基础。\n祝允明的草书主要是受他外祖父徐有贞的影响，徐的草书学张旭、怀素，雄肆奔放，这对祝氏草书风格的形成起了决定的作用。祝允明书法风格从精楷到狂草，跨度之大令人惊异，一方面是受这二位前辈的启迪，另一方面则是他横溢的才华决定的。\n明弘治五年(1492年)，祝允明33岁，参加乡试中了举人。他的考卷很得主考王鏊的赏识。他踌躇满志，以为凭自己的才学，进京考试中进士，易如反掌。没想到后来七次会试都不见录。\n仕途的失意，大大改变了祝允明的人生态度，使他从发奋读书、追求功名的圣贤之徒，变成了游戏人生，放荡不羁的漫士。这一转变也带来他笔下的变化，他40岁前后很少作草书，50岁后所作草书就多了起来，而且越来越狂放。\n从不同时期的作品中，可以看出他这种风格的变化。",[23,119,1892,120,7,11887,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ac6aa2b52b706efe936629884f10c6.jpg","纵26.6厘米，横265.5厘米",[543],{"id":14933,"slug":14934,"title":14935,"dynasty":54,"author":110,"museum":380,"description":14936,"tags":14937,"thumbUrl":14938,"material":1411,"size":14939,"collection":217,"collections":14940,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":128},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,154,24,25,7,114,27,120,119,193,118,2161,116,254,63,64,61,435,117,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":14942,"slug":14943,"title":6404,"dynasty":18,"author":2005,"museum":380,"description":14944,"tags":14945,"thumbUrl":14946,"material":140,"size":14947,"collection":217,"collections":14948,"showCount":304,"zanCount":1106,"manualWeight":48,"mainColor":49},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[23,24,154,7,174,114,25,193,29,61,116,34,117,62,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":14950,"slug":14951,"title":14952,"dynasty":18,"author":14953,"museum":151,"description":14954,"tags":14955,"thumbUrl":14956,"material":3507,"size":14957,"collection":217,"collections":14958,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":128},221369,"zi-shu-xie-biao-bing-shi-juan-cai-xiang-221369","自书谢表并诗卷","蔡襄","北宋时期，著名书家蔡襄曾得到仁宗皇帝御书赐字『君谟』。为此，蔡襄深感皇恩，楷书谢表并赋七言诗一首︰『臣襄伏蒙联合会下特遣中使赐臣御书一轴，其文曰︰御笔赐字君莫者。臣孤贱远人，无大才艺，陛下亲宸翰，推着经义，俾臣佩诵以尽谟谋之道……。』卷后，有米芾、鲜于枢、解缟、吴宽、陈继儒、董其昌、张祖翼=罗振玉等众多宋、元、明、清名人题跋。这卷流传有绪的墨迹曾经南宋赵明诚收藏，无代曾为乔篑成收藏，明代曾经黄钟、赵用贤收藏，清初为安岐收藏，后又总计著名沣收藏，清末为端方所藏。后流入日本国，现藏于日本书道博物馆。全卷纵二十九点三厘米，横长总计八百二十九点五厘米。据方家评说，台北故官博物院、日本东京国立博物馆也藏有这卷墨迹的不同书写本，但本卷最佳。",[119,120,7,193,3196,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7485e83f20b6f838ccd280dcc988874.jpg","全高25.8隔水一10.8本幅25x10",[],{"id":14960,"slug":14961,"title":14962,"dynasty":133,"author":2780,"museum":651,"description":14963,"tags":14964,"thumbUrl":14965,"material":720,"size":217,"collection":124,"collections":14966,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":49},220094,"jin-biao-tu-wang-zhen-peng-220094","锦标图","该画作描绘了北宋宫廷金明池的龙舟竞渡活动，一方面显示夺标争锦之意，另一方面又有君民同乐的太平盛世意涵。",[23,154,24,25,7,59,27,61,62,63,64,1070,511,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6c7809bff9a5428579d2095a8cda8f.jpg",[124],{"id":14968,"slug":14969,"title":14970,"dynasty":54,"author":5161,"museum":20,"description":14971,"tags":14972,"thumbUrl":14973,"material":442,"size":14974,"collection":44,"collections":14975,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":128},219862,"wen-jin-t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横110.2cm",[44],{"id":14977,"slug":14978,"title":14979,"dynasty":18,"author":2005,"museum":111,"description":14980,"tags":14981,"thumbUrl":14982,"material":78,"size":14983,"collection":44,"collections":14984,"showCount":304,"zanCount":1106,"manualWeight":48,"mainColor":128},219400,"zhao-nan-ba-pian-tu-ma-he-zhi-219400","召南八篇图","马和之，南宋画家，浙江钱塘人。高宗绍兴（1131-1162）时进士，官至工部侍郎，或说画院待诏。擅画人物、佛像、山水，用柳叶描（一作马蝗描），人物画仿吴道子，行笔飘逸，着色轻淡，“务支华藻”，人称“小吴生”。高宗赵构、孝宗赵昚，深重其笔，每写《诗经》，命他补图，内容包括草虫、花鸟楼阁、走兽、人物、山水，煌煌巨制，无所不备。\n此卷为《诗经▪召南》的补图，共八幅，分别为“羔羊”、“殷其雷”、“摽有梅”、“小星”、“江有汜”、“野有死麕”、“何彼穠矣”、“騶虞”。此卷历经梁清标、清内府、　励宗万收藏，每幅前有清弘历（高宗）对题《诗经·召南》诗句。",[23,154,24,25,7,27,28,120,119,193,61,29,4337,254,62,1071,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d92061e7f287db0b26cbfe3b1f0887b.jpg","纵26厘米，横40.2-44.9厘米",[44],{"id":14986,"slug":14987,"title":14988,"dynasty":18,"author":1482,"museum":151,"description":14989,"tags":14990,"thumbUrl":14991,"material":720,"size":14992,"collection":261,"collections":14993,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":128},218698,"han-lin-ji-xue-tu-li-cheng-218698","寒林积雪图","这幅《雪山萧寺图》只取了李成画寒林雪的名字，但风格更接近于蓝瑛和刘度的风格。",[23,24,154,25,7,29,2994,13602,1123,117,27,118,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68e6c410e1468f140d6db63b045c2caf.jpg","29.7x21cm",[261],{"id":14995,"slug":14996,"title":14997,"dynasty":54,"author":269,"museum":111,"description":14998,"tags":14999,"thumbUrl":15000,"material":217,"size":217,"collection":261,"collections":15001,"showCount":304,"zanCount":48,"manualWeight":48,"mainColor":15002},201810,"mo-hua-tu-juan-xu-wei-201810","墨花图卷","这幅长卷以水墨为魂，诗书画印浑然一体。笔墨如狂涛倾泻，肆意挥洒间，梅枝虬曲似铁，墨花冷艳含傲骨；兰叶飘逸若带，寥寥数笔尽得清逸；竹影横斜，笔力劲健欲生风；菊瓣泼墨而成，浓淡交织藏秋意；荷叶片片如盖，墨色淋漓见清雅；牡丹雍容却脱媚俗，狂放中显生机。每一处笔触皆随性生发，无拘无束，将花卉神韵与画家孤愤心性相融，墨气蒸腾处，尽显生命的郁勃与孤傲。诗题与朱印错落其间，更添古朴雅韵，是文人写意画的经典之作。",[24,7,114,209,274,282,275,283,277,278,119,120,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce09cb9b2025503b1df0db08b59dd0d4.jpg",[261],"c8bcb0",{"id":15004,"slug":15005,"title":15006,"dynasty":250,"author":15007,"museum":227,"description":15008,"tags":15009,"thumbUrl":15010,"material":1050,"size":1051,"collection":217,"collections":15011,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},290382,"bai-niao-tu-juan-jiang-ting-xi-290382","百鸟图卷","蒋廷锡","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[23,24,7,12226,196,1298,1857,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4220530ed51478e9da3375c4925bc9f.jpg",[],{"id":15013,"slug":15014,"title":15015,"dynasty":18,"author":3193,"museum":227,"description":15016,"tags":15017,"thumbUrl":15018,"material":1050,"size":1051,"collection":217,"collections":15019,"showCount":144,"zanCount":1106,"manualWeight":48,"mainColor":128},290087,"zhu-shang-zuo-tie-juan-huang-ting-jian-290087","诸上座帖卷","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。",[23,154,25,119,1892,7,1229,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdb24a160f22f01e860157984620e421.jpg",[],{"id":15021,"slug":15022,"title":15023,"dynasty":18,"author":2426,"museum":227,"description":15024,"tags":15025,"thumbUrl":15027,"material":1050,"size":1051,"collection":217,"collections":15028,"showCount":144,"zanCount":1106,"manualWeight":48,"mainColor":49},289349,"xie-sheng-cao-chong-tu-cui-bai-289349","写生草虫图","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真。",[23,154,24,7,28,27,209,336,337,439,15026,120,119,1818],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7dcd9dc21885b547b27cbaf1170050.jpg",[],{"id":15030,"slug":15031,"title":15032,"dynasty":2618,"author":430,"museum":1270,"description":15033,"tags":15034,"thumbUrl":15035,"material":1050,"size":1051,"collection":217,"collections":15036,"showCount":144,"zanCount":1106,"manualWeight":48,"mainColor":49},287939,"da-bo-re-bo-luo-mi-duo-jing-juan-di-san-bai-ba-shi-qi-shou-gao-yi-ming-287939","大般若波羅密多經卷第三百八十七手稿","此卷小楷密布全篇，笔致挺秀匀净，排布齐整却暗藏灵动法度。朴拙清雅的笔墨间，带着写经的恭谨肃穆，亦暗含书写者的笔墨情致，尽显中古写经一脉传承的风貌。历经岁月涤荡，纸色晕染泛黄，边缘残损斑驳，却更添沉厚的历史质感。字字如列雁齐飞，在泛黄卷面上铺展开静谧的宗教笔墨世界，将经文的肃穆与书法的清雅融为一体，默默承载着千年前的抄写时光，带着封存的丝路余韵，诉说着往昔的信仰与笔墨温度。",[7,540,119,537,173,6818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横771厘米",[543],{"id":15074,"slug":15075,"title":15076,"dynasty":133,"author":15077,"museum":20,"description":15078,"tags":15079,"thumbUrl":15080,"material":442,"size":15081,"collection":543,"collections":15082,"showCount":144,"zanCount":1106,"manualWeight":48,"mainColor":128},239630,"guo-jing-xing-he-liang-long-ji-shi-juan-guo-bi-239630","郭景星和梁隆吉诗卷","郭畀","释文：\n太常金奉礼宴翰苑诸公，出青玉荷盘，色奇古。盘之上擎杯，象莲蓬，下屈为柄，上覆为盖。盖青质而紫章，凡十九点，匠氏剜为莲房，殆夺天巧。嘱丹杨郭畀赋诗。诗固未足为杯盘夸，然将来或可讬诗以传也。碧云亭亭水天永，翠盖翻风堕秋影。文姬团扇感初凉，露华乱落明珠冷。紫茎绿叶歌秋兰，涉江折得烟蓬还。前缘已被专房误，守宫血点犹斑斑。麴生解后夸奇特，倒卷沧溟供一吸。太华峰高归路遥，但觉满怀春拍拍。俗眼傲睨瑠璃钟，金罍未用争夸雄。古诗调高和者寡，拟唤杜陵醉中把。至治初元修禊日。\n钤“郭畀天锡”印。鉴藏印有“砚溪清玩”、“年羹尧字亮工别号双峰”、“唐翰题审定”、“陆树声鉴赏章”等6方。\n按清唐翰题言，其先得到俞希鲁书《郭天锡文集序》，后又陆续得到郭畀书《郭景星和梁隆吉诗》以及《青玉荷盘诗》，因之合装成一卷，名为《郭氏诗翰卷》，并跋于卷后，以识本末。《青玉荷盘诗》之序记述了书此诗的原由：“太常金奉礼宴翰苑诸公，出青玉荷盘”，其盘的制作“殆夺天巧”，故赋诗以赞之。按俞序书于至正十五年（1355年）八月既望，此时郭畀已卒，“今二十余年矣”。序文又称郭氏“年才五十六耳”。徐邦达先生据此推断郭畀约生于元世祖至元十七年（1280年），约卒于惠宗至元元年（1335年）。《青玉荷盘诗》书于至治初元，作者时年约42岁。\n本诗卷书法得赵孟頫形骸，是元人中师法赵孟頫之佳者。结构疏密得宜，笔画劲挺磊落，点画精美，运笔娴熟，有一定的艺术水平。",[23,119,25,7,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472e9363bb29dbc628bbfe02b0198f5f.jpg","纵29.3厘米，横56.2厘米",[543],{"id":15084,"slug":15085,"title":15086,"dynasty":133,"author":534,"museum":20,"description":15087,"tags":15088,"thumbUrl":15089,"material":40,"size":15090,"collection":543,"collections":15091,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},239629,"lin-huang-ting-jing-juan-zhao-meng-fu-239629","临黄庭经卷","赵文敏公画右军像临黄庭经 此卷卷首绘王羲之像，面部刻画简略，人物衣纹勾写乏力，后以楷书临写王羲之书《黄庭经》，点画柔弱，结体松散。",[23,25,60,537,119,1229,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedff847bde7562ab12e2687af4d71457.jpg","纵28.5厘米，横116厘米",[543],{"id":15093,"slug":15094,"title":9587,"dynasty":18,"author":3193,"museum":20,"description":9588,"tags":15095,"thumbUrl":15096,"material":15097,"size":9591,"collection":543,"collections":15098,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},239568,"huan-hua-xi-tu-yin-juan-huang-ting-jian-239568",[23,154,24,25,7,119,1892,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04f97021a5b9dd0a7e8b62152a814a8.jpg","纸本，草书",[543],{"id":15100,"slug":15101,"title":15102,"dynasty":250,"author":4830,"museum":227,"description":14443,"tags":15103,"thumbUrl":15104,"material":1050,"size":1051,"collection":217,"collections":15105,"showCount":144,"zanCount":1106,"manualWeight":48,"mainColor":128},239356,"fu-mu-tu-juan-ding-guan-peng-239356","佛母图卷",[24,7,27,28,173,61,34,157,193,156,4282,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb242f76bc753a276143e3750ffe2503f.jpg",[],{"id":15107,"slug":15108,"title":3562,"dynasty":54,"author":12317,"museum":227,"description":15109,"tags":15110,"thumbUrl":15111,"material":696,"size":217,"collection":217,"collections":15112,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},234246,"hua-hui-tu-juan-chen-gua-234246","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[23,24,25,7,114,174,209,274,282,275,283,278,280,279,194,404,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":15114,"slug":15115,"title":11792,"dynasty":250,"author":3062,"museum":56,"description":15116,"tags":15117,"thumbUrl":15118,"material":384,"size":15119,"collection":217,"collections":15120,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，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，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,7,29,114,118,27,973,405,31,34,1123,1298,35,63,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":15122,"slug":15123,"title":15124,"dynasty":54,"author":15125,"museum":20,"description":15126,"tags":15127,"thumbUrl":15128,"material":696,"size":217,"collection":217,"collections":15129,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷","文嘉","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,24,25,7,114,120,193,119,275,29,404,34,61,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":15131,"slug":15132,"title":15133,"dynasty":250,"author":10072,"museum":20,"description":15134,"tags":15135,"thumbUrl":15136,"material":15137,"size":15138,"collection":217,"collections":15139,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[24,7,114,29,118,119,120,193,482,483,276,254,255,419,692,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":15141,"slug":15142,"title":15143,"dynasty":168,"author":430,"museum":20,"description":15144,"tags":15145,"thumbUrl":15146,"material":40,"size":15147,"collection":217,"collections":15148,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},234066,"zhou-fang-di-guan-chu-you-tu-can-juan-yi-ming-234066","周昉地官出游图残卷","图中地官于辇中微露半面人身，其余侍从、武士步行左右，画风接近《女史箴图》《列女图》一路，笔法古拙，人物造型生动，动作略显夸张，无款印。",[24,25,154,7,173,27,28,61,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9858640caff3d8f2ff702236255cd8.jpg","高24.1厘米，宽51.4厘米",[],{"id":15150,"slug":15151,"title":15152,"dynasty":18,"author":716,"museum":20,"description":8905,"tags":15153,"thumbUrl":15154,"material":8908,"size":8909,"collection":217,"collections":15155,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},233132,"cai-wei-tu-juan-li-tang-233132","采薇图卷",[23,24,25,7,114,27,28,118,61,29,34,468,1550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6db3df0be865cf051082196fc209b4d.jpg",[],{"id":15157,"slug":15158,"title":15159,"dynasty":54,"author":5285,"museum":227,"description":15160,"tags":15161,"thumbUrl":15162,"material":217,"size":217,"collection":217,"collections":15163,"showCount":144,"zanCount":1106,"manualWeight":48,"mainColor":128},228741,"fang-mi-you-ren-yun-shan-tu-juan-chen-chun-228741","仿米友仁云山图卷","此作用米家云山之法，以淡墨晕染山峦，间以浓墨点醒林麓，水汽弥漫，烟岚浮动，将江南丘壑的空濛秀雅尽藏尺素。简率的笔墨勾勒汀洲林木，苍润松秀，不求刻绘精细，只以水墨氤氲传递出云气漫过山峦的朦胧诗意，尽显“墨戏”的萧散意趣。\n\n画面留白与晕染相映，在虚实之间铺展出悠远淡宕的山水意境，契合文人画尚意重韵的追求。后幅题识亦为画卷添就文雅格调，整卷以水墨写意尽显平淡天真的米家山水风神，是明代文人水墨山水的逸品。",[23,24,25,7,114,118,60,120,119,193,29,1071,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec63ab7769bad38fa9c94164b033efd6.jpg",[],{"id":15165,"slug":15166,"title":15167,"dynasty":54,"author":1030,"museum":1100,"description":15168,"tags":15169,"thumbUrl":15170,"material":217,"size":217,"collection":217,"collections":15171,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},228476,"meng-xian-cao-tang-tu-juan-tang-yin-228476","梦仙草堂图卷","《梦仙草堂图》是明朝 的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[23,24,25,7,29,27,114,120,537,193,118,482,483,116,254,468,1071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":15173,"slug":15174,"title":15175,"dynasty":133,"author":12600,"museum":227,"description":15176,"tags":15177,"thumbUrl":15184,"material":217,"size":217,"collection":217,"collections":15185,"showCount":144,"zanCount":1106,"manualWeight":48,"mainColor":128},228250,"tai-ping-feng-hui-tu-zhu-yu-228250","太平风会图","以白描淡彩铺展全景长卷，笔底尽揽闾阎繁盛。\n卷中人物鳞次栉比，行商、百工、农人、仕女各持情态，衣纹线条劲挺秀逸，设色清雅柔润，将细碎日常的烟火气悉数铺陈：市集喧闹里货郎呼喝，田垄间耕者不辍，酒肆中宾主尽欢，百态群像虽身形微小却神完气足。\n此作以极细致的体察，将太平治下的世间风物凝于素纸，既是风俗长卷，亦是时代的鲜活切片，朴拙古雅的笔墨间，藏着对升平世象的温柔描摹。",[23,154,24,7,174,27,61,810,72,15178,949,15179,15180,15181,677,15182,15183],"田垄","行商","百工","农人","市井烟火","升平气象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc17c832f83e0deaaa4cc178b9a2fa52.jpg",[],{"id":15187,"slug":15188,"title":15189,"dynasty":133,"author":430,"museum":151,"description":15190,"tags":15191,"thumbUrl":15192,"material":470,"size":15193,"collection":217,"collections":15194,"showCount":144,"zanCount":1106,"manualWeight":48,"mainColor":49},228181,"shang-lin-yu-lie-tu-juan-yi-ming-228181","上林羽猎图卷","汉司马相如作上林赋，叙述天子狩猎於上林苑中。画者依赋文内容臆写情境，描绘层峦叠嶂、人物鸟兽、楼阁台观、旗辇军容等等，行笔设色皆细腻精妙,堪称佳作。 按此卷原签题元人，与院藏另两幅传为明代仇英所绘的上林图，构图、设色、用笔都近似，或出自同一稿本，疑皆为後人所摹。\n全画 分为七段，依次是：虚构人物子虚、乌有 、亡是公三人在屋中对话；在广阔的江水 游翔的水族与飞禽；天子的离宫别馆；天 子校阅游猎的队伍；天子骑马展开狩猎的 活动；在楼台举行歌舞宴乐；狩猎结束， 返回朝廷。全画青绿设色，运笔细腻精巧 ，与本院藏另两幅明代仇英的上林图同稿 ，作画的时代也相近。",[23,24,25,7,26,27,28,29,61,90,62,34,117,31,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187484737692286adb84a07e7ea03fa4.jpg","该幅 47.5x1298.2公分、隔水一 14.2公分、隔水二 11.1公分、隔水三 12.1公分、隔水四 13.5公分",[],{"id":15196,"slug":15197,"title":15198,"dynasty":133,"author":7459,"museum":227,"description":15199,"tags":15200,"thumbUrl":15201,"material":217,"size":217,"collection":217,"collections":15202,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},228042,"chun-shan-fang-you-tu-juan-sheng-mao-228042","春山访友图卷","此作用平远之法铺展春日江天，烟波澹澹横贯画面，晕染出空濛柔婉的山水意趣。左下角扁舟轻漾，舟中士人纵览春景，自在悠游；右侧山居隐于林木间，白墙黛瓦雅致静谧，暗合访友幽怀。\n\n远山以淡墨晕染，云雾缱绻萦绕峰峦，青绿浅施于山石林木间，温润雅致。笔致温婉细腻，皴染相辅，既绘出春山葱郁温润之态，亦将隐逸淡远的意韵融汇其间，藏着文人寄情林泉、悠游丘壑的雅趣。",[23,24,25,7,27,29,118,482,483,115,34,61,64,116,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":15204,"slug":15205,"title":15206,"dynasty":133,"author":15207,"museum":227,"description":15208,"tags":15209,"thumbUrl":15210,"material":217,"size":217,"collection":217,"collections":15211,"showCount":144,"zanCount":1106,"manualWeight":48,"mainColor":49},227991,"wan-song-tu-juan-gu-chao-227991","万松图卷","顾超","此作用笔松灵秀润，以披麻皴晕染山峦，淡墨铺就出氤氲山林清气。近景苍松虬曲苍劲，坡岸错落间村居掩映，野趣横生。中景湖水萦回柔婉，轻描水纹分割出虚实层次，让画面灵动不滞。远景层峦间万松层叠，与山色相融，烘托出萧散空寂的林下氛围。整体简淡中见苍润，脱却匠气，以文人意趣勾勒林泉高致，将隐逸之思藏在笔墨留白间，引观者步入静穆幽远的山林之境，尽显寄情丘壑的林下风流。",[23,24,25,154,7,114,118,29,1298,117,64,63,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1128d13ce286d88d7dc81f940e410197.jpg",[],{"id":15213,"slug":15214,"title":15215,"dynasty":18,"author":716,"museum":227,"description":15216,"tags":15217,"thumbUrl":15218,"material":217,"size":217,"collection":217,"collections":15219,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[23,154,24,25,7,60,118,114,27,119,193,29,115,764,64,117,34,404,765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":15221,"slug":15222,"title":8176,"dynasty":18,"author":415,"museum":227,"description":15223,"tags":15224,"thumbUrl":15225,"material":217,"size":217,"collection":217,"collections":15226,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,24,25,7,174,27,61,29,116,63,64,115,34,62,119,193,70,73,486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":15228,"slug":15229,"title":15230,"dynasty":18,"author":15231,"museum":227,"description":15232,"tags":15233,"thumbUrl":15235,"material":217,"size":217,"collection":217,"collections":15236,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","李山","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,154,24,25,7,114,27,118,119,120,193,29,11547,15234,30,70,34,117],"风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],{"id":15238,"slug":15239,"title":15240,"dynasty":18,"author":4334,"museum":227,"description":15241,"tags":15242,"thumbUrl":15244,"material":217,"size":217,"collection":217,"collections":15245,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},227334,"jiang-fan-shan-shi-juan-song-ren-227334","江帆山市卷","艺术赏析 江上帆船一艘，船头有缫车，后舱篷顶，笼畜雄鸡一，盖用以报晓取时。\n江波粼粼，用笔细挺。\n岸旁已停泊三舟，皆有笼鸡之蓄。\n岸上有驱驴者，道逢相拜者，骑驴投店者。\n山道间，远处迷濛，有驼队成群。\n山谷中岚烟凝白，飞鸟结阵，一片黄昏景色。\n两山回抱而起，山峰结构及树法、水波画法，与 画风极接近。\n【名称】宋人江帆山市卷 【规格】28.644.1公分 【收藏】 主题与关键字： 夏景、房舍、茅草屋、鸡、客舫、帆船、寺庙、店铺、骆驼、狗、骡．驴、马、回廊、孩童、侍从（侍女、童仆）、渔夫、船夫、百姓、行旅、官员（臣）、江河、湖海。\n石渠宝笈初编（重华宫），下册，785页；故宫书画录（卷八），第四册，78页；故宫书画图录，第十七册，21-22页。",[154,24,25,7,114,118,29,15243,7112,66,138,690,3077,193],"江帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc42d48136e2cb3cdf0a480af5efb4a.jpg",[],{"id":15247,"slug":15248,"title":7335,"dynasty":149,"author":4909,"museum":227,"description":15249,"tags":15250,"thumbUrl":15251,"material":217,"size":217,"collection":217,"collections":15252,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},227270,"xia-re-tie-yang-ning-shi-227270","《夏热帖》，五代，杨凝式书，纸本，手卷，纵23.8厘米，横33厘米。草书8行，共32字。\n《夏热帖》是杨凝式写的一封信札。内容大致是，因天气炎热，送给僧人消夏饮料“酥密水”表示问候。\n释文：\n“凝式啓：夏熱體履佳宜，長□酥密水，即欲致法席，苦□□□乳之供，酥似不如也。(以下数字残损难识)病？(下二行残损)。”\n首署款：“凝式”。\n后纸有宋王钦若，元鲜于枢、赵孟頫，清张照题跋及乾隆皇帝的释文。\n卷前后及隔水上钤有宋“賢志堂印”，元赵孟頫，明项元汴，清曹溶、纳兰成德、清内府等鉴藏印。另有数方古印不辨。\n此帖是杨凝式唯一的传世草书作品，书法兼取唐颜真卿、柳公权笔法，体势雄奇险崛，运笔爽利挺拔，《神仙起居法》有异曲同工之妙，为杨凝式书法代表作品作之一。\n此帖曾刻入《三希堂法帖》。\n明汪砢玉《珊瑚网书跋》，清吴其贞《书画记》、顾復《平生壮观》、卞永誉《式古堂书画汇考》、内府《石渠宝笈·初篇》等书著录。",[23,1892,119,25,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c764be838b3a960970b6f300cc2fe6b.jpg",[],{"id":15254,"slug":15255,"title":15256,"dynasty":54,"author":430,"museum":8978,"description":15257,"tags":15258,"thumbUrl":15260,"material":1464,"size":15261,"collection":124,"collections":15262,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},223400,"si-ji-tu-juan-yi-ming-223400","四季图卷","该作品，以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。托名李唐之作，当是明人仿古之作。",[23,7,24,154,25,29,4422,118,27,62,63,64,116,2038,854,405,34,15259],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","35.1X661.9",[124,103],{"id":15264,"slug":15265,"title":15266,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":15267,"thumbUrl":15268,"material":140,"size":6245,"collection":217,"collections":15269,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},222996,"hong-lou-meng-121-sun-wen-222996","红楼梦121",[23,24,25,7,28,27,26,61,29,34,117,63,64,1857,3948,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97caa72c6480983bdaf4d7d5fa77643a.jpg",[],{"id":15271,"slug":15272,"title":15273,"dynasty":54,"author":7586,"museum":15274,"description":15275,"tags":15276,"thumbUrl":15277,"material":353,"size":15278,"collection":124,"collections":15279,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":185},222581,"lin-da-chi-shan-shui-tu-juan-lan-ying-222581","临大痴山水图卷","美国芝加哥艺术学院","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,25,7,60,118,27,119,120,193,29,34,117,63,64,116,196,2791,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf31e04d0d80d510a4c1e05e83812c0.jpg","纵58 58厘米，横962 98厘米",[124,45],{"id":15281,"slug":15282,"title":15283,"dynasty":54,"author":15284,"museum":380,"description":15285,"tags":15286,"thumbUrl":15288,"material":696,"size":15289,"collection":217,"collections":15290,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},222432,"ren-wu-cao-chong-tu-quan-juan-du-da-cheng-222432","人物草虫图全卷","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,24,154,25,7,174,114,28,193,119,61,336,1298,1857,282,404,196,15287,2097,213],"棕榈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc23865987ff0a8c397d24a26b83c9f.jpg","30x336",[],{"id":15292,"slug":15293,"title":15294,"dynasty":54,"author":6014,"museum":56,"description":15295,"tags":15296,"thumbUrl":15297,"material":353,"size":15298,"collection":124,"collections":15299,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},222230,"heng-tang-yu-xie-tu-juan-wen-bo-ren-222230","横塘雨歇图卷","全卷画层峦叠谳，千岩万壑，岗岭蜿蜒，龙脉起伏不断，峦间飞瀑如练，苍松依聚溪畔坡石。野色桥边，树石掩映，露出茅屋草亭。人物幽闲，或俯临秋水，或曳杖渡桥，或对坐观瀑，颇得游山观水之乐。署“嘉靖戊子冬日，五峰山人文伯仁。”",[23,24,25,7,27,29,118,30,419,34,31,468,610,61,37,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78539aa02e216d5b6930b22af81d1ea0.jpg","18x123cm",[124,45],{"id":15301,"slug":15302,"title":15303,"dynasty":54,"author":15125,"museum":151,"description":15126,"tags":15304,"thumbUrl":15305,"material":217,"size":15306,"collection":124,"collections":15307,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},222022,"hua-hui-jing-tang-tu-juan-wen-jia-222022","画会景堂图卷",[23,154,24,25,7,27,114,28,118,61,35,34,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2f2a2830eb86fb423891948207a67.jpg","27.1x88.1",[124,45],{"id":15309,"slug":15310,"title":15311,"dynasty":133,"author":11963,"museum":568,"description":15312,"tags":15313,"thumbUrl":15315,"material":384,"size":15316,"collection":217,"collections":15317,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},221811,"you-yu-xian-tu-juan-yao-ting-mei-221811","有余闲图卷","《有余闲图》的画幅不长，风格和故宫博物院的《雪江游艇图》一致，是典型的文人绘画。它的珍贵处，在于卷后元人题跋超多，前后二十余家，蔚为大观。\n卷前引首是章弼题写的“有余闲”三字篆书，画卷绘一高士坐于临水的茅舍前，姚廷美题：“至正廿年（1360）春正月□日作此，并系鄙语于尾，地偏人远闭柴关，满院松阴白昼闲。眼底风尘浑忘却，坐看流水卧看山。吴兴姚廷美书”。\n后接绢、纸七张，各接缝处有梁清标押缝小印，先是杨维桢绢本《有余闲说》，署“至正庚子（1360）二月初吉东维子书”。",[23,24,7,25,114,118,119,120,193,29,34,117,35,15314],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc526d0800068df29e80deb17c760a832.jpg","23.1 x 84厘米",[],{"id":15319,"slug":15320,"title":15321,"dynasty":18,"author":2208,"museum":20,"description":15322,"tags":15323,"thumbUrl":15325,"material":40,"size":12237,"collection":217,"collections":15326,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},221492,"qian-tang-guan-chao-tu-quan-juan-li-song-221492","钱塘观潮图全卷","本幅无款印。引首及前后隔水有清乾隆题诗，后幅有张仁近、杨基题跋。收藏印有项子京、清内府、梁清标诸印。\n少年时曾作过木工的画院画家李嵩是善画建筑的高手。台北故宫博物院收藏的李嵩所绘《月夜看潮图》页是对南宋官式建筑的风格和细部特点的忠实写真，而此卷则带有缘物抒情的感情色彩，展现了李嵩的其另一种建筑画风。\n每年农历八月十六至十八日为浙江钱塘江的大潮汐期。自南宋迁都临安（今浙江杭州）后，观潮成为临安一年一度的盛大活动。其时海水沿喇叭形的钱塘江口逆江而上，如“玉域雪岭，际天而来，大声如雷霆，震撼激射，吞天沃日，势极雄豪”。\n此幅画面除表现滔滔的江水，即写“大内临江起飞阁”的都城临安。耐人寻味的是作者并没有以其擅长的细腻精微的表现手法再现皇家殿宇的巍峨辉煌、临安城池的雄伟整饬、“岁岁观潮乐”的繁华热烈，而只以简括的笔法写出成片的半露瓦顶于薄雾树影之中朦胧隐现，茂林中三面围墙的宽大空场或许即南宋的宫室所在，意境颇显空寂。作者活动的年代，正值南宋时局动荡，国家面临内忧外患，而小朝廷又沉湎于“钱塘江上开皇畿”，“贪看秋潮忘黍离”的耽乐奢靡。身为画院待诏得以侍于君侧的李嵩忠君忧国而又无力回天的孤寂心境在画面中似有曲折流露。",[23,154,24,25,7,28,27,120,193,119,15324,5218,61,62,115],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fd3ce03bbccea8289caf4b7a3e6d4f.jpg",[],{"id":15328,"slug":15329,"title":15330,"dynasty":18,"author":10453,"museum":380,"description":15331,"tags":15332,"thumbUrl":15333,"material":442,"size":15334,"collection":543,"collections":15335,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},221480,"wang-shi-bao-ben-an-ji-zhang-ji-zhi-221480","汪氏报本庵记","帖后有文徵明跋、项元汴题记。卷前后又有项氏诸印和卞永誉式古堂印，清乾隆、嘉庆、宣统三朝印玺。文徵明云：“按《皇宋书录》，即之，安国之后，甚能传其家学。……。其书师颜鲁公、尝为高宗所称。即之稍变而刻急，遂成名家。”《汪氏报本庵记》一文原为楼钥所撰，汪氏是楼的外祖家，不知道与张即之有无瓜葛，要录写这篇文章。书后的“淳熙十二年(公元1252年)三月二日”款，原应在文内，为后人挖移篇末。此卷小字行书，运笔流畅而劲健，比即之其它擘窠书《杜甫诗卷》要秀逸些，是张氏传世墨迹中的佳作。 乾隆时曾刻入《墨妙轩法帖》第四册。\n相关说明:\n北宋遭靖康之耻，汴京被金兵陷落，徽、钦二帝被虏，宋高宗赵构南逃，建都于临安，此便是历史上的南宋王朝，自建炎元年至祥兴二年先后易九主计一百五十二年。南宋虽苟安一时，但江南之地，物产丰富，人杰地灵，且宋高宗赵构雅好翰墨，北宋刊刻之《淳化阁帖》至南宋时影响渐广，学米《芾》学黄（山谷》学二王之风蔚然一时，帖学又得到长足的发展《鼎帖》、《淳熙秘阁续帖》、《世釆堂帖》相继问世，高宗还设置书学，命米友仁任书学博士．在这种文化氛围的熏陶下，南宋亦出现了不少著名的书家，如岳飞、吴说、范成大、吴琚、朱熹、陆游、姜夔、张即之、文天祥、赵孟坚等人．从总体上来说，南宋书法不及北宋之新意迭出，生气蓬勃，显得比较保守，模仿之风亦较盛，但其中亦不乏富有创意和个性的书家，张即之即是其中的代表人物。\n张即之生于南宋孝宗淳熙十三年（一一八六），卒于理宗咸淳二年（一二六六），字溫夫，号樗寮，安徽和州人．他是参知政事张孝伯之子，南宋的著名书家张孝祥又是他的伯父、即之年青时即以父荫补官．授承务郎，父亡后擢司农寺丞，调任嘉兴知事，因遭受他人巫陷，未赴任上，特授直秘阁而离职，即之一生仕途并不顺利，据《李伯嘉墓志铭》中记其官职为“太中大夫，直秘阁致仕、历阳县开国男、食邑三百户、赐紫金鱼袋”，后引年告老，终年八十一岁。\n张即之的书法在幼年时便受到其伯父张孝祥的影响，始学米芾，后则肆力于褚遂良楷书笔法，在这基础之上，又糅合了隋唐人写经的笔意而自创一格，特别是他的楷书，写得清劲绝俗，用笔极其精到细腻，发笔处喜用搭锋，点画之间，顾盼呼应，而兼行草笔意，又善于用方笔侧锋，显得姿态生动，极其圆熟．即之的书法在南宋时名声就很大，金人常出高价来收购他的宇，据《宋史本传》谓：“即之以能书闻天下，金人尤宝其翰墨”。张即之小楷以精巧圆熟为特征，正如梁闻山《评书帖》所谓：“原自欧出，参有褚法，结体尚紧，特多讨巧之处而不成大方耳”。其实小楷以精巧为特征本身即是一种风格，况即之喜写经文，而经文中重复的字很多，比较难写，即之能在楷法中自成一格，别开生面是非常不容易的，正如叶昌炽《语石．张即之一则》中谓：“张即之，书中之畸士也。好用侧笔，望之如矮松偃盖，婆娑可爱，其运笔以收为纵，又如长房缩地，咫尺有千里之势”。本册所载《张即之书报本庵记》后有“淳熙十二年三月二日二“，考淳熙十二年为一一八五年，而张即之生于一一八六年，故知此为报本庵记写于淳熙十二年，非即之书于此午也．此册行楷骨力劲健，点画精到，结字生动，笔意流动，显得神采焕发，给人以一种轻松自如之感，从其成熟的风格上来看，当为其晚年时所书，无疑是其生平的代表作品。",[23,154,25,7,120,119,193,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e8ee6f88ad6a055877d8d6149cbe3c.jpg","，纵29.3厘米，横91.4厘米",[543],{"id":15337,"slug":15338,"title":15339,"dynasty":54,"author":6014,"museum":8087,"description":15340,"tags":15341,"thumbUrl":15342,"material":14074,"size":14075,"collection":217,"collections":15343,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":217},220737,"yan-jiang-die-zhang-tu-hua-xin-zuo-wen-bo-ren-220737","烟江叠嶂图画心左","此作用平远之境铺展江天盛景，淡墨晕染烟波，留白尽显水汽氤氲。层叠峰峦以枯笔轻勾浅皴，苍秀松灵，在云雾中远近隐现，似随江雾漾动。汀渚沙洲错落其间，林木蓊郁，渔舟点点散于空茫江面，生机暗涌。\n\n画面虚实相生，将江南烟水的空濛柔婉尽数铺陈，把远眺江天的悠然意趣藏进疏密错落的景致里，以极简笔墨晕染出无尽悠远的水乡诗意，淡而弥远，尽显文人画清逸雅致的审美意趣，让观画者如临江岸，沉浸式触摸江南烟水的温润灵秀。",[23,24,25,7,114,118,29,405,34,33,2560,37,11223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb26a5273e89c68c9cf3567f7ad1861.jpg",[],{"id":15345,"slug":15346,"title":15347,"dynasty":18,"author":15348,"museum":3074,"description":15349,"tags":15350,"thumbUrl":15351,"material":285,"size":217,"collection":124,"collections":15352,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},219860,"xue-shan-tu-song-di-219860","雪山图","宋迪","中国的山水画在肇始之初就承载着文人和士大夫的精神情愫，不论是“天人合一”“明心见性”还是“逍遥隐逸”都与山水画的发生发展过从甚密。并且，中国社会的每一次大变革或者说社会动荡也都映射到影响到山水画的形态之中，成为其转变的重要诱因。先秦的“百家争鸣”奠定了中国画的哲学依据，以线表达的造型方式和魏晋的“畅神”思想又构建了中国画“写意”的整体旨趣。中国人不是不追求“再现物象”的写实主义，而是在追求的过程中没有抛弃“精神性”的哲学依据。所以，中国画一直就是在写实和写意的文化间性上不断求索，自我觉醒。直到两宋，这种现象达到高峰也宣告终结。究其缘由，重点有四：其一，唐代山水画理和山水田园诗高度发达的“理论先行”现象为五代和宋初的画家提供了技法上跟进的可能。其二，宋代“理学”的主导地位促使两宋画家对自然物态描绘上的理性追求。其三，南宋的特殊社会状况一方面促进了山水画图示的新取向，一方面也使山水画走向“艰涩刻板”的程式化囹囿。其四，文人画思潮的逐渐势强将山水画的精神内涵带入“得之于象外”的“适性”之作和技法上温婉醇和的“天真平淡”。\n从以上四点中也可以看出，南宋的山水画是在文人画之前的一个集“理性化”“图式化”和“风格化”的高峰期，而在这之后，除明代初年“院体”对它的短暂重视之外，几乎影响甚微。此幅“河阳宋迪画”的雪景山水正是南宋山水画的突出代表。纵观全幅，气象萧森沉郁，格调清刚峻拔，白山黑水间透出一股雪景的清旷和雅致，让人体会着浑然静穆的冷静。全幅构图以深远和高远为主。近处幽谷深邃，远景峰峦迢递，加以寒江和虚空的间隔使画面景物分明，层层递进，既有北宋山水巍峨雄壮之势，兼具马远、夏圭“半边一角”之形。近景左侧古木嵯峨相生，寒枝低垂，因风摇曳。巨石陡峭突兀，竞相峥嵘。期间一低矮乔木盘旋石上，干若曲铁，枝如银钩，全出马远画法，虽存于幽谷险境，亦生机勃勃不挠。巨石间一浮桥幽悬，将观者的视线引入古木之下的高士寒舍。舍内高士凭窗，注视着院落中煮茗饲鹤的童子，似有语相嘱，又悠然散淡，无限天真。更可观处，画家于山谷屋旁杂以翠竹寒梅，覆雪怒放，生机盎然。全画以白粉作雪，赋于物象高处，又以白粉散落渲染于水天之中，重墨之内，更增雪天景物杳冥之相。远山峰顶，以细密之点攒簇成树，有别于其他植被，可见穷究物理、物态之功。画中浮桥之栏、高士之衣，又以朱红点染，这一抹热色活跃了气氛也打破了色彩的单一。山石全用折笔廓形和大斧劈皴，瘦硬之感强烈，折射出画家内心深处的刚毅。实可宝之！",[24,25,7,114,118,29,2897,482,254,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef06665fc5cec6884293eb85a3b2e69.jpg",[124],{"id":15354,"slug":15355,"title":15356,"dynasty":18,"author":415,"museum":151,"description":15357,"tags":15358,"thumbUrl":15360,"material":285,"size":4636,"collection":217,"collections":15361,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":128},218502,"gui-qu-lai-ci-juan-3-li-gong-lin-218502","归去来辞卷3","疏篱围起一方清雅天地，茅棚依栏而立，老松虬枝盘曲如篆，太湖石皱透玲珑。妇人身着素衣缓行，孩童携犬嬉逐，门边人影悠然，日常烟火里藏着隐者的闲逸。线条以铁线勾勒，劲挺中含婉转，衣袂飘举、草木摇曳、石之肌理皆由简笔传神。无浓墨重彩，却将“归去来”的田园意趣融于方寸：松风轻拂，篱边菊影隐约，每一笔都似在诉说归隐的自在，让人心生向往，暂忘尘劳。",[154,24,25,7,174,114,61,404,254,116,15359],"围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F310ccca3ea5f557f9aff9658855db2aa.jpg",[],{"id":15363,"slug":15364,"title":15365,"dynasty":18,"author":3136,"museum":1100,"description":3137,"tags":15366,"thumbUrl":15367,"material":78,"size":3140,"collection":217,"collections":15368,"showCount":144,"zanCount":1106,"manualWeight":48,"mainColor":128},216920,"xiang-shan-jiu-lao-tu-5-ma-xing-zu-216920","香山九老图-5",[23,24,154,7,27,61,63,117,34,275,7947,60,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ade895c11993e636517b3ef76078d9.jpg",[],{"id":15370,"slug":15371,"title":3562,"dynasty":250,"author":4241,"museum":111,"description":15372,"tags":15373,"thumbUrl":15374,"material":217,"size":217,"collection":261,"collections":15375,"showCount":144,"zanCount":1106,"manualWeight":48,"mainColor":15376},202133,"hua-hui-tu-juan-ren-xiong-202133","这幅花卉长卷构图自然舒展，各类花卉次第铺陈，生机勃发。画师以工笔细描花瓣，线条灵动精准，叶片则以写意晕染，墨色层次丰富。设色明丽而不失雅致，牡丹雍容、桃花娇妍、芙蓉清雅、月季柔媚，各色花朵与翠叶相映成趣，姿态神韵毕现。整卷融工笔之精致与写意之洒脱于一体，将自然花卉的蓬勃活力与柔美风姿展现得淋漓尽致，尽显对生命与自然的热爱。",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图中人物勾写严谨，神情如生。",[23,24,7,28,27,61,90,69,29,4139,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b0162d600dbddb17ec2ee4e429f3fbf.jpg",[],{"id":15523,"slug":15524,"title":15525,"dynasty":250,"author":430,"museum":15526,"description":15527,"tags":15528,"thumbUrl":15529,"material":140,"size":15530,"collection":217,"collections":15531,"showCount":245,"zanCount":48,"manualWeight":48,"mainColor":49},223467,"guang-zhou-cheng-zhu-jiang-tan-jing-tu-1-yi-ming-223467","广州城珠江滩景图1","大英图书馆","广州珠江江滩水运及岸边建筑之景",[23,7,27,28,64,66,69,4139,95,690,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f82929b09229b6b39367371aa46380.jpg","75×800厘米",[],{"id":15533,"slug":15534,"title":8434,"dynasty":18,"author":430,"museum":20,"description":15535,"tags":15536,"thumbUrl":15537,"material":15538,"size":15539,"collection":217,"collections":15540,"showCount":245,"zanCount":48,"manualWeight":48,"mainColor":128},223338,"jiu-ge-tu-juan-yi-ming-223338","画卷根据屈原《楚辞·九歌》中的神话故事绘制而成。“九歌”原为传说中的一种远古歌曲的名称，《九歌》是屈赋中最精、最美、最富魅力的诗篇，它代表了屈原艺术创作的最高成就。",[23,24,154,7,174,28,61,511,4337,1009,64,117,34,37,1045],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07bb572ae953b740fe54293fea95aea1.jpg","纸本，手卷，墨笔","纵37厘米、横845厘米",[],{"id":15542,"slug":15543,"title":15544,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":15545,"thumbUrl":15547,"material":140,"size":6245,"collection":217,"collections":15548,"showCount":245,"zanCount":48,"manualWeight":48,"mainColor":49},223025,"hong-lou-meng-150-sun-wen-223025","红楼梦150",[23,24,25,7,27,28,61,677,62,7814,13556,625,15546,281],"帷幔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6648d89f3633663c83d3317a0b227995.jpg",[],{"id":15550,"slug":15551,"title":15552,"dynasty":54,"author":10715,"museum":1934,"description":15553,"tags":15554,"thumbUrl":15555,"material":442,"size":15556,"collection":543,"collections":15557,"showCount":245,"zanCount":48,"manualWeight":48,"mainColor":128},222534,"wang-wu-tu-bing-shi-juan-wang-duo-222534","王屋图并诗卷","此卷草书用墨苍润，行笔峻爽遒劲，布白参差错落，纵逸之中含有稳健，沉郁之中富有灵性，从中可以看出他集数十年的功力，融会“二王”、李北海、颜真卿、怀素、黄庭坚、米芾、赵孟俯于一炉的化境。可谓是“风樯阵马，笔走龙蛇”，后人鲜有至者。",[23,7,25,120,1892,119,114,29,118,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ba62362da41f16cf87df548bbc578c.jpg","纵29.9厘米，横639.8厘米",[543],{"id":15559,"slug":15560,"title":15561,"dynasty":54,"author":495,"museum":227,"description":15562,"tags":15563,"thumbUrl":15564,"material":140,"size":15565,"collection":217,"collections":15566,"showCount":245,"zanCount":48,"manualWeight":48,"mainColor":128},222012,"xing-shu-qian-zi-wen-juan-wen-zheng-ming-222012","行书千字文卷","文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。\n文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。",[23,7,1229,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57df31dcac70dbd3a05a86d02807a123.jpg","31厘米x284厘米",[],{"id":15568,"slug":15569,"title":15570,"dynasty":133,"author":10761,"museum":151,"description":15571,"tags":15572,"thumbUrl":15573,"material":1892,"size":15574,"collection":217,"collections":15575,"showCount":245,"zanCount":48,"manualWeight":48,"mainColor":128},221687,"lun-zhang-xu-huai-su-gao-xian-xian-yu-shu-221687","论张旭怀素高闲","与赵孟頫同时期的鲜于枢（公元1256—— 1301年），是元代另一位有影响的大书法家。他的书法主要取法唐人，长于楷、行、草各体。赵孟頫曾说：“尝与伯机（鲜于枢字）同学草书，伯机过余甚远，极力追之而不能及。伯机已矣，世乃称仆能书，所谓无佛处称尊耳。”赵孟頫与鲜于枢交往很深，鲜于枢早逝，赵孟頫对他的草书特加赞颂，不是言不由衷，而是符合事实的。鲜于枢的草书，不像赵孟頫那样谨遵二王，而是更多地继承了唐代张旭、怀素的癫狂气势。他的草书墨迹《论张旭怀素高闲草书帖》，文为：“张长史、怀素、高闲皆各善草书。长史颠逸，时出法度之外；怀素守法，特多古意；高闲用笔……粗十得六七耳。至山谷乃大坏，不可复理。”他在此帖不但盛赞张旭、怀素，而且笔法也酷似怀素《自叙帖》。至于对黄庭坚的贬抑，固然反映了元人尊唐卑宋的心理，但以同是学怀素的两个人相比，鲜于枢自己觉得比黄庭坚学得好，也是他小看黄庭坚的一个原因。",[119,1892,4050,193,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ba66bb5c8c28fea5285ddd0a16f398.jpg","38.4x60.6厘米",[],{"id":15577,"slug":15578,"title":15579,"dynasty":18,"author":1682,"museum":151,"description":15580,"tags":15581,"thumbUrl":15583,"material":384,"size":15584,"collection":217,"collections":15585,"showCount":245,"zanCount":48,"manualWeight":48,"mainColor":128},221526,"song-quan-shuang-niao-ma-yuan-221526","松泉双鸟","画士人执拂尘坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝枒笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[23,24,25,114,27,29,1298,196,404,15582,118,7],"泉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31ef069753d13621bc1dbd599e4da8c.jpg","41.5x60厘米",[],{"id":15587,"slug":15588,"title":15589,"dynasty":54,"author":3914,"museum":56,"description":15590,"tags":15591,"thumbUrl":15592,"material":8070,"size":15593,"collection":543,"collections":15594,"showCount":245,"zanCount":48,"manualWeight":48,"mainColor":49},220900,"shu-xie-hui-lian-xue-fu-dong-qi-chang-220900","书谢惠连雪赋","致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡",[23,119,120,7,1185,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c263ae74a3e6eb56063e481f589130c.jpg","26.7 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舊俗疲庸主，群雄問獨夫。譏歸龍鳳質，威定虎狼都。 天屬尊堯典，神功協禹謨。風雲隨絕足，日月繼高衢。 文物多師古，朝廷半老儒。直詞寧戮辱，賢路不崎嶇。 往者災猶降，蒼生喘未蘇。指揮安率土，盪滌撫洪爐。 壯士悲陵邑，幽人拜鼎湖。玉衣晨自舉，鐵馬汗長趨。 松柏瞻虛殿，塵沙立冥途。寂寞開國日，流恨滿山隅。 右工部行次昭陵詩，困學民書。\n末识：“右工部行次昭陵詩，困學民書。”钤“鲜于”、“白几印章”、“箕子之裔”、“虎林隐吏”、“中山后人”印五方。卷末有王祎、宋濂二跋。鉴藏印记有清乾隆、嘉庆、宣统诸玺及梁清标、宋濂、王祎等印多方。\n这是鲜于枢以行书大字录写的杜甫五言《行次昭陵诗》。杜甫是唐朝著名的现实主义诗歌代表人物，他的作品内容大都与当时的朝政有关，此首诗亦充满了对国家兴衰的关注。\n此帖结体疏朗，笔势雄浑，与鲜于枢个人性情正相吻合。如柳贯所评：“公毅然美大夫，面带河朔伟气，每酒酣骜放，挥毫结字，奇态横生，势有不可遏者。”此卷是鲜于枢大字行书的代表作品。\n明顾复《平生壮观》卷四，清《石渠宝笈初编》卷三一，《故宫已佚书画目》著录。",[23,119,120,7,193,539,15711,15712,4050],"汉字","诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c203c0d459c74dc96ff17a149a16b3c.jpg","纵32厘米，横342厘米",[543],{"id":15717,"slug":15718,"title":15719,"dynasty":133,"author":534,"museum":227,"description":15720,"tags":15721,"thumbUrl":15722,"material":217,"size":217,"collection":217,"collections":15723,"showCount":516,"zanCount":791,"manualWeight":48,"mainColor":128},239665,"hang-zhou-fu-shen-guan-ji-juan-zhao-meng-fu-239665","杭州福神观记卷","此作用笔圆劲苍润，起转提按皆具法度，既存唐楷端稳筋骨，又兼行书灵动意趣，点画粗细富于韵律，尽显笔底风华。\n\n通篇布局疏朗匀停，字势顾盼映带，长篇巨制却行气贯通一气呵成，枯湿浓淡交叠变化，整饬之中透着萧散雅逸的书卷清气。笔墨间融含静穆清虚之意，将方外福地的清灵韵致凝于笔端，尽显沉厚的笔墨功底与超然的文人意趣，是行书臻于化境的典范之作。",[23,119,120,7,193,114,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2129985fd99668b5192c226470e825.jpg",[],{"id":15725,"slug":15726,"title":15727,"dynasty":54,"author":2680,"museum":227,"description":15728,"tags":15729,"thumbUrl":15730,"material":217,"size":217,"collection":543,"collections":15731,"showCount":516,"zanCount":1106,"manualWeight":48,"mainColor":128},239611,"yang-sheng-lun-juan-zhu-yun-ming-239611","养生论卷","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[23,25,7,120,1892,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d67df0af9f879bce1f09da0c83364d1.jpg",[543],{"id":15733,"slug":15734,"title":15735,"dynasty":133,"author":534,"museum":20,"description":15736,"tags":15737,"thumbUrl":15738,"material":442,"size":15739,"collection":543,"collections":15740,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},239582,"zhang-zong-guan-mu-zhi-ming-juan-zhao-meng-fu-239582","张总管墓志铭卷","既具大楷沉着刚劲之气，又有小楷秀逸灵动之姿，在赵氏存世墨迹中甚少见。卷后有祝允明、永瑆题识。",[23,25,119,7,120,537,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6ff13d72d8c1ed754db59d6fdcde15.jpg","纵32.7厘米；横259厘米",[543],{"id":15742,"slug":15743,"title":15744,"dynasty":54,"author":15745,"museum":20,"description":15746,"tags":15747,"thumbUrl":15749,"material":442,"size":217,"collection":261,"collections":15750,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},236274,"jiang-shang-qi-shu-juan-yao-shou-236274","江上七树卷","姚绶","姚绶（1422—1495），明早中期画家。字公绶，号丹丘生，又号谷庵子、谷庵、仙痴、云东逸史，浙江嘉兴府嘉善县大云寺人。少有才名，专攻古文辞，诗赋茂畅。天顺中赐进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。姚绶工行草书，初学宋克，后法魏晋钟繇、王羲之，劲婉咸妙。出入钟、王而别具拙朴风神，风格近张雨。擅画山水，宗吴镇，也取法赵孟、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》、《云东集》、《天人合旨》、《姚御史诗文》。小景好作沙坳小曲，孤钓独吟，其阔幅重林远瀍，著四五渔船而已。图成或售于人，遂厚价返收之，其自重如此。与杜琼、刘珏、谢缙等明代早期文人画家，都承继了元四家衣钵，为明代中期吴门派的勃兴，起到了承前启后的作用，是吴门派的前期画家。\n姚绶得吴仲圭、盛子昭二家法，苍厚敦穆，简拙之中别具秀润，自是文人逸格。复参赵孟、王蒙笔意，皴染圆厚，书卷气极浓。姚绶曾画竹自云：“画竹如写字，枝叶皆从八法来，苦苦欲求形似者，清风安得扫尘埃”姚绶竹石题材的作品多以吴镇为宗。画竹一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔，姚绶早年书法宗宋克，中年后以张雨为宗，又致力于赵孟俯，黄庭坚，最终合张、黄、赵三家为一体，所以竹叶有其书法体态上的奇宕多姿，清逸而又雄迈的韵味。姚绶此类相近的竹石题材作品如：台北故宫藏《竹石图》，与北京故宫藏《竹石图》可窥其精华一二。",[154,24,25,7,114,118,34,230,15748,1948,119,193],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F171927c81b7c87363f9a4fca9993c187.jpg",[261,103,543],{"id":15752,"slug":15753,"title":15754,"dynasty":54,"author":15755,"museum":20,"description":15756,"tags":15757,"thumbUrl":15758,"material":1411,"size":15759,"collection":217,"collections":15760,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":185},234228,"xi-shan-shen-xiu-juan-hou-mao-gong-234228","溪山深秀卷","侯懋功","北京故宫博物院藏晚明侯懋功名下的两件山水长卷内容与设色方式近乎一致，基本可判定二者出于同一稿本，属于书画鉴定中俗称的“双胞胎”，这两件作品分别现名为《邛崃图》和《溪山深秀图》。通过对两件作品现状及笔墨细节比较，笔者认为前者为真，且所绘与“邛崃”无关，应以《溪山深秀图》为是。从更广泛的艺术史角度看，侯氏《溪山深秀图》属于宋代以来流行的长卷“溪山图”画意范畴，并体现了明中后期吴门画派隐(避)居山水所发生的新变化。",[23,24,7,114,29,34,117,31,35,63,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5d1e0ed58bff06f6bd49f006660055.jpg","34 * 258cm",[],{"id":15762,"slug":15763,"title":15159,"dynasty":250,"author":4230,"museum":227,"description":15764,"tags":15765,"thumbUrl":15766,"material":217,"size":217,"collection":217,"collections":15767,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},234203,"fang-mi-you-ren-yun-shan-tu-juan-cha-shi-biao-234203","查士标在《秋林暮霭图》的款识中曾说自己的山水画初学米芾，后学倪瓒，并且寻根求源，以自己的绘画实践追溯董、巨，从中探索绘画源流的发展变化。而创造米点山水的米芾和米友仁，他们在绘画上开创了水墨山水的新风尚，为了抒写胸臆而不求工细，即在董源水墨山水的基础上，挥洒出了江南烟雨空濛的景象。米芾长子米友仁，继承家学，作画尤其在于尽兴，自称“墨戏”。总体来看，“二米”山水多作江南平远景色，突破了前人运用线条表现峰峦、云水、树木的画格，另辟蹊径。山石不作轮廓，而用清水笔墨润泽出大概，再以淡墨渍染，然后用稍浓的墨笔破出并皴擦大体层次，趁笔墨尚湿之时再以大小错落的浓墨、焦墨横点叠垛。山体上部用墨稍浓，用笔较密，下部用墨稍淡，用笔较疏。云气以淡墨空勾并加以渲染。树木枝干多用浓墨一笔画出，以大浑点作叶。山脚坡岸用浓淡适中的水墨横扫，多数不加皴斫。整个过程显得随意而自然，表现出江南山水烟雨蒙眬、丘陵晦明、丛林隐现的意境，大大丰富了中国山水画的表现技法。这种新的山水风格，对元以后的水墨山水产生了较大影响。从目前所见画迹来看，查士标最早一幅仿米家山水的作品，是顺治十七年（1660）夏四月所作《山谷闲云图》。其题诗有云：“闲云无四时，散漫此山谷。\n幸乏霖雨姿，何妨媚幽独。”该幅作品完全仿学米氏云山，横点山、树之形，间及渲染，烟雨空濛之景跃然纸上。题诗也不乏自得之意，可以见出查士标在米家山水方面下过较大的功夫。除此之外，查士标临仿米家山水的作品尚有很多，如北京荣宝斋藏查士标康熙二年（1663）嘉平月六日夜作《云树江村图》、扬州市博物馆藏查士标康熙五年（1666）六月作《云山图》、故宫博物院藏查士标康熙十一年（1672）作《鹤林烟雨图》、山西省博物馆藏查士标康熙十三年（1674）秋天作《米家云山图》和故宫博物院藏查士标康熙十九年（1680）六月作《南山云树图》等，这些作品都是他学习米家山水的优秀代表。其中，扬州市博物馆所藏《云山图》，是查士标52岁时仿学米友仁《楚山清晚图》而作。该画主峰突起，衬以远山，近处桥屋树木，均寥寥数笔，然墨气淋漓，大有烟雨空濛之感。在作品中，查士标抓住了米友仁自称“墨戏”的特点—写意大于写形，因此在构图形式与笔墨变化上，较米友仁更为肆意潇洒。米友仁在画中以横点水墨的浓淡积染，分出山体的层次，试图摆脱轮廓线的束缚，但画中的墨点还是显得比较严谨、缜密，细察之下还有无形的轮廓线在羁绊着笔墨的灵动。而到了查士标这里，画面近乎泼墨，充分体现了他在用墨上的灵动变化。特别是上述故宫博物院藏其康熙十九年（1680）六月作《南山云树图》长卷，作品以“迷远法”构图，图中云雾占有大半。卷首云海弥漫，山峦隐约可见，远山坡脚随着云气的浮动变幻，逐渐显露，并重叠起伏地展开，远处峰峦终于出现在团团白云之中。中段主峰耸立，林木扶疏，表现出远近层次。全卷云树掩映，峰峦明灭，处处体现出生意郁勃的造化生机和苍莽雨雾的特殊韵致。画面水墨淋漓，少见笔触，形象不作具体细致的刻画，含蓄自然，浑然一体，给人留下了远景云山空濛的印象。查士标在款识中有云：\n康熙庚申六月，余客润州。再登金山，留宿慈云阁。雨中为德润禅兄画南山云树，仿米家笔意，累日乃竣事。\n根据他的款识记载，我们知道这件作品是他在润州（今镇江）登金山，看到烟江缥缈的景致后，联想起米家山水的粉本，触景生情而作。这件作品也得到了后人的称赞，如清人张熊在题跋中评说：\n此卷仿米家泼墨云山，简淡清新，直欲上追宋元。洵是罕见逸品，岂浅学者所能梦见耶。",[23,24,114,7,60,29,482,1071,254,63,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c02eb2b2d562b653515952d5eb03d8.jpg",[],{"id":15769,"slug":15770,"title":15771,"dynasty":54,"author":10407,"museum":20,"description":15772,"tags":15773,"thumbUrl":15775,"material":1411,"size":15776,"collection":217,"collections":15777,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":49},234152,"feng-yuan-dang-xiong-tu-juan-ding-yun-peng-234152","冯媛挡熊图卷","此图以翠竹、梧桐、椿树、湖石为背景，表现了冯媛挡熊的故事场景。据《汉书•外戚传下•冯昭仪》记载，西汉建昭年间，元帝率左右随从，于后宫观斗兽。突然有熊逸出圈，攀栏欲上殿，冯婕妤冲上前挡熊而立，保护元帝免遭伤害。“冯媛当熊”应为爱君之典。《汉书》卷三十六称“《列女传》凡八篇，以戒天子”。",[23,24,25,7,28,27,61,1009,15774,34,117,156,120,664,119],"熊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F830255b25762baaa67f04e22303126f0.jpg","纵32.6厘米，横148.8厘米",[],{"id":15779,"slug":15780,"title":15781,"dynasty":54,"author":15782,"museum":20,"description":15783,"tags":15784,"thumbUrl":15785,"material":752,"size":15786,"collection":217,"collections":15787,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},233121,"zhao-xian-juan-zhang-ling-233121","招仙卷","张灵","此图又名《朝仙图》，是幅以景寓情的杰作。皓月当空的桥头处，一清丽女子低眉笼袖悄然伫立。作者通过绘女子的饰带微微上扬，岸边的芦荻摇摆不定，巧妙地暗示出晚风席地而起的寒意。通过构图上大面积留白的处理烘托出画面寂寞凄凉的氛围。女子在此萧索的情景中不禁惆怅慨叹之情陡起，而这种凄婉的心境亦是作者自身不得志的写照。 图中女子的画法承袭了宋元以来的“白描”技法。作者以墨笔勾描人物面部及衣纹服饰。线条遒劲圆转，富有表现力度并有轻重缓急等诸多变化，显示出作者以线造型的精湛造诣。此外，作者还根据所绘物象的不同巧妙地运用了墨染法，人物的头部以浓墨晕染，芦荻、芙蓉叶等为深墨晕染，衣装饰带用淡墨晕染，深浅程度不同的墨韵无疑起到了扩大画面的层次和空间感的作用。此图不仅是张灵的代表作，亦是明代白描人物画的精品之作。 明代张丑《清河书画舫》在著录此图时言：“张梦晋《朝仙图》卷后有唐子畏题咏。”但目前此图并无唐寅的咏题，显然后世好事者在张丑目睹之后将唐寅的题咏割去而移作它用了，从而令原是书画合璧之作减色，使张灵与唐寅间的笔墨交往失去了重要的佐证。在唐寅的《六如居士补遗》中查到他为此图所作的题咏，名为《招仙曲》：“郁金步摇银约指，明月垂珰交龙绮。秋河拂树蒹葭霜，哪能夜夜掩空床。烟中滉滉暮江摇，月底纤纤露水飘。今夕何夕良宴会，此地何地承芳佩。”显然，唐寅的诗情与张灵的画意是完全吻合的。",[24,25,7,114,174,155,921,962,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed1d30780fb498a81dae48abdae7351.jpg","纵29.8厘米，横111.5厘米",[],{"id":15789,"slug":15790,"title":15791,"dynasty":18,"author":3525,"museum":227,"description":15792,"tags":15793,"thumbUrl":15796,"material":140,"size":15797,"collection":217,"collections":15798,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":49},232628,"qiu-jing-zhang-yuan-tu-juan-yi-yuan-ji-232628","秋景獐猿图卷","郭若虚《图画见闻志》成书于成熙七年(1074)，是最早记载易元吉生平的典籍。此后成书于宣和二年（1120）的《宣和画谱》、至正二十五年（1365）的《图绘宝鉴》之类画史著作所录的易元吉传，都来源于《图画见闻志》中的这段文字：\n易元吉，字庆之，长沙人。灵机深敏，画制优长。花鸟蜂蝉，动臻精奥。始以花果专门，及见赵昌之迹，乃叹服焉。后志欲以古人所未到者驰其名，遂写獐猿。尝游荆湖间，入万守山百余里，以觇猿狖獐鹿之属，逮诸林石景物，一一心传足记。得天性野逸之姿，寓宿山家，动经累月，其欣爱勤笃如此。又尝于长沙所居舍后疏凿池沼，间以乱石丛花、疏篁折苇，其间多蓄诸水禽，每穴窗伺其动静游息之态，以资画笔之妙。治平甲辰岁，景灵宫建孝严殿，乃召元吉画迎厘斋殿御扆。其中扇画太湖石，仍写都下有名鹁鸽及雒中名花，其两侧扇画孔雀。又于神游殿之小屏画牙獐，皆极其思。元吉始蒙其召也，欣然闻命，谓所亲曰：“吾平生至艺，于是有所显发矣。”未几，果敕令就开先殿之西庑张素画《百猨图》，命近要中贵人领其事，仍先给粉墨之资二百千。画猨才十余枚，感时疾而卒。元吉平日作画，格实不群，意有疏密。虽不全拘师法，而能伏义古人。是乃超忽时流，周旋善誉也。向使元吉卒就《百猨》，当有遇于人主；然而遽丧，其命矣夫。有獐猿、孔雀、四时花鸟、写生蔬果等传于世。建隆观翊教院殿东獐猿林石绝佳。(又尝于余杭后市都监厅屏风上画鹞子一只，旧有燕二巢，自此不复来止。)\n这段文字共四百一十八个字，在《图画见闻志》所有画家传记中字数最多。后世大名鼎鼎的画家很多，其传记也就几十字到三百多字不等，如董源七十二字，范宽九十四字，郭熙九十五字，黄筌二百二十八字，徐熙一百四十六字，崔白二百四十三字，武宗元三百二十三字，等等。传记文字的数量与传主的分量是成正比的，由此可见易元吉在郭若虚心目中的地位。\n秦汉以来，士人取名好引经据典，至宋尤盛。南宋俞成说：“尝观《进士同年录》：江南人习尚机巧，故其小名多是好字，足见自高之心；江北人大体任真，故其小名多非佳字，足见自贬之意。”唐代贞观元年（627），天下为十道，江南道范围包括今湖北南部、江西、湖南。这段文字用来形容长沙人易元吉的取名，也无不可。易姓在北宋时期的长沙是大姓。易元吉之名字，应当来源于《易经》的履卦“上九”象传：“元吉在上，大有庆也。”据此以“元吉”为名，“庆之”为字。姓“易”而以《易经》的文字来命名，比其他任何用《易经》文句取名的姓氏都要显得浑然天成，也可见易元吉的父辈当并非普通白丁。\n郭若虚的这篇传记没有具体记载易元吉的生卒年，只能大体推断出他的活动时间。易元吉于治平甲辰岁（1064）入宫绘制屏风，则此之前应当是名家。从“未几……感时疾而卒”来看，易元吉的去世时间当在入宫后不久，所以其主要活动时间是在宋仁宗（1022—1063年在位）时期。由于《图画见闻志》中关于易元吉入宫的时间只出现年份而不见月份，只能推测他大概于宋英宗治平二年（1064）末或者治平三年（1065）初去世。\n易元吉有多方面才能，而绘画方面特别突出。在整个宋代，被载入美术史的湖南画家只有易元吉一人，但一些资料显示，当时在长沙及周边一带的书画交易十分兴盛，从侧面反映出当时的长沙有一个规模较大的画家群体。例如，张南本的水陆画，“后来为人模写，窃换真迹，鬻与荆湖商贾。”米芾（1051—1107）《画史》载：“长沙富民收水鸟芦花六幅。”《图画见闻志》没有记载易元吉的直接师承，他“以花果专门”之后才见到赵昌的作品，而且毅然改换绘画题材，才有了后来以“猿獐”名世的易元吉。他的师父不会很有名，甚至有可能是自学成才。在长沙期间，易元吉于家舍附近种花养禽，随时写生。他在园圃中观察自然对象研习绘画的形象成为画史上的经典，直到清代的文人仍旧对此充满想象：“易元吉于圃中畜鸟兽，伺其饮啄动止，而随态图之。”",[23,154,24,7,27,26,28,29,254,6589,15794,15795,117,419,193],"獐","猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f627a5c8207974fc409e1ac152f093c.jpg","36.7x321",[],{"id":15800,"slug":15801,"title":15802,"dynasty":2618,"author":430,"museum":227,"description":15803,"tags":15804,"thumbUrl":15812,"material":1050,"size":1051,"collection":217,"collections":15813,"showCount":516,"zanCount":1106,"manualWeight":48,"mainColor":49},231681,"jiang-hu-shi-qi-fo-jiao-wu-dao-juan-yi-ming-231681","江户时期 佛教舞蹈卷","长卷铺陈群舞盛景，人物排布回旋错落，似随隐于画外的乐律踏跃。武士挎刀振臂、僧者执幡领舞、平民袒裼驱步，各色人等妆容衣饰各异。\n简劲灵动的线条勾出衣袂飘举之姿，古雅淡朴的敷色晕开旧时光晕，以稚拙笔触定格每一帧鲜活动态，将祭典的庄严与歌舞的恣肆相融，让观者仿若闻声踏节，窥见信仰与欢娱交织的旧时鲜活图景。",[23,7,27,61,173,15805,28,15806,15807,15808,15809,15810,1590,10007,14627,9838,15811],"舞蹈","江户时期","日本传统绘画","传统人物画","动态人物","佛教主题","色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ebc5b9296bbaf10e56fb89232ba2a.jpg",[],{"id":15815,"slug":15816,"title":15817,"dynasty":2618,"author":15818,"museum":227,"description":15819,"tags":15820,"thumbUrl":15821,"material":140,"size":15822,"collection":217,"collections":15823,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},231578,"hua-yin-ying-hua-tu-juan-guang-lai-231578","花隐樱花图卷","広瀬","江户时代樱花的萌芽增加，作者广濑花隐以描绘樱花而美丽。",[23,24,25,7,209,28,27,12978,7015,1949,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b5f9759be870fb50edb3c6a69b4f7f.jpg","21×31cm厘米",[],{"id":15825,"slug":15826,"title":15827,"dynasty":2618,"author":872,"museum":227,"description":15828,"tags":15829,"thumbUrl":15830,"material":217,"size":217,"collection":217,"collections":15831,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":49},230484,"chang-hen-ge-tu-juan-shi-qi-shi-ji-shang-juan-shou-ye-shan-xue-230484","长恨歌图卷十七世纪（上卷）","这卷长卷以工笔重彩铺展离乱行旅，移步换景间复刻出千乘万骑西南行的史诗场面。从宫阙启銮到盘山栈道，扈从仪仗连绵逶迤，宫眷臣僚的形貌衣冠分毫毕现，屋宇建制严整合度，山石皴染带着苍劲古意。\n\n设色雅致清淡，细腻笔触里藏着仓皇离京的沉郁悲戚，将长诗里的恸惋具象为视觉图景。既是对唐代仪制的精细纪实，也把文学哀婉揉入疏密构图，以铺陈群像勾勒出时代恸哭，尽显古典叙事画的隽永张力。",[23,24,7,27,28,59,61,62,29,34,6057,63,610,592,4139,854,256,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3f33a6b01bde2948c81fb1e32b14a2.jpg",[],{"id":15833,"slug":15834,"title":15835,"dynasty":250,"author":430,"museum":227,"description":15836,"tags":15837,"thumbUrl":15838,"material":1050,"size":1051,"collection":217,"collections":15839,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},230341,"zi-hang-zhou-xing-gong-you-xi-hu-dao-li-tu-shuo-yi-ming-230341","自杭州行宫游西湖道里图说","以淡赭晕开烟水，用青绿点染丘峦，将舆图的实用意趣融在山水画卷之中。黄线牵起驿路，串起沿线错落的村舍亭台，标注清晰明了，既是游湖道里的详实指引，亦是江南烟景的诗意描摹。\n它跳出枯燥的测绘范式，以文人山水的笔致铺陈湖山乡野，层叠的浅山、漾开的水色晕染出江南灵秀温婉的气韵，让行路的日常图景，化作一卷可赏可游的丹青小品，雅俗共赏，尽显江南风物的清润雅致。",[24,27,28,118,7,29,62,63,64,654,116,34,35,74,32,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],{"id":15841,"slug":15842,"title":15843,"dynasty":133,"author":2780,"museum":227,"description":15844,"tags":15845,"thumbUrl":15846,"material":217,"size":217,"collection":217,"collections":15847,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},228053,"bai-miao-jie-bo-tu-juan-wang-zhen-peng-228053","白描揭钵图卷","此作用纯白描演绎佛教故事，铁线描劲挺匀细如游丝盘桓。画面中众天魔女施百般神通、力士悍然围护，围绕钵盂拉扯对抗，将救子的焦灼与护法的沉凝刻画尽致，人物神态各殊，动静对冲间戏剧张力拉满。布景简淡清逸，衬出道释故事的庄严氛围感。卷后长题跋笔意跌宕，书画合璧，尽显此作的极致造诣，将宗教叙事与笔墨意趣完美融合，是白描人物画的典范之作。",[23,154,24,25,7,174,28,173,61,1009,34,117,3488,4139,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee76ff91c7c036c27dda83ba2b0fe54.jpg",[],{"id":15849,"slug":15850,"title":15851,"dynasty":18,"author":15852,"museum":151,"description":15853,"tags":15854,"thumbUrl":15855,"material":470,"size":217,"collection":217,"collections":15856,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},227720,"yun-ding-shan-shi-juan-xue-shao-peng-227720","云顶山诗卷","薛绍彭","薛绍彭行草书《云顶山诗卷》等杂书卷，纸本，26.1x303.5cm。台北故宫博物院藏。\n\n此卷由四帖所组成，含《云顶山诗》、《上清帖》等，其中有诗作有信札，内容都涉及到四川的风物，是薛绍彭在四川作官时与友人倡和之作。云顶山的云顶寺在四川广汉，此作书於建中靖国元年（1101），可知薛绍彭此时已入川為绵州梓潼路漕。上清宫位在四川青城山上，始建於晋代，是著名的道教胜地。左绵山在四川绵阳（今绵阳）北方。诗中“岳王楼”在绵州（今四川绵州东）西北，旧名“岳王台”，唐显庆中，太宗子越王贞為刺史时所建。",[23,119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd35e7eb66535a2091fe015b24658a8c.jpg",[],{"id":15858,"slug":15859,"title":8167,"dynasty":18,"author":7097,"museum":227,"description":15860,"tags":15861,"thumbUrl":15862,"material":217,"size":217,"collection":217,"collections":15863,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},227711,"zhong-shan-chu-you-tu-juan-gong-kai-227711","《中山出游图》是元代画家龚开创作的一幅墨笔画，现藏于美国弗利尔美术馆。\n\n《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面。",[23,24,25,7,174,114,61,90,3488,193,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1438e1115f4bdc1b4a44a1253afcd6a.jpg",[],{"id":15865,"slug":15866,"title":15867,"dynasty":18,"author":2035,"museum":227,"description":11556,"tags":15868,"thumbUrl":15871,"material":217,"size":217,"collection":217,"collections":15872,"showCount":516,"zanCount":1106,"manualWeight":48,"mainColor":128},227707,"chu-shan-qiu-ji-tu-shou-juan-mi-you-ren-227707","楚山秋霁图手卷",[23,24,25,7,114,118,193,120,664,29,405,37,2520,15869,15870],"雨后","放晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a30fa25fd1b03b5b47718accee7969.jpg",[],{"id":15874,"slug":15875,"title":15876,"dynasty":18,"author":430,"museum":227,"description":15877,"tags":15878,"thumbUrl":15880,"material":217,"size":217,"collection":217,"collections":15881,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},227549,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-227549","仿郭忠恕雪霁江行图","长于界画的河南籍画家郭忠恕，以纯以墨线描绘两艘冒雪前行、满载货物的船只。画中不但表现了对船体正确结构的兴趣，也呈现出船夫们多样的活动情态，可藉此图想见五代宋初北方界画达到的艺术水平。",[23,24,25,7,59,28,27,29,62,89,923,15879,119,120,193],"帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc497068d2ecd6fc3d6b39bdd1d0a3fbf.jpg",[],{"id":15883,"slug":15884,"title":15885,"dynasty":18,"author":430,"museum":227,"description":15886,"tags":15887,"thumbUrl":15888,"material":217,"size":217,"collection":217,"collections":15889,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n江山行旅图画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。 依据款署“太古遗民”推断，此画作者应为一位北宋遗民画家，他隐姓埋名，深居简出，不忘大宋，不愿屈服而甘当遗民。另根据“东皋”钤印判断，这位画家有可能籍贯为东皋 (今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。",[23,24,25,7,114,118,29,61,62,63,64,115,116,196,2791,230,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":15891,"slug":15892,"title":15893,"dynasty":149,"author":1844,"museum":227,"description":15894,"tags":15895,"thumbUrl":15896,"material":217,"size":217,"collection":217,"collections":15897,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":49},226704,"su-li-bie-yi-juan-1-zhou-wen-ju-226704","苏李别意卷-1","该幅是描绘苏武与李陵于荒寒北地殷殷话别的情景。",[24,25,7,27,28,61,90,193,1590,3488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d99aa3ce15fe27667317bcda79a286.jpg",[],{"id":15899,"slug":15900,"title":15901,"dynasty":250,"author":430,"museum":227,"description":15902,"tags":15903,"thumbUrl":15904,"material":217,"size":217,"collection":217,"collections":15905,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":49},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[23,154,24,25,7,28,27,59,29,62,61,854,194,116,36,35,70,4139,211,117,31,875,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],{"id":15907,"slug":15908,"title":15909,"dynasty":168,"author":430,"museum":227,"description":15910,"tags":15911,"thumbUrl":15912,"material":10648,"size":15913,"collection":543,"collections":15914,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},223397,"tang-mo-huang-ting-jing-quan-juan-yi-ming-223397","唐摹黄庭经全卷","《黄庭经》是道教经典，叙述的养身方面的，分为《外景经》和《内景经》二种，而此卷为《外景经》，卷后依次有宋代滕仲嚞、明代董其昌和元代陈绎曾题跋。本摹本书法峭快，结构稳固，字字传神，为后人学习临摹好字帖。",[23,154,25,7,537,60,119,1229,193,540,6048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3b9a8c80c061dcb0801cde82733274.jpg","40X190cm",[543],{"id":15916,"slug":15917,"title":15918,"dynasty":250,"author":6681,"museum":227,"description":6682,"tags":15919,"thumbUrl":15921,"material":442,"size":217,"collection":543,"collections":15922,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},223272,"shou-gao-zhen-ji-di-zang-pu-sa-jiu-hua-shan-ying-ji-ji-hong-yi-fa-shi-223272","手稿真迹-地藏菩萨九华山应蹟记",[23,119,120,173,7,540,193,15920],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff73b63ea74c5c2705758cb2bd5ea5a.jpg",[543],{"id":15924,"slug":15925,"title":15926,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":15927,"thumbUrl":15928,"material":140,"size":6245,"collection":217,"collections":15929,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":49},223056,"hong-lou-meng-181-sun-wen-223056","红楼梦181",[23,24,7,28,27,61,62,230,5744,70,6242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef394a9ae673d392e30b9491745cd60.jpg",[],{"id":15931,"slug":15932,"title":15933,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":15934,"thumbUrl":15936,"material":140,"size":6245,"collection":217,"collections":15937,"showCount":516,"zanCount":1106,"manualWeight":48,"mainColor":128},223052,"hong-lou-meng-177-sun-wen-223052","红楼梦177",[23,24,25,28,27,7,61,116,62,117,3948,70,211,624,15935],"细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71049a41291c5a33dc9344bead0b1215.jpg",[],{"id":15939,"slug":15940,"title":15941,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":15942,"thumbUrl":15943,"material":140,"size":6245,"collection":217,"collections":15944,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},223000,"hong-lou-meng-125-sun-wen-223000","红楼梦125",[23,24,28,27,7,61,677,62,63,64,116,194,2144,29,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcac58242e2054c8fba0b1a1f2c176f5e.jpg",[],{"id":15946,"slug":15947,"title":15948,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":15949,"thumbUrl":15951,"material":140,"size":6245,"collection":217,"collections":15952,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":49},222995,"hong-lou-meng-120-sun-wen-222995","红楼梦120",[23,154,24,25,7,28,27,61,62,70,117,34,155,15950,610],"红楼梦题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2bd87b1e071819f65016754b77cc305.jpg",[],{"id":15954,"slug":15955,"title":15956,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":15957,"thumbUrl":15959,"material":140,"size":6245,"collection":217,"collections":15960,"showCount":516,"zanCount":1106,"manualWeight":48,"mainColor":128},222920,"hong-lou-meng-45-sun-wen-222920","红楼梦45",[23,154,24,28,27,7,61,677,62,116,29,281,6242,6243,59,15958],"形神兼备","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd58349a79fa56d0b22fd85a66dbad93.jpg",[],{"id":15962,"slug":15963,"title":15964,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":15965,"thumbUrl":15966,"material":140,"size":6245,"collection":217,"collections":15967,"showCount":516,"zanCount":48,"manual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，山势向后转去留下空阔的水际，意境空远。该图以刘松年画法为主，山石舍小斧劈而用披麻皴，渴笔淡墨，极有毛涩意趣，又有润泽之韵，是唐寅的精心之作。卷后有吴宽的长跋，称此卷为野亭所作，而画中老者正是钱野亭。",[23,24,25,7,114,120,119,29,118,116,1298,117,196,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6665c981e400036ca21d10e76ebfa9d.jpg","纵30厘米、横123.5厘米",[],{"id":15995,"slug":15996,"title":15997,"dynasty":54,"author":7606,"museum":1934,"description":15998,"tags":15999,"thumbUrl":16003,"material":442,"size":16004,"collection":217,"collections":16005,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},222319,"xi-yuan-shi-juan-wang-chong-222319","西苑诗卷","《西苑诗》为明代书法家王宠所书，是王宠的行书力作。该作书于1530年，正值王宠盛年。王宠一生极其短暂，写完此书后的第三年就去世了。",[23,120,119,7,3196,2144,29,16000,5744,193,16001,16002],"池沼","疏朗秀雅","明代书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350669abdb79a0b55660e6422bb97d35.jpg","25×235cm",[],{"id":16007,"slug":16008,"title":16009,"dynasty":54,"author":5215,"museum":380,"description":16010,"tags":16011,"thumbUrl":16012,"material":40,"size":16013,"collection":217,"collections":16014,"showCount":516,"zanCount":1106,"manualWeight":48,"mainColor":128},222037,"da-mo-zu-tu-juan-dai-jin-222037","达摩祖图卷","描绘的是禅宗自菩提达摩到六代慧能祖师的形象。图上不同时期的祖师在山洞里、深山里等静谧、清幽之地打座念佛的场景，诠释“佛在心中”的禅悟。卷后有唐寅、祝允明等大家题款。",[23,154,24,25,7,173,61,29,28,27,118,120,1298,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911d3d439313053bf137a91abe6661e9.jpg","240x33.8cm",[],{"id":16016,"slug":16017,"title":5041,"dynasty":54,"author":495,"museum":227,"description":16018,"tags":16019,"thumbUrl":16020,"material":140,"size":16021,"collection":217,"collections":16022,"showCount":516,"zanCount":914,"manualWeight":48,"mainColor":49},221979,"qian-zi-wen-wen-zheng-ming-221979","文徵明小楷《千字文》，嘉靖十四年乙未（1535年）夏四月二十有九日。徵明时年六十六岁书。他的书法温润秀劲，稳重老成，法度谨严而意态生动。\n在众多的书体中，文征明的小楷艺术成就最高，其取法高古，有“小楷名动海内”之誉。\n他小楷初学赵孟俯，后以晋唐小楷为基础，一改元人软弱秀媚之习气，尤其晚年力追魏晋锺、王笔意，力求古朴苍劲，法度严谨，如朱谋垔所言：“深得智永笔法”。其子文嘉评曰: “始亦规摹宋元之撰，既悟笔意，遂悉弃去，专法晋唐，小楷虽自《黄庭》《乐毅》中来，而温纯精绝，虞、褚而下弗论也。”\n纵观其传世作品，虽各阶段书风略显不同，早期形体略扁，起笔尖细，多棱角; 中期如丰坊《书诀》所述: “五十岁以后，因书诰敕，颇兼时体，渐尚整齐”； 晚年则宗法二王，人书俱老，已入化境。\n但却可以看出他一生都沉浸于小楷，正如王世懋云: “衡山先生……时作小楷，多偏锋，太露芒颖，年九十犹作蝇头书，人以为仙。然行笔未免涩强，其最称合作者，以字行后五六十时也。”可见其对小楷的用功极深。",[23,25,119,537,120,114,442,193,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0979d9d6d2e102a78d798de62745e07.jpg","34×74厘米",[],{"id":16024,"slug":16025,"title":16026,"dynasty":133,"author":6461,"museum":380,"description":16027,"tags":16028,"thumbUrl":16029,"material":824,"size":16030,"collection":217,"collections":16031,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},221750,"zhu-xi-cao-tang-tu-zhang-wo-221750","竹西草堂图","图绘竹林葱郁，远山盘亘，江水如镜。依山傍水处有一草堂，苍松杂树环绕，环境清幽。一人独坐堂内，两臂依榻上，目视前方。",[23,154,24,25,7,114,174,118,119,120,193,29,275,34,3398,63,64,61,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64d49c24695ec3831a892132d8a8eae.jpg","纵27.4、横81.2厘米",[],{"id":16033,"slug":16034,"title":16035,"dynasty":18,"author":5448,"museum":151,"description":16036,"tags":16037,"thumbUrl":16038,"material":470,"size":5453,"collection":543,"collections":16039,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":128},221682,"chi-bi-tu-juan-quan-juan-wu-yuan-zhi-221682","赤壁圖卷全卷","系根据宋代文学家苏轼的《赤壁赋》创作而成。画面长江浩荡，烟波渺茫，两岸峭壁陡立，山势险峻延绵，山顶崖岸间树木葱茏，江中一舟顺流而下，苏轼及同游诸友对坐舱中饮酒，形象地再现了苏轼携友乘舟夜游赤壁(即黄州赤鼻矶)的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀。",[23,24,25,7,29,114,118,119,120,30,602,115,34,468,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484f34a336a6c9ed140b16b6ef47561c.jpg",[543],{"id":16041,"slug":16042,"title":2054,"dynasty":54,"author":9460,"museum":8087,"description":16043,"tags":16044,"thumbUrl":16045,"material":16046,"size":16047,"collection":217,"collections":16048,"showCount":516,"zanCount":48,"manualWeight":48,"mainColor":217},220662,"shan-shui-tu-li-liu-fang-220662","李流芳，初字茂宰，后字长蘅，号檀园、香海、六浮道人、慎娱居士，祖籍安徽歙县丰南，侨居上海嘉定。万历三十四年（1606）举乡试，后五次会试皆不第。至天启二年（1622）第六次北上应试，闻金兵攻陷广宁，又感时局昏暗，遂绝意仕途南归，以书画自娱。诗文方面，与唐时升、程嘉璲（1565-1643）、娄坚（1567-1631）合称「嘉定四先生」。绘画上又与董其昌（1555-1636）、王时敏（1592-1680）同誉「画中九友」。\n\n此卷山水绘于绢上，画坡石虚亭高树，河水远山，一片宁寂。虽是草草而就，却显现元代大师黄公望（1269-1354）、倪瓒（1301-1374）笔意，且墨色苍润、笔法峻爽简洁，当是晚年之作。画上作者自识：「欲晴不晴山翠浓，欲雨不雨林霏重，幽人不来谁领此，溪潮急处晚来风。」更见寄情山川之意。此卷曾为晚明大收藏家朱之赤（17世纪）收藏，后面有清初著名鉴藏家高士奇（1645-1703）跋，至近代为广州小画舫斋收藏，终于1999年入藏文物馆。",[23,154,24,25,7,114,118,29,116,230,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa5a525f194403dc4909e63b6409e00.jpg","水墨,绢本,手卷","画心：32×205.2厘米 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天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,25,7,27,59,28,173,62,63,64,116,29,34,117,15359,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":16183,"slug":16184,"title":16185,"dynasty":133,"author":430,"museum":227,"description":16186,"tags":16187,"thumbUrl":16188,"material":217,"size":217,"collection":217,"collections":16189,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},230899,"zhang-yu-ti-ni-zan-xiang-yi-ming-230899","张雨题倪瓒像","画中主人斜坐榻上，眉眼疏朗沉静，素衣简饰尽显出尘之姿。侍童捧盏垂首静立，仆从持帚恭谨侍于侧旁，案头清供文玩雅致小巧，背景浅绘林峦远汀，暗合主人简淡的笔墨意趣。左侧题诗与遍身鉴藏朱印，为画作添上流传的厚重底色。\n\n全作设色清雅柔润，线条细劲秀逸，将元末文人耽于泉石诗书的狷介风骨尽数铺陈，人物情态鲜活自然，把肖像纪实与文人雅趣精妙相融，尽显元人肖像画的含蓄意韵。",[154,24,25,7,27,28,174,61,193,119,1798,213,2852],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67502f268a6b09045cf37786e306694e.jpg",[],{"id":16191,"slug":16192,"title":16193,"dynasty":2618,"author":16194,"museum":227,"description":16195,"tags":16196,"thumbUrl":16206,"material":1050,"size":1051,"collection":217,"collections":16207,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},230480,"fu-shi-hui-juan-mu-he-tian-wen-cun-230480","浮世绘巻","目贺田文村","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[23,16197,7,27,61,72,16198,16199,16200,157,4139,2622,1795,16201,13989,16202,13988,16203,16204,16205],"浮世绘","伞","笼子","担子","日常用具","箱子","行走","交易","玩耍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff608c952df2fbc7cf2073369489e54a8.jpg",[],{"id":16209,"slug":16210,"title":5723,"dynasty":250,"author":16211,"museum":227,"description":16212,"tags":16213,"thumbUrl":16214,"material":1050,"size":1051,"collection":217,"collections":16215,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},230355,"lan-ting-xiu-xi-tu-juan-fan-qi-230355","樊圻","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[23,24,25,7,27,28,29,116,61,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5707e8f94ee1c363234026c2a717d008.jpg",[],{"id":16217,"slug":16218,"title":16219,"dynasty":250,"author":635,"museum":227,"description":16220,"tags":16221,"thumbUrl":16222,"material":217,"size":217,"collection":217,"collections":16223,"showCount":474,"zanCount":1106,"manualWeight":48,"mainColor":128},230209,"hua-a-yu-xi-chi-mao-dang-kou-tu-juan-lang-shi-ning-230209","画阿玉锡持矛荡寇图卷","《玛瑺斫阵图》是意大利籍画家 创作的纸本设色国画，现藏于 。\n是中国清代清军平定西域战争中的立功者。\n他曾随副将军富德讨伐 叛乱，奋勇冲杀，三箭将敌酋射落马下，后来被敌军所围，战马负伤倒毙，玛瑺弃坐骑步战，负伤十余处，仍坚持作战，以战功升为护军统领。\n图中玛瑺纵马弯弓追杀，敌酋中箭，垂首弃矛坠马。\n郎世宁以他擅长的“写真”技艺，精细、真实地刻画了一位勇士的形象，作者将所有的背景舍去，突出了画中的人物。\n人及马匹的画法十分细致，采用的是欧洲的画风。\n同样题目、内容和构图的画有二幅，另一幅现藏于德国柏林东方美术馆。\n此图中画敌将负伤，耷拉着脑袋，乘黑马飞速逃窜。\n光着脑袋，上穿束袖黑衣，下穿米黄色袴裤，两手支撑在马的肩部，低头怒目斜视，惟恐有乘骑迫上，中二箭，黑马四蹄伸展作飞腾般的逃窜。\n后面画有清勇将玛瑺手持弓箭，上佩带红锦“撒袋”（即装了箭的袋），撒袋内装满了弓箭，御白马紧迫其后。\n画面中显示了一场惊心动魄厮杀决斗的场面，敌将受伤逃窜，形象十分狼狈。\n玛瑺乘骑追赶，抬头挺胸显得威风凛凛，双目凝神，专注盯住着前方的敌将。\n1759年（乾隆二十四年）清军勇士玛瑺跟随右副将军富德率军在呼尔满（今莎车东北）平定回部叛乱，玛瑺歼敌英姿焕发，奋勇冲杀，以三箭毙敌，後被敌所困，负伤仍坚持抵抗，因其战役的特殊表现，升为护军统领。\n在平定西域准部回部的战役中，乾隆皇帝特别称赏玛瑺与阿玉锡两位勇士的战功，除了油画脸像、功臣像小稿、功臣像立轴玛瑺与阿玉锡皆在列外，还让郎世宁绘了《玛瑺斫阵图》及《阿玉锡持矛荡寇图》并要求宫廷画家绘制《玛瑺得胜图》以及《阿玉锡得胜图》等贴落大画。\n画中的人物和马匹，造型准确，物象逼真，描绘深入细腻。\n人物和马匹比例结构十分准确，其姿态和动势俱合法度，足见作者的功力之深厚。\n光的使用是郎世宁绘则的另一个特色，这幅画卷中，人物、马匹均应用了光的原理，使物象极富立体感，马皮毛的质感也很好地表现出来。\n明显地采用了西洋画的投影法，但只要细细观察，仍含有中国绘画传统手法，即马匹上所采用的阴影，亦是以中国的传统渲染方法来完成的，但骨子里还是西洋古典画的成分较中国画的成分为浓，体现了高度的写实技巧。\n总体来说，此画设色轻淡，用笔精谨，线条清劲，是一幅难得的精品。\n主题与关键字：马、军士、兵器、蕃族、马鞍。\n石渠宝笈续编（宁寿宫），第六册，页49 故宫书画录（卷四），第二册，页284 故宫书画图录，第二十一册，页175-178 （1688—1766）是意大利人，生于米兰，1715年（清康熙五十四年）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙、雍正、乾隆的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正、乾隆时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》《平定西城战图》等。",[24,25,7,27,28,61,90,3488,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30b05b41246e11eef45301f413a00ec.jpg",[],{"id":16225,"slug":16226,"title":9816,"dynasty":250,"author":3062,"museum":227,"description":16227,"tags":16228,"thumbUrl":16229,"material":217,"size":217,"collection":217,"collections":16230,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},229020,"song-qiao-tang-tu-juan-wang-hui-229020","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[23,24,25,7,27,29,118,1298,117,35,690,34,116,64,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":16232,"slug":16233,"title":16234,"dynasty":54,"author":16235,"museum":227,"description":16236,"tags":16237,"thumbUrl":16239,"material":217,"size":217,"collection":217,"collections":16240,"showCount":474,"zanCount":1106,"manualWeight":48,"mainColor":128},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","许光祚","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,24,25,7,27,28,61,29,63,64,116,1298,1857,194,922,16238,11451,120],"赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":16242,"slug":16243,"title":16244,"dynasty":54,"author":5215,"museum":227,"description":16245,"tags":16246,"thumbUrl":16247,"material":1050,"size":1051,"collection":217,"collections":16248,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},228846,"da-mo-zhi-hui-neng-liu-dai-zu-shi-tu-juan-dai-jin-228846","达摩至慧能六代祖师图卷","图中捕绘达摩端坐于深山洞中，面壁打坐，神态平和又虔诚。还有二祖神光（后更名慧可）、三祖僧璨、四祖信道、五祖弘忍、六祖慧能（唐高僧，佛教禅宗南宗的开创者），以及其他僧15个人。此画技法精熟，人物衣纹工整流畅，深得李唐、刘松年遗意。",[23,24,25,7,173,61,29,114,27,118,119,120,193,34,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75473e50ad591868084cb87012e07044.jpg",[],{"id":16250,"slug":16251,"title":16252,"dynasty":54,"author":110,"museum":227,"description":16253,"tags":16254,"thumbUrl":16255,"material":1050,"size":1051,"collection":217,"collections":16256,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},228832,"zhi-xing-yu-you-tu-juan-shen-zhou-228832","支硎遇友图卷","沈周（1427～1509）字启南，号石田、白石翁等，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[23,24,25,7,29,27,114,118,120,193,482,254,613,115,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],{"id":16258,"slug":16259,"title":16260,"dynasty":54,"author":6353,"museum":227,"description":16261,"tags":16262,"thumbUrl":16263,"material":217,"size":217,"collection":217,"collections":16264,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[23,24,25,7,114,27,29,1409,64,115,196,985,61,765,34,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],{"id":16266,"slug":16267,"title":16268,"dynasty":54,"author":11071,"museum":227,"description":16269,"tags":16270,"thumbUrl":16271,"material":217,"size":217,"collection":217,"collections":16272,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},228356,"wan-zhu-tu-juan-song-ke-228356","万竹图卷","此作用淡墨白描绘就溪岸幽篁，坡石以简淡皴擦带出肌理，丛竹错落生于岩畔，疏密有致，满卷清寂萧散。以草书法度入画，笔致瘦硬爽利，竹叶萧洒灵动，将行草的跌宕意趣融于竹间，笔墨苍秀，兼具法度与文人雅韵。\n整卷画书合璧，晴川修竹间尽显江南林下清旷之致，暗合文人寄情林泉、澄怀观道的襟怀，是笔墨意趣与林下雅志完美相融的佳构。",[23,24,25,7,114,29,275,34,64,193,120,1892,118,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f485e2b2663e38e2c02ace4472a1.jpg",[],{"id":16274,"slug":16275,"title":16276,"dynasty":133,"author":16277,"museum":227,"description":16278,"tags":16279,"thumbUrl":16280,"material":1050,"size":1051,"collection":217,"collections":16281,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},228026,"fan-qi-tu-chang-juan-zhao-lin-228026","番骑图（长卷）","赵麟","作品绘边塞人马、骆驼行进行列，人物披裘戴高帽，以袖掩面，马匹步履蹒跚，展现出沙漠荒原风急天寒的气候环境。作品线条细劲流畅，具很高的艺术水平。明代都穆见其《番骑图》，赞日：“黄沙野蒿，鞭马疾驰，非余之目击，则也莫能知其妙也。”",[23,154,24,25,7,174,114,61,90,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246a845a72a843b74c51a17e490a6d72.jpg",[],{"id":16283,"slug":16284,"title":16285,"dynasty":18,"author":5801,"museum":227,"description":16286,"tags":16287,"thumbUrl":16288,"material":217,"size":217,"collection":217,"collections":16289,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},227976,"zhong-xing-rui-ying-tu-juan-xiao-zhao-227976","中兴瑞应图卷","《临萧照中兴瑞应图卷》是明代画家 创作的一幅绢本设色画。\n此幅为仇英的摹古之作。\n仇英中年以后，曾先后在大收藏家周凤来和项元汴家客居近2年，得以广泛观摩宋、元名迹，摹古技艺精深。\n《中兴瑞应图》卷为南宋萧照所作，取宋高宗赵构即位前的种种瑞应传说为内容，根据曹勋辑“瑞应诸事”所写赞文描绘而成，是一幅歌颂赵构重建王朝的作品。\n此卷现存四段：一、占卜。\n徽、钦二帝被俘后，显仁皇后在行殿用棋占卜，兆告康王继位，众皆庆贺。\n二、渡河。\n一骑陷落冰际，惟赵构得免。\n三、授衣。\n萝黄袍加身。\n四、射兔。\n高宗戎装骑驰，箭中白兔。\n原作共12段，曾藏于项元汴家，仇英因此得到观摩机会。\n卷末署有“吴郡仇英实父谨摹”款，钤“实父”、“十洲”二印。\n引首有董其昌书“仇英临宋萧照《高宗瑞应图》其昌”。\n后幅有董其昌、秦松龄、尹绳孙、许之渐、黄家舒、吴伟业六家题记。\n经项元汴、梁清标、耿信公等鉴藏。\n全画用笔粗重，设色妍丽，构图平远，既有宋画古拙雄劲的特色，又有文人画的韵致，不愧为仇英摹古精作。\n此卷临本共4段，用笔粗健，设色精细，图中建筑的比例、形象、风格以及细部都极其忠实于原作，再现了萧照绘画的神髓，可谓“下真迹一等”。\n也有古建筑研究专家认为仇英的楼阁画只是在临摹宋画时才有出色的表现，而其自己的创作则逊色一筹。\n仇英（1494-1561），江苏太仓人，居苏州，出身低微，初为漆丁，后改学画，初从师周臣，结交文征明、祝允明、唐寅等文人画家，对其提高文艺修养和画艺起了很大的作用。\n他还曾在收藏家项元汴家作画，遍观项氏所藏历代法书名画，并加以临摹，潜心钻研，终成一代名家。\n仇英擅人物、山水、走兽、界画，亦精于临摹，均技艺精湛。\n其山水师法赵伯驹、赵伯辅，作青绿山水，山石勾勒，皴染细密，色彩浓丽明雅，境界宏大繁复。",[23,24,25,7,27,28,59,61,62,34,70,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a11517bb5e9b3c0c974e033db1daa83.jpg",[],{"id":16291,"slug":16292,"title":16293,"dynasty":18,"author":13311,"museum":227,"description":16294,"tags":16295,"thumbUrl":16296,"material":217,"size":217,"collection":217,"collections":16297,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},227761,"shu-han-wen-gao-quan-juan-zhu-xi-227761","书翰文稿(全卷)","行草《书翰文稿》卷，该卷由两件作品组成，前一件用笔以篆为主，圆钦于方，第二件作品则时见隶笔，以方见长，但两件作品都是字密集，行距宽松，强调书写之势的一泻而下。是南宋文学家、教育家朱熹的代表作之一。\n\n朱熹行草《书翰文稿》卷，此卷分为前后两段，前段纵33.5厘米、横45.3厘米，后段纵28.2厘米、横113.6厘米。此卷中部分内容为：“老拙衰病，幸未即死；但脾胃终是怯弱，饮食小失节，便觉不快。兼作脾泄挠人，目疾则尤害事，更看文字不得也。”又：“我者是亦似矣。然反身而诚，乃物格知至以后之事，言其穷理之至，无所不尽。故凡天下之理，反求诸身，皆有以见其如目视、耳听、手持、足行之事，毕具于此。”这里所说主要是修身养性及日常之事，心态平和，徐徐道来。\n\n该作品后有元、明两代共有十一位书画家的题识跋浯，内容包括朱熹画像。",[23,154,24,25,7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165c1f3f4c3ffb316f2d335641b0d856.jpg",[],{"id":16299,"slug":16300,"title":16301,"dynasty":225,"author":2105,"museum":1100,"description":16302,"tags":16303,"thumbUrl":16304,"material":217,"size":217,"collection":217,"collections":16305,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},227710,"song-ta-bao-mu-tie-quan-juan-wang-xian-zhi-227710","宋搨保母帖全卷","王献之（344年－386年），字子敬，小名官奴，汉族，祖籍琅玡临沂（今山东临沂），生于会稽山阴（今浙江绍兴）。东晋著名书法家、诗人、画家，为书圣王羲之第七子、晋简文帝司马昱之婿。官至中书令，为与族弟王珉区分，人称“大令”，与其父王羲之并称为“二王”。与张芝、钟繇、王羲之并称“书中四贤”。 王献之自幼聪明好学，在书法上专攻草书隶书，也擅长绘画。他自小跟随父亲练习书法，胸有大志，后期兼取张芝，自创新体。他以行书和草书闻名，但是楷书和隶书亦有深厚功底。王献之亦善画，张彦远在《历代名画记》中目其画为“中品下”。",[23,119,2917,120,7,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230b293c4212ad01d0e3e459b678bbfa.jpg",[],{"id":16307,"slug":16308,"title":1460,"dynasty":18,"author":650,"museum":151,"description":16309,"tags":16310,"thumbUrl":16311,"material":217,"size":217,"collection":217,"collections":16312,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},227292,"shu-se-ping-yuan-tu-guo-xi-227292","《树色平远图》，宋代，郭熙，绢本水墨，纵32.4厘米，横104.8厘米，美国纽约大都会博物馆藏\n\n《树色平远图》表现深秋郊外的优美景象。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。此图无款，卷后有元明诸家诗文题跋。\n\n此图与郭熙的另一副传世名画《窠石平远图》画风和构图极为相似，描绘一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。整个景物清寒枯硬，其境界清旷平淡。画面以平远布局，构景简洁，开阔而均衡。其树似鹿角蟹爪，山石笔法灵活多变，墨色浓淡变化丰富而微妙，所造之境具体真实，从中可以看出李成画风的影响，同时又体现出郭熙山水画的典型风格。",[23,24,25,7,763,114,118,29,34,690,3653,230,2791,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],{"id":16314,"slug":16315,"title":16316,"dynasty":250,"author":6681,"museum":227,"description":6682,"tags":16317,"thumbUrl":16318,"material":442,"size":217,"collection":217,"collections":16319,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":6686},223273,"li-shu-tong-shou-gao-zhen-ji-chang-sui-fo-xue-hong-yi-fa-shi-223273","李叔同手稿真迹-常随佛学",[23,119,7,114,173,540,537,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1edd59dc08725e49bb546ea1fdf4492e.jpg",[],{"id":16321,"slug":16322,"title":16323,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":16324,"thumbUrl":16327,"material":140,"size":6245,"collection":217,"collections":16328,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},223029,"hong-lou-meng-154-sun-wen-223029","红楼梦154",[23,24,25,7,28,27,61,62,70,117,34,35,16325,16326,14618,2144],"院墙","门窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6612e905a7c34b43c0c559e333aaba5e.jpg",[],{"id":16330,"slug":16331,"title":10342,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":16332,"thumbUrl":16336,"material":140,"size":6245,"collection":217,"collections":16337,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":49},222934,"hong-lou-meng-59-sun-wen-222934",[23,24,25,28,27,7,61,62,70,34,5924,16333,2097,156,16334,16335],"红毡","囍字","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa40ea55077a83e675754b5870e9bb8.jpg",[],{"id":16339,"slug":16340,"title":16341,"dynasty":54,"author":2680,"museum":14917,"description":16342,"tags":16343,"thumbUrl":16344,"material":140,"size":16345,"collection":217,"collections":16346,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":49},222482,"xing-kai-luo-shen-fu-juan-zhu-yun-ming-222482","行楷洛神赋卷","跋 者断为祝四十岁左右师古之作，有一定道理。观其 点画、结体，《兰亭》意味极浓，又有钟法存乎其 间，淳厚典雅，参以赵孟頫，然变化多致；其行笔 从容不迫，笔笔到位，一派君子之风。此类前贤师 古之作对我们今天学书法者极有借鉴价值。\n祝允明（1460——1526）明代重要书 家，字希哲，号枝山。生而枝指，又号枝指生。长 洲（今江苏苏州）人。与徐祯卿、唐寅、文徵明 号称吴中四才子。以举人授兴宁令，稍迁应天府 通判，未几乞归。书法受外祖父徐有贞和岳父李 应祯指点，上自张芝、钟繇、二王、索靖、智永， 下迄唐宋元之虞世南、欧阳询、张旭、怀素、苏 轼、黄庭坚、米芾、赵孟頫等无不用心。其书法无 论真、草，法度森严，全以力胜。其真行以元常、 王羲之为宗，借鉴于赵孟頫，写得古厚蕴藉；草 书法乳于二王，犹得力于山谷，其点画长戈大戟， 生辣厚重，力量更在山谷之上。祝允明草书名世， 为二王、旭素、山谷后最重要的草书家，一是草 法纯正，二是有鲜明个性特征。读他的草书大作， 奔腾如虬蛇的点画，汹涌如大河的气势促人振 奋，有很强的感招力。这种情形是斤斤于艺事，追 求优雅闲适的书家所难以梦见的境界。草贵气 势，祝允明草书正以气势胜，但他草中之点画分 明，毫无苟且之处，犹如作真。他是一位杰出的 入古以出新者，他在《奴书订》中说：『觚筦士 有「奴书」之论，亦自昔兴，吾独不解此。艺家 一道，庸讵缪执至是，人间事理，至处有二乎哉？ 为圆不从规，拟方不按矩，得乎？自粗归精，既 据妙地，少自翔异，可也。必也革其故而新是图， 将不故之并亡，而第新也与。故尝谓自卯金当涂， 底于典午，音容少殊，神骨一也。沿晋游唐，守 而勿失。今人但见永兴匀圆，率更劲瘠，郎邪雄 沉，诚悬强毅，与会稽分镳，而不察其为祖宗本 貌自粲如也（帖间固存）。迩后皆然，未暇遑计。 赵室四子，莆田恒守惟肖，襄阳不违典刑；眉、豫 二豪，啮羁蹋靮，顾盼自得。观者昧其所宗：子 瞻骨干平原，股肱北海，被服大令，以成完躯。鲁 直白云得长沙三昧。诸师无常而具在，安得谓果 非陪臣门舍耶？而后人泥习耳聆，未尝神访，无 怪执其言而失其旨也。遂使今士举为秘谈，走也 狂简，良不合契，且即肤近。为君谋之，绘日月 者，心规圆而烜丽，方而黔之，可乎？啖必谷，舍 谷而草，曰谷者「奴餐」，可乎?学为贤人必法 渊赐；晞圣者必师孔。违洙泗之衺曲，而曰为孔、 顏者「奴贤」、「奴圣」者也，可乎？』反映了 他这一思想。\n之所以说祝允明书法是一个伟大的未成品， 是因为他的书法仍以『实』称，虚境未全现，而 由实入虚、虚实相生是书道之至境。今人徒务虚 而涉谈境界者，常会轻视他的重于法度，直如只 欲得花，而不知花本生于根与枝叶也．",[23,119,10456,537,120,7,539,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406c903a42458b570f3fc10f0d8d774d.jpg","纵20.1cm，横161cm",[],{"id":16348,"slug":16349,"title":7594,"dynasty":54,"author":7595,"museum":151,"description":7596,"tags":16350,"thumbUrl":16351,"material":27,"size":7600,"collection":217,"collections":16352,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":128},222453,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222453",[24,25,7,5431,27,29,118,1298,35,117,34,70,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bcab0898e7d65be553a4c97defc3988.jpg",[],{"id":16354,"slug":16355,"title":8053,"dynasty":54,"author":495,"museum":227,"description":15562,"tags":16356,"thumbUrl":16357,"material":140,"size":15565,"collection":543,"collections":16358,"showCount":474,"zanCount":1106,"manualWeight":48,"mainColor":128},222013,"qian-zi-wen-quan-juan-wen-zheng-ming-222013",[23,119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03d71153f24ac240045c29a0c4ff8888.jpg",[543],{"id":16360,"slug":16361,"title":16362,"dynasty":133,"author":4953,"museum":568,"description":16363,"tags":16364,"thumbUrl":16366,"material":3632,"size":16367,"collection":217,"collections":16368,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":49},221720,"zhong-kui-yu-ye-chu-you-tu-juan-yan-hui-221720","钟馗雨夜出游图卷","画面绘钟馗在鬼族是簇拥下雨夜巡游的情形。画中七个鬼卒，牛头马面，头戴蒙军头盔，类似杂要，正击鼓簇拥钟馗夜游，寄寓了画家蔑视蒙古统治者既仇恨又无赖的心情。\n其笔法浑厚坚实敦朴流畅，不乏宋代院体人物之工细，其造型生动传神，意态舒畅洒脱抒情而又有艺术性和理，不象刘贯通、王绎等人笔下人物之肖象，准确、逼真、刻板而写实。\n画面清旷幽冷，形象深遂含蓄，堪称精品。作为对宋体工致写实画风的承继与元代画风渐显写意抒情之势的前启，颜辉的人物画是承前启后的关捩。",[23,16365,174,7,61,1047,3488,193,119],"元画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c78d99f746b70906b57c0cd5975c505.jpg","24.8cmx240.3cm",[],{"id":16370,"slug":16371,"title":16372,"dynasty":250,"author":11155,"museum":8087,"description":16373,"tags":16374,"thumbUrl":16376,"material":11159,"size":11160,"collection":217,"collections":16377,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":217},220730,"xun-qin-tu-5-huang-xiang-jian-220730","寻亲图5","画面以虚实二分排布，左为题识，右绘山水。淡墨晕开烟岚，青绿晕染峰峦，温润雅致。层叠山峦间云气萦回，山寺卓立翠岭之巅，江渚隐现烟波里，孤舟悬于空濛水面，暗衬长路寻亲的孤寂。\n\n苍劲题笔与秀雅山水相映，文情画境交融，将羁旅寻亲的悠长愁思，寄于阔远烟霞。青绿设色承袭古意，留白铺陈烘托出漫漫寻途的沉郁心绪，笔墨工秀兼具，把天涯寻亲的幽微情愫藏在云山烟水之间，意韵绵长。",[24,7,27,114,29,118,405,37,38,690,16375,34,468,692],"近峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ed87cab5ac6282467def950a93b23e.jpg",[],{"id":16379,"slug":16380,"title":16381,"dynasty":133,"author":16382,"museum":8087,"description":16383,"tags":16384,"thumbUrl":16385,"material":9358,"size":16386,"collection":217,"collections":16387,"showCount":474,"zanCount":48,"manualWeight":48,"mainColor":217},220660,"kai-shu-song-yi-shi-shen-bo-xin-xu-chen-you-220660","楷书送医师沈伯新序","沉右","沉右，字仲说，号寓斋，又有存存斋署，吴中（今江苏苏州）人，工诗文书法。此卷书迹是沉右书赠乡里名医沈伯新的序文，缘于至正十年（1350）夏，沉右祖母突发急恙，幸得沈伯新医治而愈，故特撰文述其事以致谢，并请一众文朋题跋赠予沈伯新留存。是卷题跋累累，荟诸贤之文华，经历各朝流传至今，弥足珍贵。\n\n沉右出自吴中世家巨族，以诗文书法与江浙名士过从甚密。此卷元代题跋者，如顾瑛、周伯温、陈基、郑元佑元代名士。入明清后，此卷又得吴宽、沈周、文征明、沈德潜、钱载、桂馥等诗文书画大家题跋，文墨价值益重。而在诸家墨迹之间，亦杂有一纸祝允明《吴郡沈氏良惠堂叙铭》和文征明跋文墨拓。由沈文叶、沈谦跋语可知「良惠」为宋高宗书赐沈家南渡始祖御字，沈家遂以之为堂号。沈氏后辈在明时曾请祝允明与文征明分做叙铭和题跋，勒石以志。不过至沈谦时，原迹和刻石皆已散失逾百年。将其拓本与沈右墨迹序文共裱一卷，合璧并传，应是为更增显沈氏自南宋经元明而清的荣赫家世。\n\n沉右序文以楷书书写，精心闲熟，法度严谨，风格婉丽雅致，得欧、褚之法颇多，亦带明的赵体韵味。卷后题跋林林总总，其中数家虽非名手，亦自精绝。诸多跋语也突显此卷在不同时代的递藏意义。元人因应沉右延请，故其跋文皆着眼于沈伯新医术并附及沈右孝行；明人吴宽、沈周、文征明等皆为吴人，就有感于吴中先贤墨翰风流；清人尤其是沈家后人，则是在对沈氏南渡家世不断地追述中，将其确立为门庭赫奕的一件凭信之物。这些鉴藏史内容，连同其两经易手而复为沈家所得的经历，亦可成为研究吴中社会、文化的一个切入点。",[25,119,537,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b790731bfd0caf96f0349edfdb5727.jpg","本幅：28.5 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[1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[154,24,25,7,114,120,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3242edbe22a43498a5e6b3ae99217475.jpg",[543],{"id":16506,"slug":16507,"title":16508,"dynasty":54,"author":14005,"museum":227,"description":16509,"tags":16510,"thumbUrl":16511,"material":217,"size":217,"collection":543,"collections":16512,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},239979,"qi-lv-juan-zhang-bi-239979","七律卷","张弼（1425～1487）字汝弼，家近东海，故号东海，晚称东海翁。松江府华亭县（今上海奉贤青村）人 [1] 。明宪宗成化二年进士，久任兵部郎，议论无所顾忌，出为南安（今江西大余）知府，律己爱物，大得民和。长于诗文，草书甚佳，被评为“颠张复出”。尝自言吾书不如诗，诗不如文，著有《东海集》。",[23,119,25,1892,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d1fbb26be088463c567973dc4d31e5.jpg",[543],{"id":16514,"slug":16515,"title":16516,"dynasty":18,"author":430,"museum":227,"description":16517,"tags":16518,"thumbUrl":16519,"material":217,"size":217,"collection":217,"collections":16520,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},239660,"mi-fei-bai-zhong-yue-ming-shi-tie-juan-yi-ming-239660","米芾拜中岳命诗帖卷","此作用笔纵宕爽利，欹侧奇崛又不失沉稳，笔锋提按转合间牵丝映带，尽显随性潇洒的意趣。行书线条粗细变化自然，墨色润燥相生，将刷书的独特风神淋漓展现。\n\n诗文心境旷远静穆，和书法的逸气相融，笔墨间漫出脱尘的雅韵。整卷鉴藏朱印累累，与墨色相互映衬，晕开时光沉淀的厚重质感，尽显这件法书名迹的不凡价值与绝代风华。",[23,119,120,7,193,1229,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f476a5fc1f672ebcd26a550f6bf3c.jpg",[],{"id":16522,"slug":16523,"title":16524,"dynasty":133,"author":12591,"museum":20,"description":16525,"tags":16526,"thumbUrl":16527,"material":217,"size":217,"collection":543,"collections":16528,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":49},239574,"meng-mei-hua-chu-shi-bing-xu-juan-yang-wei-zhen-239574","梦梅花处诗并序卷","杨维桢（1296年－1370年），字廉夫，号铁崖、铁笛道人，又号铁心道人、铁冠道人、铁龙道人、梅花道人等，晚年自号老铁、抱遗老人、东维子。绍兴路诸暨州枫桥全堂（今浙江省诸暨市枫桥镇全堂村）人。元末明初诗人、文学家、书画家。\n杨维桢自幼聪颖，其父杨宏对他寄予厚望。泰定四年（1327年）中进士，放天台县尹，因惩治作恶县吏，遭奸吏报复免官。后任职钱清盐场，因请求减轻盐税被斥为忤上，以至十年不调。后官至建德路总管府推官，继升江西儒学提举。元末避乱居富春山，后迁居钱塘（今杭州）。张士诚居浙西时屡召不赴，后徙松江，从此遨游山水，以声色自娱，东南才俊之士登门求教不绝。\n杨维桢的诗，最富特色的是他的古乐府诗，既婉丽动人，又雄迈自然，史称“铁崖体”，极为历代文人所推崇。有称其为“一代诗宗”、“标新领异”的，也有誉其“以横绝一世之才，乘其弊而力矫之”的，当代学者杨镰更称其为“元末江南诗坛泰斗”。他著述等身，行于世的著作有《春秋合题着说》《史义拾遗》《东维子文集》《铁崖古乐府》《丽则遗音》《复古诗集》等近二十种。\n书法以行草最工，笔势岩开，有“大将班师，三军奏凯，破斧缺牖，例载而归”之势，传世作品有楷书《周上卿墓志铭》，行书《张氏通波阡表》《真镜庵募缘疏卷》《鬻字窝铭》《城南唱和诗卷》《元夕与妇饮诗》、草书《梦游海棠城诗卷》《竹西草堂记卷》《致理斋尺牍》《晚节堂诗》《沈生乐府序》等，其余墨迹则多见于书札及书画题跋之中。",[23,154,24,25,7,120,1892,119,193,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dba1c2281f0ebb989c9b515e65ee06d.jpg",[543],{"id":16530,"slug":16531,"title":16532,"dynasty":133,"author":534,"museum":20,"description":16533,"tags":16534,"thumbUrl":16535,"material":16536,"size":16537,"collection":543,"collections":16538,"showCount":289,"zanCount":1106,"manualWeight":48,"mainColor":49},239561,"shu-jue-jiao-shu-juan-zhao-meng-fu-239561","书绝交书卷","此帖为赵孟頫六十六岁时抄录的魏晋时期名士嵇康名篇。行笔秾纤多古意，楷、行、草、章草间杂，浑然一体，而转折略带方硬，颇显苍老古拙韵味，是赵氏晚年佳作。其与赵书常见的气度雍容有异，颇显纵放跌宕，或是《绝交书》内容本身的愤激不平感染了书者的情绪所致。",[23,119,25,7,120,114,539,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a757e16d27ab70bbe8d419733997948.jpg","行草书，绢本","纵21.8厘米，横254.7厘米",[543],{"id":16540,"slug":16541,"title":11028,"dynasty":54,"author":16542,"museum":227,"description":16543,"tags":16544,"thumbUrl":16545,"material":217,"size":217,"collection":217,"collections":16546,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},235679,"shan-shui-juan-chen-xun-235679","陈询","淡墨晕开清寂底色，绘就郊野幽居之景。茅庐错落隐于林木间，屋中对坐似有清谈，篱扉板桥、寒林浅水环合铺展闲逸天地。用笔松秀简淡，枯笔勾勒林木枝桠，湿墨晕染坡岸水汽，淡赭轻敷晕出冬春之交的萧疏温软。取景平远，以留白衬出水意空濛，将林下幽居、诗友酬唱的雅寂日常融于山水，淡远清和，尽显文人画以景抒怀的意趣，晕开不沾尘俗的隐逸襟怀。",[23,154,24,25,7,114,118,29,116,63,64,34,613,61,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931146f0a33287e31b9de1c97b00a55.jpg",[],{"id":16548,"slug":16549,"title":16550,"dynasty":250,"author":16551,"museum":20,"description":16552,"tags":16553,"thumbUrl":16554,"material":1411,"size":16555,"collection":217,"collections":16556,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},234243,"yu-jia-le-shi-tu-juan-zhang-ruo-cheng-234243","渔家乐事图卷","张若澄","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。\n人物 简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,24,7,114,28,174,193,61,2274,64,34,985,196,765,29,73,5995,10638,3960,2408,764,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":16558,"slug":16559,"title":11028,"dynasty":54,"author":3999,"museum":20,"description":16560,"tags":16561,"thumbUrl":16562,"material":696,"size":217,"collection":217,"collections":16563,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},234242,"shan-shui-juan-sun-zhi-234242","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,25,7,114,27,118,119,120,29,405,31,66,34,35,1298,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":16565,"slug":16566,"title":16567,"dynasty":54,"author":16568,"museum":20,"description":16569,"tags":16570,"thumbUrl":16571,"material":442,"size":217,"collection":217,"collections":16572,"showCount":289,"zanCount":1106,"manualWeight":48,"mainColor":128},234122,"lan-shi-tu-juan-ma-shou-zhen-234122","兰石图卷","马守真","中国古代女性画家的作品，虽然其艺术语言尚未超越男性画家，却始终是美术史中的一个重要组成部分。尤其明清两代女性绘画的空前发展，使她们在各自的才艺表述中，散发着独特魅力。其中明代马守真便是最为卓越而富有才情的女画家之一。\n马守真（1548-1604），小字玄儿、又字月娇，自号“湘兰”，因家中排行第四，人称“四娘”。幼年时沦落风尘的马湘兰，天资聪慧，多才多艺，且能诗善画，一生以兰花、竹、石、灵芝、水仙等为题创作了许多作品。在她以兰花为主题的传世作品中，有真亦有伪，且早期与晚期的画风也不尽相同，水平自然亦有高低。其间，马守真在1598年五十岁时所作的《兰石图》（图一）（现藏中国国家博物馆），堪称她绘画成熟期的经典之作。是图描绘了草坡之上的一丛野生兰，只见兰叶随意舒展、花儿含羞怒放、身后有修竹为伴，亦随风轻轻舞动。兰花伴以湖石、润笔勾出，与信手点染的苔草相映成趣。画家以没骨之法、细线勾勒出的兰叶，行笔劲挺流畅、张显了兰花恣意生长、野趣盎然。图中左上有画家款识：“戊戍仲冬日写”、“湘兰马守真”，钤印“湘兰”、“守真玄玄子”二方。图中右下有“曾藏锡芝兰堂”等收藏印二方。\n从湘兰所画兰花的笔法来看，她更多承袭了南宋赵孟坚（1199—1264） 的水墨兰花风格。曹寅评其画云：“兰法子固，竹法仲姬，俱能袭其韵。”赵孟坚，字子固、南宋宗室。他工诗善画，是兼具贵族、士夫与文人身份的画家。他首创的墨兰，“清而不凡、秀而雅淡”,深得后世文人推崇（图二）。万历三十二年（1604），湘兰在她五十七岁临终那一年画的《兰花图》卷（上海博物馆藏）（图三） 款题中写道：“甲辰夏日，在松院仿赵子固画兰赠彦可兄，湘兰马守真。”足见对赵孟坚画兰之风的追随。此画卷分为两段：前段双勾、后段水墨写意，浓淡变化，颇多意趣。画卷开首有杨法所题变体篆书云：“咀嚼兰蕙”。如果说赵孟坚笔下的兰花盛开，犹如翩翩起舞的彩蝶、春风得意，那么湘兰笔下的兰花则更像是娴静的少女，多了几分柔媚与清幽。\n湘兰一生画了很多兰花，水墨居多，而少颜色，如《兰花图》扇面（图四）、《兰石图》卷（故宫博物院藏）、《兰竹石图》轴等传世佳作。后人评：“其墨兰一派，潇洒恬雅，极有风韵”。图中兰花的左右，往往伴有湖石、墨竹、水仙、灵芝等清雅之物。湖石或润笔或皴擦、简淡天成，瘦竹则疏朗有致，与幽兰相应成趣。画风给人的感觉更像是一个文人士大夫的作品，而难想像乃出自金陵花街柳巷的一风尘女子之手。\n湘兰专注于兰，为此还特意在秦淮河畔边盖了一座小楼，栽满兰花，名为“幽兰馆”。她所喜好的兰花，也正是历代文人画家所热衷的“君子”题材。宋末元初的诗人画家郑思肖（1241-1318） 专绘“露根兰”，谓之“纯是君子，绝无小人”，以寄托亡国之恨。兰花由此被赋予了极强的人格意义，成为品德高洁的君子象征。明代苏州吴门大家文征明尤爱画兰，留有许多兰花竹石逸品，如《兰竹图》（台北故宫博物院藏）（图五）。陈元素周天球等江南文人亦以描绘清幽而芬芳的兰花为乐事（图六）。作为“秦淮八艳”之一的名妓，湘兰“性情轻侠”，为人豪爽，慕名求访者甚多，这其中自然不乏江浙地区的文人雅士、风流才子。而画兰之风在晚明江南一带的日渐昌盛，不能不说对马守真产生了重要影响。\n湘兰“姿首如常人”、相貌并不出众，但是她胜在才情，“神情开涤，濯濯如春柳早莺，吐辞流盼、巧伺人意”。她不仅善于绘事而且工于诗文，常常在兰绘图中自题诗句，留下“一叶幽兰一箭花，孤单谁惜在天涯”、“何处风来气似兰，帘前小立耐春寒”等诸多佳句。与文人士夫借物抒情，集文学、书法、绘画的艺术表达为一体的情趣相契合，湘兰画的兰花，也是“画中有诗”、“诗中有画”，充满了书卷气。\n文人画的产生与兴盛，在相当程度上是出于厌世的隐遁心理，寄情笔墨以寻求内心平衡。晚明时局动荡，又多了这样前途渺茫的文人画家。江南文人更以描写“梅兰竹菊”等水墨写意自娱，籍以淡薄名利甚至逃避险恶仕途。尽管湘兰的兰花与文人笔下的兰花有诸多相似之处，但是对于一个烟花女子来说，她画兰，显然与文人画兰潜藏着仕途失意与不满的政治诉求没有太多关系。除了自身的喜爱，更多的应该是对当时文人圈时尚的某种迎合以及自我人格的标榜。\n正如湘兰的诗句：“空谷幽兰独自香，任凭蝶妒与蜂狂”、“绝壁悬崖喷异香”，借兰花标榜自己的孤芳傲世而别于欢场中人。不仅如此，湘兰还独创有一叶兰，仅一抹斜叶，托着一朵兰花，以体现兰花清幽空灵，仿佛又带有一丝哀怨与孤寂，来倾诉自己的无依之情。清香的幽兰，暗自吐芳，也是画家一生的写照：湘兰在二十四岁时相识长洲（今苏州） 才子王穉登，并为他痴守一生、孤单终老。二人经常以兰花为题，诗文书画互动，出现在湘兰的作品中。王穉登曾以“一枝写出湘皋影，仿佛凌波解佩人”，将湘兰画中兰花比作她本人，赞其超凡脱俗与清高品质。就在抱病赶往姑苏为穉登置办七十寿筵返回金陵之后，湘兰一病不起，于是燃灯拜佛、沐浴更衣、端坐而逝。王穉登悲痛之余写下挽诗：“歌舞当年第一流，姓名赢得满青楼，多情未了身先死，化作芙蓉也并头。”可以说，湘兰如此执着于兰花的写照，与落魄文人王穉登的情感纠葛不无关系。值得一提的是，同时代的另一位女画家薛素素也是画兰高手，也曾与王穉登有过交集。\n湘兰的绘画，有着浓浓的文人情怀。比起文人画兰张显的自我意识与个性，她的兰花则多了几分女性的温婉与秀雅，也多了几分哀怨与孤寂。湘兰的传世作品数量极多，民间多于官方，虽然真伪混杂，却足见世人对她的喜爱。作为身份卑微的青楼女子，湘兰的兰花风格占据不了画坛主导，却也独具幽芳，惹人怜爱，同时成为一个特定时代与文化的折射，并对后世的墨兰创作带来了深远影响。",[24,25,7,114,174,282,255,1857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab683345673a977ba6b3af4ea9c4edd.jpg",[],{"id":16574,"slug":16575,"title":11028,"dynasty":54,"author":16576,"museum":20,"description":16577,"tags":16578,"thumbUrl":16579,"material":11361,"size":16580,"collection":217,"collections":16581,"showCount":289,"zanCount":1106,"manualWeight":48,"mainColor":49},233145,"shan-shui-juan-wang-yan-qiang-233145","王彦强","绘江边山峦起伏，林木繁茂，隐约可见村合依山而建。山石用披麻皴，笔法秀劲细密，林木简笔勾干，以浓淡水墨点叶。\n此图景色清新，境界清寂淡泊，具有春日山乡写生的特点，为王立中罕见传世品。",[24,25,7,114,118,29,34,405,31,338,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95037f673dc059a04e041dad1bea72e2.jpg","纵25．2厘米横53．3厘米",[],{"id":16583,"slug":16584,"title":16585,"dynasty":18,"author":3193,"museum":651,"description":16586,"tags":16587,"thumbUrl":16588,"material":442,"size":16589,"collection":217,"collections":16590,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},232814,"di-zhu-ming-quan-juan-huang-ting-jian-232814","砥柱铭全卷","黄庭坚《砥柱铭》，行书。此卷长八米，抄录唐代魏征《砥柱铭》，全文六百多字。黄庭坚大字行书凝练有力，结构独特，是北宋书坛杰出的代表，与苏轼、米芾、蔡襄并称“宋四家”。\n天津美术学院美术史系教授刘金库指出，《砥柱铭》在宋代时为王厚之、南宋权相贾似道收藏，是贾似道收藏的“黄庭坚双璧”之一；入明则为著名收藏家项元汴所藏，在明代鉴赏家张丑的《真迹日录》中著录，明天顺年间归黄庭坚十一世族孙黄洵（字公直）所藏；入清则为项源、伍元蕙、罗天池等有名藏家所藏，后从广东流入日本，为日本有邻馆收藏，此后被一个台湾收藏家购得，最终，在时隔915年之后，现身于北京。并于2010年6月3日被拍出了中国艺术品成交记录——3.9亿元，加上12%的佣金，总成交价4.368亿元。",[23,119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9beded5450133e161e889393e118a59d.jpg","此卷长八米",[],{"id":16592,"slug":16593,"title":16594,"dynasty":133,"author":430,"museum":56,"description":16595,"tags":16596,"thumbUrl":16597,"material":140,"size":16598,"collection":217,"collections":16599,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},232803,"xiang-ma-tu-juan-shui-jing-gong-dao-ren-fang-han-gan-yi-ming-232803","相马图卷(水精宫道人仿韩干)","明人王世贞曾说：“文人画起自东坡，至松雪敞开大门。”这句话基本上客观地道出了赵孟頫在中国绘画史上的地位。无论是研究中国绘画史，还是研究中国文人画史，赵孟頫都是一个不可绕开的关键人物。如果说，唐宋绘画的意趣在于以文学化造境，而元以后的绘画意趣更多地体现在书法化的写意上，那么，赵孟頫在其间起到了桥梁作用。如果说，元以前的文人画运动主要表现为舆论上的准备，元以后的文人画运动以其成功的实践逐步取代正规画而演为画坛的主流，那末，引发这种变化的巨擘仍是赵孟頫。",[23,24,25,7,27,60,61,90,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1e492db706ac5af78cddf44ad061db.jpg","30.5x102.9厘米",[],{"id":16601,"slug":16602,"title":16603,"dynasty":18,"author":14953,"museum":227,"description":16604,"tags":16605,"thumbUrl":16606,"material":1050,"size":1051,"collection":217,"collections":16607,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},230898,"zi-shu-shi-cai-xiang-230898","自书诗","蔡襄（1012年3月7日－1067年9月27日），字君谟。兴化军仙游县唐安乡连江里青泽亭境蔡坑（今福建省仙游县枫亭镇九社村蔡坑自然村）人。北宋名臣，书法家、文学家、茶学家。\n宋仁宗天圣八年（1030年），蔡襄登进士第，先后任馆阁校勘、知谏院、直史馆、知制诰、龙图阁直学士、枢密院直学士、翰林学士等职，在朝为谏官时，以直言著称。后数度外出，历知泉州、福州、开封府事。宋英宗即位后正授三司使，再以端明殿学士出知杭州。治平四年（1067年），蔡襄逝世。累赠少师，谥号“忠惠”。\n蔡襄为官正直，所到之处皆有政绩。在福州时，去民间蛊害；在泉州时，与卢锡共同主持建造洛阳桥；在建州时，倡植福州至漳州七百里驿道松，主持制作北苑贡茶“小龙团”。所著《茶录》总结了古代制茶、品茶的经验；《荔枝谱》则被称赞为“世界上第一部果树分类学著作”。蔡襄的诗文清妙，书法浑厚端庄，淳淡婉美，自成一体，为“宋四家”之一。有《蔡忠惠集》等传世。",[23,119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e90b7b0597277a3f428e13c7a06decb.jpg",[],{"id":16609,"slug":16610,"title":16611,"dynasty":2618,"author":16612,"museum":227,"description":16613,"tags":16614,"thumbUrl":16615,"material":1050,"size":1051,"collection":217,"collections":16616,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},230579,"ming-qing-fang-gu-fen-ben-ren-wu-hua-niao-juan-2-tu-zuo-bing-guang-lin-feng-230579","明清仿古粉本人物花鸟卷2","土佐并光琳风","此作以水墨写意绘就两帧人物，韵致截然不同。右侧观音以淡墨晕出圆光，衣袂线条清柔舒缓，持经垂眸，神态静穆慈悲，尽显禅意空灵。左侧文士以泼墨挥写袍服，笔力纵逸老辣，持笔展卷，面容诙谐灵动，文人气韵盎然。\n\n画师以浓淡墨色区分物象虚实，将静穆禅意与疏放文气并置，于极简笔墨中形神兼备，尽显东方水墨写意的精妙意趣，让两种气质在卷中相映成趣。",[23,24,25,7,114,174,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0d007e14851b9c8995e4bc5444b5db.jpg",[],{"id":16618,"slug":16619,"title":16620,"dynasty":54,"author":495,"museum":227,"description":16621,"tags":16622,"thumbUrl":16623,"material":217,"size":217,"collection":217,"collections":16624,"showCount":289,"zanCount":914,"manualWeight":48,"mainColor":128},228875,"chang-qing-jing-jing-lao-zi-lie-zhuan-wen-zheng-ming-228875","常清净经.老子列传","此作右幅白描老君，线条清劲简淡，勾勒出老者仙风道骨、超然出尘之态，形神兼备。左幅小楷精整秀雅，点画劲挺端稳，结体舒展端庄，笔墨间尽显平和冲淡之气，将道家澄心守静的意涵融于笔底。\n\n全卷朱钤错落，朱墨相映，书画印浑然一体，晕开古雅静穆的氛围，尽显文人清雅审美，把对道旨的敬慕化入毫端，是精工兼具文心的晚年佳作。",[23,24,25,7,174,114,537,120,119,540,193,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e5331a756d311cefa90dd585e691c7.jpg",[],{"id":16626,"slug":16627,"title":16628,"dynasty":54,"author":5215,"museum":227,"description":16629,"tags":16630,"thumbUrl":16633,"material":217,"size":217,"collection":217,"collections":16634,"showCount":289,"zanCount":48,"manual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创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,24,25,7,114,29,63,64,115,116,196,34,119,120,193,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":16644,"slug":16645,"title":2537,"dynasty":54,"author":55,"museum":227,"description":16646,"tags":16647,"thumbUrl":16648,"material":217,"size":217,"collection":217,"collections":16649,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":49},228456,"zhi-gong-tu-juan-chou-ying-228456","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[23,24,7,28,27,25,119,120,29,61,90,34,4139,63,74,5925],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],{"id":16651,"slug":16652,"title":16653,"dynasty":54,"author":6003,"museum":227,"description":6004,"tags":16654,"thumbUrl":16655,"material":1050,"size":1051,"collection":217,"collections":16656,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":49},228360,"xiao-xiang-guo-yu-tu-quan-juan-xia-chang-228360","潇湘过雨图全卷",[23,154,24,25,7,114,29,275,6006,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d64a4192e950156f996dee8003aabb4.jpg",[],{"id":16658,"slug":16659,"title":16660,"dynasty":54,"author":9744,"museum":1100,"description":16661,"tags":16662,"thumbUrl":16663,"material":217,"size":217,"collection":217,"collections":16664,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},228313,"xun-yang-qiu-se-tu-juan-lu-zhi-228313","浔阳秋色图卷","此作用淡赭与花青晕染江岸秋景，浅滩汀渚在烟水间连绵铺展，远山如黛，浮沉于空濛江面之上。近岸枯木点缀残红，坡岸清寂冷峭，留白极尽空疏淡远之致。\n画面暗合卷中《琵琶行》的落寞诗意，将江州清秋送客的孤凄萧瑟具象化，把贬谪失意的羁旅愁思藏在冷寂的秋山寒水之中。书画合璧，以景衬情，将迁客怅惘的心境融在烟霭迷离的江天秋色素景中，尽显文人寄情诗画、以景抒怀的雅致意趣。",[23,24,25,7,27,29,119,120,118,34,31,405,3960,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c302e25a8950fc199901eccbec3e1b8.jpg",[],{"id":16666,"slug":16667,"title":16668,"dynasty":133,"author":430,"museum":227,"description":16669,"tags":16670,"thumbUrl":16671,"material":217,"size":217,"collection":217,"collections":16672,"showCount":289,"zanCount":1106,"manualWeight":48,"mainColor":49},228191,"nong-cun-jia-nv-tu-juan-yi-ming-228191","农村嫁女图卷","《农村嫁女图》，原名《瘤女图》，是 佚名画家创作的一幅淡设色画。\n此图原名《瘤女图》，后更名为《农村嫁女图》。\n全卷绘大小人物7人，分布疏密得当，自然形成四个段落，各段又有相对突出的重点人物的描写。\n首段以一骑牛披纱妇人为中心，众人目光多集于其身；次段是来宾与迎候者相见的场面，相对施礼的两位妇女为该段的中心；第三段表现两位身份较高的男性奉酒的场面；末段绘鼓乐、歌舞表演及围观者。\n各段虽有各自的主要人物，但次要人物的朝向、动作又使各段落间相互联系，构成一幅完整的画面。\n从画面表现的内容看，画的是否农村嫁女场面还有待商榷，图中吃奶的婴儿和扛于肩上的小童似与婚嫁主题不太相符，且骑牛女子似亦非新娘形象。\n笔者推测此图所表现的可能是一民女回乡省亲的场面，具体内容尚有待进一步考察。\n图中人物略施淡赭色，余则全以水墨为之。\n人物全用颤笔描加以表现，面部刻画也较为粗简，人物造型与南宋马远《踏歌图》有些相近之处。\n绘画艺术水平一般，但却生动地记录了宋元时期的现实生活场景。\n本幅无作者款印。\n钤有清“卢崇兴印”及清内府鉴藏印 5方。\n清初康熙时此卷为卢崇兴所有，乾隆时入内府，清末宣统年间佚出宫外，后为故宫博物院购藏。\n著录于《石渠宝笈·初编》卷三十五。",[23,24,154,7,174,27,61,90,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a4c8a922243dc7230811a7a4b5333e.jpg",[],{"id":16674,"slug":16675,"title":15215,"dynasty":18,"author":716,"museum":227,"description":15216,"tags":16676,"thumbUrl":16677,"material":217,"size":217,"collection":217,"collections":16678,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},227771,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227771",[23,154,24,25,7,60,118,114,29,115,764],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f76f964392cf441413ed6978a2135.jpg",[],{"id":16680,"slug":16681,"title":16682,"dynasty":18,"author":7547,"museum":227,"description":16683,"tags":16684,"thumbUrl":16685,"material":217,"size":217,"collection":217,"collections":16686,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},227539,"fan-wang-li-fo-tu-zhao-guang-fu-227539","藩王礼佛图","《番王礼佛图》，宋代赵光辅作，卷绢本，设色，纵28.6厘米，横103.5厘米。现藏美国克里夫兰艺术博物馆。\n\n此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[23,154,24,25,7,173,27,28,61,193,119,156,537,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c003e5ab7391900ab1a6e34dd38cf6.jpg",[],{"id":16688,"slug":16689,"title":16690,"dynasty":18,"author":5294,"museum":227,"description":16691,"tags":16692,"thumbUrl":16693,"material":217,"size":217,"collection":217,"collections":16694,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":49},227438,"chu-shi-bei-jiang-tu-juan-yang-bang-ji-227438","出使北疆图卷","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,154,24,25,7,27,29,118,61,90,1298,405,37,116,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813fa368ac32a990250cd1cd532baa8.jpg",[],{"id":16696,"slug":16697,"title":16698,"dynasty":149,"author":1844,"museum":227,"description":15894,"tags":16699,"thumbUrl":16700,"material":217,"size":217,"collection":217,"collections":16701,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":49},226705,"su-li-bie-yi-juan-2-zhou-wen-ju-226705","苏李别意卷-2",[24,25,7,27,28,61,4528,3516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa229b26e47f4093cc5aab6eddd554b77.jpg",[],{"id":16703,"slug":16704,"title":16705,"dynasty":18,"author":430,"museum":20,"description":16706,"tags":16707,"thumbUrl":16708,"material":384,"size":16709,"collection":217,"collections":16710,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":49},223480,"mo-liang-ling-zan-xing-xiu-tu-juan-yi-ming-223480","摹梁令瓒星宿图卷","全卷画五星和二十八宿神形（现存五星十二宿）。五星即五大行星：金、木、水、火、土，二十八宿是古人用作观测日月五星运行坐标的二十八组星座，环列在日月五星的四方，犹如诸星的栖宿场，故称二十八宿。",[24,25,7,60,28,27,173,61,11722,368,91,90,1529,3488,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82126ff917ff070f22cf00c6e8f9a55c.jpg","27.5x489.7厘米",[],{"id":16712,"slug":16713,"title":16714,"dynasty":133,"author":430,"museum":4758,"description":16715,"tags":16716,"thumbUrl":16717,"material":40,"size":217,"collection":217,"collections":16718,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":49},223393,"cheng-ma-tu-yi-ming-223393","呈马图","绘八人三马，马匹壮硕矫健，二黑一白，脖上系红缨长坠，马鬃及马尾毛发浓密，马背上皆搭具有民族特图案色的垫毯，马头打扮亦精致。八人身着民族特色衣饰，面部或粗旷，或白净，表情各异。",[23,24,154,7,27,28,61,90,193,119,664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9237c5a6f17766247b13fda0fad8a1b1.jpg",[],{"id":16720,"slug":16721,"title":16722,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":16723,"thumbUrl":16725,"material":140,"size":6245,"collection":217,"collections":16726,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},223005,"hong-lou-meng-130-sun-wen-223005","红楼梦130",[23,24,28,27,26,7,6242,61,155,62,63,571,3948,2144,610,64,59,16724],"珍禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5977ba55925ddfb890fab98b4c30ea9.jpg",[],{"id":16728,"slug":16729,"title":16730,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":16731,"thumbUrl":16732,"material":140,"size":6245,"collection":217,"collections":16733,"showCount":289,"zanCount":48,"manualWeight":48,"mainColor":128},222966,"hong-lou-meng-91-sun-wen-222966","红楼梦91",[23,24,25,7,27,28,59,61,4801,64,34,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb39e4fc09e1e3bc62862b5c2e0b2c8.jpg",[],{"id":16735,"slug":16736,"title":16737,"dynasty":250,"author":1694,"museum":151,"description":16738,"tags":16739,"thumbUrl":16740,"material":16741,"size":16742,"collection":217,"collections":16743,"sho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。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[23,25,7,60,119,120,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4f5b943233bb337a9fa87703d3b5d1.jpg",[],{"id":16967,"slug":16968,"title":16969,"dynasty":133,"author":16970,"museum":227,"description":16971,"tags":16972,"thumbUrl":16973,"material":217,"size":217,"collection":543,"collections":16974,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},239905,"zhuang-zi-nei-pian-juan-yu-ji-239905","庄子内篇卷","虞集","虞集（1272年3月21日－1348年6月20日），字伯生，号道园，世称邵庵先生 。祖籍成都仁寿（今四川省眉山市仁寿县），临川崇仁（今江西省抚州市崇仁县）人 。元朝官员、学者、诗人，南宋左丞相虞允文五世孙。\n虞集自少受家学，曾随名儒吴澄游学。元成宗大德初年，被举荐为大都路儒学教授，历任国子助教、博士等。元仁宗时，迁集贤殿修撰，除授翰林待制。元文宗时，累官至奎章阁侍书学士、通奉大夫。元宁宗驾崩后，称病返回临川。至正八年（1348年），虞集去世，年七十七。获赠江西行中书省参知政事、护军、仁寿郡公，谥号“文靖”。\n虞集素负文名，与揭傒斯、柳贯、黄溍并称“元儒四家”；诗与揭傒斯、范梈、杨载齐名，并称“元诗四大家”。曾领修《经世大典》，著有《道园学古录》《道园遗稿》等。",[23,119,7,120,193,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44f83d15da8d44635581f70c9dc234c8.jpg",[543],{"id":16976,"slug":16977,"title":16978,"dynasty":133,"author":12591,"museum":20,"description":16979,"tags":16980,"thumbUrl":16981,"material":2109,"size":16982,"collection":543,"collections":16983,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},239632,"yang-wei-zhen-cheng-nan-chang-he-shi-tie-yang-wei-zhen-239632","杨维桢城南唱和诗帖","《城南唱和诗帖》释文\n款钤“廉夫”、“会稽杨维槙印”二方。鉴赏印有“太原颛庵王氏拙修堂收藏图书”、“王掞私印”、“西田”、“娄江王藻儒氏真赏”等，另钤孙承泽、王南屏私家藏印及嘉庆、宣统内府诸印。题跋有孙承泽、陈献章、谢肇淛、徐等家。《铁网珊瑚》、《庚子消夏录》、《石渠宝笈》三书著录。\n此卷书《城南杂咏》20首，原诗为南宋著名理学家张栻所作。张栻曾于长沙妙高峰筑城南书院，以居学者。《城南杂咏》20首即其对长沙城南诸胜景的咏怀之作。此后不久，朱熹访张栻于城南书院，和南轩诗作，遂成《城南唱和》20首。朱熹手迹经朱氏五世孙之手散出流传于世，辗转归元人虞子贤。当时张栻所书《城南杂咏》原迹已佚，虞氏遂请杨维桢追和张栻原诗，铁崖遂录张栻原诗20首。除原诗外，杨维桢又书“赘评”二则，简述为虞氏补书起因，并对张南轩诗作了评介，以为“有古风人思致”。\n在元代复古潮流中，杨维桢的书法因点画多不守常规，所以表现得格外出奇。结体上虽无珠圆玉润和儒雅精到之感，但其笔锋硬峭，筋骨强健，体势奇崛，具有一种壮美堂皇之气象。明代书法家吴宽评其书：“大将班师，三军奏凯，破斧缺斨，例载而归。廉夫书或似之。”徐有贞亦称：“铁崖狂怪不经，而步履自高。”此件作品写于杨维桢67岁时，笔势开拓，奔放不羁，风格清劲可喜。",[23,119,1892,7,193,539,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1de427f78f196ea2b5a9b77078d8eb.jpg","纵31.6厘米，横216.6厘米",[543],{"id":16985,"slug":16986,"title":7162,"dynasty":18,"author":430,"museum":227,"description":16987,"tags":16988,"thumbUrl":16989,"material":217,"size":217,"collection":217,"collections":16990,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":49},238128,"luo-shen-tu-juan-yi-ming-238128","此作用苍古笔墨铺展川山林壑，晨日悬于崖巅，凌波洛神在水一方，衣袂翩跹回望，对岸侍从簇拥车驾，尽是怅然伫立的惘然。\n\n整卷将辞赋里的缱绻离思融于山水之间，人物意态传神，布景疏密相宜，山石皴擦朴拙苍劲，林木蓊郁幽深，把洛水之别欲留不得的哀婉，晕染在荒寂的川泽烟岚中，尽显古风雅韵，将文辞里的缥缈深情化为可视的丹青愁绪。",[24,25,7,27,28,118,193,120,61,29,34,468,31,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2387f98ad2c240c9075e91a659cd6878.jpg",[],{"id":16992,"slug":16993,"title":16994,"dynasty":250,"author":819,"museum":227,"description":1772,"tags":16995,"thumbUrl":16996,"material":217,"size":217,"collection":217,"collections":16997,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},234250,"yuan-ji-shi-hua-he-bi-tu-juan-shi-tao-234250","原济诗画合璧图卷",[23,24,25,7,114,120,275,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72859f2d1a40d9ef1ad376d60d03ee12.jpg",[],{"id":16999,"slug":17000,"title":17001,"dynasty":54,"author":9119,"museum":20,"description":9120,"tags":17002,"thumbUrl":17003,"material":696,"size":217,"collection":217,"collections":17004,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},234239,"luo-han-juan-li-shi-da-234239","罗汉卷",[23,24,25,7,173,174,114,61,483,254,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95e683ca4c609b9d25fb50ba7fdf047.jpg",[],{"id":17006,"slug":17007,"title":17008,"dynasty":54,"author":12216,"museum":227,"description":17009,"tags":17010,"thumbUrl":17011,"material":1411,"size":217,"collection":217,"collections":17012,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},234194,"fang-xia-gui-xian-shan-tu-juan-song-xu-234194","仿夏圭仙山图卷","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[23,24,7,114,118,60,193,29,34,35,115,63,196,690,37,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e63cf3c48e1f03acef519e28f9af90a.jpg",[],{"id":17014,"slug":17015,"title":17016,"dynasty":54,"author":15125,"museum":20,"description":15126,"tags":17017,"thumbUrl":17018,"material":442,"size":217,"collection":217,"collections":17019,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},234179,"wen-jia-fang-mi-yun-shan-tu-juan-wen-jia-234179","文嘉仿米云山图卷",[23,24,25,7,60,114,118,29,482,1071,483,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc34426a88d7b44a9134580564d722f8.jpg",[],{"id":17021,"slug":17022,"title":3830,"dynasty":54,"author":6655,"museum":227,"description":6656,"tags":17023,"thumbUrl":17024,"material":217,"size":217,"collection":217,"collections":17025,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},234173,"hong-mei-juan-lu-fu-234173",[23,24,25,7,27,114,209,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5530a6366fac1d8b8eddabc5dc2e30.jpg",[],{"id":17027,"slug":17028,"title":17029,"dynasty":54,"author":17030,"museum":20,"description":17031,"tags":17032,"thumbUrl":17033,"material":442,"size":217,"collection":217,"collections":17034,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":185},234114,"huan-ji-tu-juan-zhang-han-234114","宦迹图卷","张瀚","描绘了明中后期官至吏部尚书的张瀚的官宦生活。本文通过对此作图像内容的考证,在比对图文关系的基础上,对此图的原貌、作者及有关问题进行了初步研究。",[24,25,7,174,28,61,90,62,116,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47acd463b3a10bf258b2c33970af22e2.jpg",[],{"id":17036,"slug":17037,"title":17038,"dynasty":250,"author":17039,"museum":227,"description":17040,"tags":17041,"thumbUrl":17042,"material":217,"size":217,"collection":217,"collections":17043,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":49},234104,"you-qin-tu-juan-gao-jian-234104","友琴图卷","高简","高简（1634-1707年）字澹游，号旅云，自号一云山人，江苏苏州人。能诗，工山水，摹法元人，甚为简澹，而布置深稳，风味清巧可爱。平生小品最多，好画梅花书屋图，冷隽可珍。卒年七十四。传世作品有《春山积翠图》、《江乡初夏图》、《寒林诗思图》。",[24,25,7,27,28,61,157,34,338,29,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051dd69d7eed026eefb3c1986d1adcae.jpg",[],{"id":17045,"slug":17046,"title":17047,"dynasty":18,"author":832,"museum":56,"description":17048,"tags":17049,"thumbUrl":17050,"material":442,"size":17051,"collection":217,"collections":17052,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":49},232773,"xue-shan-tu-juan-liu-song-nian-232773","雪山图卷","刘松年，约生于1155年，卒于1218年，钱塘（今浙江杭州）人，南宋著名画家，与南宋画家李唐、马远、夏圭合称为“南宋四大家”。\n刘松年有暗门刘的称号，暗门就是清波门，所以刘又号刘清波。他先为画院学生，光宗时期担任画院待诏。在画院工作期间，因成绩斐然，宁宗皇帝还曾给刘松年丰厚的物质奖励。他在画院体系地位也很尊崇，人们以绝品来对待刘松年及其绘画。\n刘松年绘画上，初学李唐、张敦礼，又继承了董源、巨然的部分艺术特征，严谨，典雅，清丽。他的题材多为江浙地区的风貌，西湖，茂林，修竹等。刘松年为人称道的地方，是发展了李唐大笔挥洒的斧劈皴，衍生出刮铁皴。这种皴法基本以小笔触为主，更加细腻。刘松年多园林小景，人称“小景山水”。\n刘松年除了山水之外，同时在人物画、界画、花鸟上，也水平甚高。据传，北京故宫博物院现藏《中兴四将图》，便是他的作品。这幅画人物生动，描绘精到，是宋代写实人物画的佳作。此外，他的《便桥会盟图》、《风雪运粮图》等人物故事画，也在中国绘画史上赫赫有名。此外，他的宗教画，罗汉等形象，则建立了中国佛画的一派典范。\n历史上流传下来的刘松年作品，大约有九十幅左右。这些作品真伪难辨。刘松年及其作品研究，是学术界以后仍然要力度加强的部分之一。",[23,154,24,25,7,114,29,118,2897,34,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae02117c5bf69987bd9f56214a0e41ac.jpg","21.6×142.6厘米",[],{"id":17054,"slug":17055,"title":17056,"dynasty":2618,"author":430,"museum":227,"description":17057,"tags":17058,"thumbUrl":17059,"material":217,"size":217,"collection":217,"collections":17060,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},231758,"ying-hua-pu-tu-juan-yi-ming-231758","樱花谱图卷","此作为折页长卷，每开撷取一枝樱花小景，将诸类樱株的风姿尽皆铺展。\n设色清妍多变，从绯色柔瓣、素白琼英到浅黄淡蕊，晕染细腻柔和，朱红叶芽与莹白花团相映成趣。枝桠穿插自然生动，或盛放、或初绽，尽显春日樱华的清灵柔婉。\n每幅配搭题识小字，笔致秀雅，与写生花枝相映，兼具博物记录的写实鲜活与文人雅绘的温婉意趣，将樱花的娇妍百态一一绘就，藏着春日独有的温柔雅致。",[23,24,25,7,27,28,209,12978,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a94b73e4c92aaf3ddcb3fd8745038d.jpg",[],{"id":17062,"slug":17063,"title":17064,"dynasty":2618,"author":430,"museum":227,"description":17065,"tags":17066,"thumbUrl":17067,"material":1050,"size":1051,"collection":217,"collections":17068,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},231687,"ping-an-shi-dai-e-gui-cao-zhi-yi-ming-231687","平安时代 恶鬼草纸","此卷以幽谲笔致铺陈幽冥幻景，起首狞厉恶鬼赤面焰发，拖拽拷打罪者，怪骇形貌带着慑人的怖气。继而转绘冥境丘泽，精怪盘桓、寒鸟掠空，荒寂山景藏着隐秘的妖异氛围。后半段落回人间宅邸，鬼魅附着日常起居，悄然撕开阴阳两界的缝隙。\n\n笔墨简淡古拙，残褪的朱红晕开岁月斑驳，将佛教果报之说揉入和风怪谈，以稚拙线条勾勒出旧时代对幽冥的想象，让泛黄纸本载着千年的畏怖诡奇，铺展出一场跨越阴阳的怪幻绘卷。",[23,7,174,27,61,1047,1009,511,29,69,7814,14628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71db9ddecacf189990a84725835b6d52.jpg",[],{"id":17070,"slug":17071,"title":17072,"dynasty":54,"author":110,"museum":111,"description":17073,"tags":17074,"thumbUrl":17075,"material":442,"size":17076,"collection":217,"collections":17077,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,25,7,114,27,118,120,664,119,193,29,34,61,854,31,117,1298,1857,116,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":17079,"slug":17080,"title":17081,"dynasty":18,"author":430,"museum":151,"description":17082,"tags":17083,"thumbUrl":17084,"material":442,"size":17085,"collection":217,"collections":17086,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},231400,"jiang-fan-shan-shi-tu-yi-ming-231400","江帆山市图","宋人《江帆山市图》画两峰回抱，山寺、野店隐现其间，山坳间有一座庙宇，依山建筑，山谷间则有云雾袅绕，飞鸟阵阵，一派黄昏景象。全幅在画船、人物、建筑、树木、水纹或其它景物的用笔都非常细腻精致，线条细挺，如对于船只结构及船上设备的描绘都非常精细确实，山寺、野店之建筑，比例正确，形式精美，人物虽小，却将人物的神态和形貌画得栩栩如生。用色简澹清雅，画幅虽小，却将山城点染得极为活泼而有生意。\n此幅无名款，从画风及造型来看，是北宋范宽（十世纪）、燕文贵（活动于十世纪末）一系风格。画两峰回抱。也以近似雨点的皴法，层层描写山石的质感与量感，笔法细密，运笔着墨皆具清劲苍秀之感。在构景方面，景物集中于右半边，笔墨虽简，但严谨写实，从画风看来，是一幅接近燕文贵时代的作品。",[24,114,118,7,29,4421,62,35,117,34,31,690,37,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","28.6x44.1公分",[],{"id":17088,"slug":17089,"title":17090,"dynasty":250,"author":17091,"museum":227,"description":17092,"tags":17093,"thumbUrl":17094,"material":1050,"size":1051,"collection":217,"collections":17095,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},229037,"kang-xi-fu-zheng-yu-wai-ai-xin-jue-luo-xuan-ye-229037","康熙赋政于外","爱新觉罗.玄烨","清圣祖爱新觉罗·玄烨（1654年5月4日—1722年12月20日），清朝第四位皇帝，清定都北京后第二位皇帝（1661年-1722年在位），年号“康熙”。蒙古人称为恩赫阿木古朗汗；西藏方面尊称为“文殊皇帝”。顺治帝第三子，生母为孝康章皇后佟佳氏。",[23,119,537,664,193,7,297,511,3888,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f5f9ae660ee4168f660acd64c30d7a.jpg",[],{"id":17097,"slug":17098,"title":17099,"dynasty":250,"author":12470,"museum":227,"description":17100,"tags":17101,"thumbUrl":17102,"material":217,"size":217,"collection":217,"collections":17103,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,25,7,27,29,118,60,193,120,119,482,483,34,35,62,63,116,420,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":17105,"slug":17106,"title":17107,"dynasty":250,"author":17108,"museum":227,"description":17109,"tags":17110,"thumbUrl":17111,"material":217,"size":217,"collection":217,"collections":17112,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":49},228951,"bie-yuan-guan-lan-tu-juan-yuan-jiang-228951","别苑观览图卷","袁江","此作以全景铺展别苑胜境，水天浩渺晕开朦胧烟霭，远山如黛卧于淡墨氤氲间。园林依山水错落排布，亭台廊榭形制工细严整，山石皴擦苍劲古拙，林木扶疏间点缀三两行人，衬出苑中雅静又暗藏生趣。界画技法精绝，屋舍梁柱、城垣路径分毫毕现，又以写意笔墨晕染烟波，将规整气派的苑囿与清逸空濛的江南山水相融，精工之中不失雅致韵致，尽现院宇山水合璧的精妙意境。",[23,24,25,7,59,27,28,29,62,116,34,117,69,61,90,483,690,70,5564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776ca4204dca827b152a3572e3d2c2a.jpg",[],{"id":17114,"slug":17115,"title":17116,"dynasty":18,"author":832,"museum":227,"description":17117,"tags":17118,"thumbUrl":17119,"material":217,"size":217,"collection":217,"collections":17120,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":49},228851,"wan-xian-chao-zhen-tu-juan-liu-song-nian-228851","万仙朝真图卷","绢面虽蒙岁月褐晕，仍铺展浩荡仙仪长卷。群仙或乘云驭鹤，或执笏徐行，仪仗森然奔赴灵阙。山峦松枝勾勒清劲，宫观台宇隐现林岫，晕染出缥缈仙气。神祇形貌各殊，衣带翩跹舒展，尽显白描秀逸工致。后幅题跋笔意清隽，与前幅绘事呼应，文墨丹青共叙玄门盛会的庄雅恢弘，将天界朝贺的雍容气象凝于尺幅间，尽显中古仙佛绘事的极致匠心。",[23,24,25,7,4315,173,61,29,62,27,174,193,511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4550bd33f196963e0c2517d9a36fde44.jpg",[],{"id":17122,"slug":17123,"title":17124,"dynasty":54,"author":430,"museum":227,"description":17125,"tags":17126,"thumbUrl":17127,"material":217,"size":217,"collection":217,"collections":17128,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":49},228779,"fang-li-tang-hao-pu-tu-juan-yi-ming-228779","仿李唐濠濮图卷","此作用斧劈皴写山石，棱角方硬苍劲，两岸危崖叠峙、古木盘根虬曲，浓墨点染的林木蓊郁深秀，暗带秋意。溪谷水面留白晕出浅波，汀渚碎石错落，衬出涧谷幽寂空远。右侧平石之上，雅士简笔勾勒，凭坐观流，恬淡静穆，尽显林泉遁世的悠然意趣。画作兼取北派山水的雄劲与文人画的萧散，将山水之胜与林下雅兴相融，把秋日溪畔的幽寂雅情绘得淋漓尽致，尽显古意山水里的文人心境。",[23,24,7,60,118,27,29,254,468,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd1d7c4fadcfa69c00bdc8807b573b.jpg",[],{"id":17130,"slug":17131,"title":17132,"dynasty":54,"author":17133,"museum":227,"description":17134,"tags":17135,"thumbUrl":17136,"material":1050,"size":1051,"collection":217,"collections":17137,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},228333,"si-ti-qian-zi-wen-lu-shi-ren-228333","四体千字文","陆士仁","此卷书法工整稳健，圆劲古雅。结字运笔因体取势，篆书温纯古拙，隶书沉着质朴，草、楷书起笔尖微精健，更似文徵明用笔之法。卷后陆士仁之子广明题识：“先君子幼习太史公书，片楮只字无不临摹，几于入室。",[23,25,119,7,120,5432,664,537,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32cb469298bd6b4e0726b7e7658be108.jpg",[],{"id":17139,"slug":17140,"title":17141,"dynasty":133,"author":430,"museum":227,"description":17142,"tags":17143,"thumbUrl":17144,"material":217,"size":217,"collection":217,"collections":17145,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":49},228195,"shi-liu-shen-jun-tu-yi-ming-228195","十六神骏图","画面群骏错落排布，姿态鲜活灵动，或引颈伫立、或俯首啜饮、或扬蹄疾行，亦有两马偎依嬉闹。骏马毛色各异，斑纹勾勒细腻写实，筋骨晕染柔和自然，将神骏膘肥体健的身姿刻画入微。\n\n红衣骑者神情悠然，控马徐行，与群马相映成趣。浅淡墨色晕染沙岸浅滩，古雅底色衬出悠长留白意境，尽显画工精妙，将良骏灵动神采尽数铺展，尽显古朴雅致的画中逸趣。",[23,154,24,25,7,27,28,61,90,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6cb686b05759e704136a50854c09ba.jpg",[],{"id":17147,"slug":17148,"title":2759,"dynasty":18,"author":716,"museum":227,"description":17149,"tags":17150,"thumbUrl":17151,"material":217,"size":217,"collection":217,"collections":17152,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":49},227967,"jin-wen-gong-fu-guo-tu-li-tang-227967","本作以连环分段构图铺陈史诗往事，图文互映，每段配书跋补全情节脉络。以铁线描勾勒人物衣纹，劲挺古雅，国君、文武、夷狄、仆从神态各异，将流亡隐忍、终成霸业的跌宕过往细腻呈现。\n\n布景兼工带写，亭台界画工致严整，松石林木兼具山水意趣，古朴厚重的色调烘托出春秋乱世的沉郁风云，尽显传统叙事绘画的章法意韵与历史叙事的感染力。",[23,154,24,25,7,174,28,118,61,90,62,34,117,193,119,69,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7d26cfaac9b3b65381345283d0c2bc.jpg",[],{"id":17154,"slug":17155,"title":17156,"dynasty":18,"author":2005,"museum":227,"description":13210,"tags":17157,"thumbUrl":17158,"material":1050,"size":1051,"collection":217,"collections":17159,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},227815,"bin-feng-qi-yue-tu-juan-wen-zheng-ming-ba-ma-he-zhi-227815","豳風七月图卷文徵明跋",[23,1602,24,25,7,664,119,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7afaf614079908a09b751e9389226f63.jpg",[],{"id":17161,"slug":17162,"title":17163,"dynasty":18,"author":7097,"museum":227,"description":17164,"tags":17165,"thumbUrl":17166,"material":217,"size":217,"collection":217,"collections":17167,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":49},227712,"hu-tian-ju-le-tu-juan-gong-kai-227712","壶天聚乐图卷","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,154,24,25,7,114,174,61,29,34,2460,1009,5861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4894a30ae63717fc0a21742c8b4efc20.jpg",[],{"id":17169,"slug":17170,"title":7546,"dynasty":18,"author":7547,"museum":227,"description":17171,"tags":17172,"thumbUrl":17173,"material":217,"size":217,"collection":217,"collections":17174,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},227577,"fan-wang-li-fo-tu-juan-zhao-guang-fu-227577","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。\n\n赵光辅 (公元10世纪中-11世纪初)〔北宋〕耀州华原(今陕西耀县)人，五代南唐时布衣，北宋初爲图画院学生，故乡里呼爲“赵评事”，生卒年不详。画艺活动在宋太祖、太宗、真宗(960-1022)间。工画道释人物，兼精蕃马走兽，亦工竹木花卉，笔锋劲利，名“刀头燕尾”。所作线条流畅，人物形象清楚，骨骼厚重，刻画细致入微，设色典雅沉稳，有唐吴道子遗风。曾在许昌开元、龙兴两寺创作壁画，在开元寺所画之《五百罗汉图》，“姿质风度互有意思，坐立瞻听皆得其妙，貌若悲觉以动观者”。据北宋绍圣元年(1094)著名金石、书画家游师雄《题赵光辅画壁》碑云：“云阳(今陕西泾阳县)孟店镇西寺殿后画《自在观音》一壁，曲尽端严闲暇态度。其左有外国胡王与人从焚香状，貌极恭虔；其右有衣王者服，罄瞻礼之容，旁有衔花野兽，麋鹿虎豹各尽驯伏情状。至于竹木花卉，无不精至，南向画魔女恼佛，云雷震电，其势可怖；魔女变形，揽镜自照，遽作惊惭自失之状，尤爲奇绝。然后知光辅不独工于马也。……”碑今存泾阳县文化馆。",[23,24,25,7,27,28,173,61,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b7f502dddb1a49e90b3c6d1c398b59.jpg",[],{"id":17176,"slug":17177,"title":12915,"dynasty":250,"author":12470,"museum":227,"description":17178,"tags":17179,"thumbUrl":17180,"material":217,"size":217,"collection":217,"collections":17181,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},224401,"xi-hu-shi-jing-tu-juan-wang-yuan-qi-224401","此作以全景长卷铺陈湖山胜景，浅绛设色清润雅致。峰峦以干笔积墨皴擦勾勒，层叠苍秀，兼具浑厚古朴与秀润之气。湖面浩渺空阔，洲渚星罗，烟柳桃林、亭台梵塔错落点缀，渔舟轻泛波心，将西湖温婉灵韵尽数铺展。\n\n既承娄东画派笔墨法度，又以细腻写实还原十景雅致意境，将江南山水的旖旎柔媚与文人山水的书卷气相融。静穆苍劲的山峦与明秀澄澈的湖光交织，晕染出晴日西湖的通透明丽，于淡逸间藏深秀，是实景山水画中的上乘佳制。",[23,24,7,27,29,118,116,62,63,64,196,34,66,3874,1937],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718e976d8d85dc8f898d2ea2d0f8eb5b.jpg",[],{"id":17183,"slug":17184,"title":17185,"dynasty":250,"author":17186,"museum":227,"description":17187,"tags":17188,"thumbUrl":17189,"material":1050,"size":1051,"collection":217,"collections":17190,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},224160,"song-wu-di-yu-zang-dao-chi-juan-wu-xi-zai-224160","宋武帝与臧焘敕卷","吴熙载","吴让之（1799－1870），清末书画篆刻家。原江苏江宁人，自父吴明煌起移居仪征，晚年流寓泰州。原名廷飏，字熙载，50岁后更字让之、攘之，号让翁、攘翁、晚学居士、晚学生、方竹丈人、言庵、言甫、难进易退学者。斋堂为晋铜鼓斋、师慎轩。吴让之小学功力很深，画作士气盎然，书法篆所不能，且精金石考据之学。篆刻初宗汉印，悉心摹仿，后师邓石如（完白山人），参以己意，晚年之作入化境。",[23,664,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf2ab5cfc1ded49fb9543fe228d5ee2.jpg",[],{"id":17192,"slug":17193,"title":17194,"dynasty":168,"author":430,"museum":20,"description":17195,"tags":17196,"thumbUrl":17197,"material":17198,"size":17199,"collection":543,"collections":17200,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},223395,"tang-ren-fa-hua-jing-xuan-zan-juan-yi-ming-223395","唐人法华经玄赞卷","此卷界乌丝栏，首尾皆缺，书者不明。书写内容为《法华经玄赞》，这是唐代玄奘法师的弟子窥基（632—682年）撰述的一部阐说《妙法莲华经》教义的专著。\n唐人写经多为楷书，草书者极为罕见。此卷行气均匀，风格典雅，字形虽小，但使转精妙，法度俨然，今草之中略带章草韵味，可与隋人《出师颂》及孙过庭《书谱》互参，应为初唐高手所写。",[23,119,540,7,537,193,442,3196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff307974923d709fff0cac39ca1111c3a.jpg","乌丝","纵28.4cm，横373.2cm",[543],{"id":17202,"slug":17203,"title":17204,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":17205,"thumbUrl":17206,"material":140,"size":6245,"collection":217,"collections":17207,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},223004,"hong-lou-meng-129-sun-wen-223004","红楼梦129",[23,24,28,27,7,61,62,70,34,117,63,64,3948,1298,3004,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e8af6fbf9804e896431718aac1927.jpg",[],{"id":17209,"slug":17210,"title":17211,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":17212,"thumbUrl":17213,"material":140,"size":6245,"collection":217,"collections":17214,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},222971,"hong-lou-meng-96-sun-wen-222971","红楼梦96",[23,24,28,27,7,61,62,117,34,70,690,211,1590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1906c1da41ad0f4c60f8f26426d895.jpg",[],{"id":17216,"slug":17217,"title":17218,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":17219,"thumbUrl":17220,"material":140,"size":6245,"collection":217,"collections":17221,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":49},222955,"hong-lou-meng-80-sun-wen-222955","红楼梦80",[23,24,28,27,7,61,62,70,34,177,15950,5411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a188492cac0963873519f94f7eb5642.jpg",[],{"id":17223,"slug":17224,"title":17225,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":17226,"thumbUrl":17228,"material":140,"size":6245,"collection":217,"collections":17229,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":128},222900,"hong-lou-meng-25-sun-wen-222900","红楼梦25",[23,24,25,7,28,27,59,61,62,298,156,297,9001,2852,2097,17227],"窗帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffec7de2f09bbfc6e0ce7e91d901be2.jpg",[],{"id":17231,"slug":17232,"title":17233,"dynasty":133,"author":2780,"museum":56,"description":9240,"tags":17234,"thumbUrl":17235,"material":215,"size":17236,"collection":217,"collections":17237,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":49},222608,"yang-zheng-shi-ze-tu-juan-wang-zhen-peng-222608","养正十则图卷",[23,59,28,27,7,25,61,62,70,34,211,731],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368ce7bdda345e23fb4577b6cdef698d.jpg","42x735",[],{"id":17239,"slug":17240,"title":17241,"dynasty":54,"author":10715,"museum":380,"description":10717,"tags":17242,"thumbUrl":17243,"material":442,"size":17244,"collection":543,"collection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7首，是解缙于1407――1410年在广西、交阯为官期间所作。除第六首《过藤县》外，其余 6首均见于解缙《文毅集》，其中个别诗句互有出入。\n作品创作于永乐八年（1410年），时解缙42岁，恰从遥远的边陲入京奏事。之后不久即被陷入狱，５年后惨死狱中。此卷书法纵横超逸，奔放洒脱，点划出规入矩，绝无草率牵强处。章法经营尤见匠心，全篇一气呵成，神气自备，显示出解缙驾御长卷游刃有余的不凡功力。从卷末自识中流露出解缙本人对此卷也是颇为得意的。他把这件得意之作送给祯期，祯期为解缙兄解纶之子，以书名，不失门风。\n幅后有明王穉登跋一则。钤诸家鉴藏印共25方。曾经清安岐、乾隆、嘉庆、宣统御府收藏。《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《石渠随笔》等书著录。",[23,5431,119,25,7,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d422b5d628f1482f54d5ee322fe7f7.jpg","纵34.3厘米，横472厘米",[543],{"id":17439,"slug":17440,"title":17441,"dynasty":250,"author":430,"museum":227,"description":17442,"tags":17443,"thumbUrl":17444,"material":217,"size":217,"collection":217,"collections":17445,"showCount":316,"zanCount":914,"manualWeight":48,"mainColor":128},238187,"wang-cheng-pei-ji-hui-ming-he-juan-yi-ming-238187","汪承霈集卉鸣和卷","此卷开篇绘幽竹亭亭，鸣虫静栖竹间，溪畔蓝花簇生，野趣盎然。清溪蜿蜒穿流过浅渚，渐入群芳盛放之景：粉菊、蓝花、红卉与素白琼英交织错落，枝叶柔曼舒展。蜻蜓振翅掠水，蛱蝶穿花翩跹，蜂虫流连芳丛，诸般小生灵衬得满卷生机浮动。全作用笔纤柔细腻，工笔淡彩晕染雅致明秀，将郊野春景的清灵意趣缓缓铺展，把花间小景的娴静生机描摹尽致，宛如将融融春日的一隅闲趣，凝于素绢之上。",[23,24,25,7,28,27,209,275,454,337,439,15026,64,117,962,557,277,278,279,434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946dcdc9d843fe6490645d4ecbbb0d23.jpg",[],{"id":17447,"slug":17448,"title":17449,"dynasty":54,"author":17450,"museum":20,"description":17451,"tags":17452,"thumbUrl":17453,"material":1411,"size":217,"collection":217,"collections":17454,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},234238,"jiang-nan-sheng-gai-tu-juan-zhu-zong-ru-234238","江南胜概图卷","朱宗儒","朱宗儒如字忆云。秀水（今嘉兴）人。善画山水人物。为人放浪不羁，弃诸生而游江湖，同邑戴泾曾为之传。",[23,24,25,7,114,29,61,35,34,118,63,64,138,654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95681a81d2439f3a780c79ee72315848.jpg",[],{"id":17456,"slug":17457,"title":17458,"dynasty":54,"author":17459,"museum":20,"description":17460,"tags":17461,"thumbUrl":17462,"material":1411,"size":217,"collection":217,"collections":17463,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},234182,"song-mao-jin-xi-shan-chun-xin-tu-juan-song-mao-234182","宋懋晋溪山春信图卷","宋懋","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[23,154,24,25,7,27,29,118,117,1298,62,63,64,35,71,2241,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba1a74833b25ec1416d17e54393026e.jpg",[],{"id":17465,"slug":17466,"title":16152,"dynasty":250,"author":687,"museum":20,"description":17467,"tags":17468,"thumbUrl":17469,"material":1411,"size":17470,"collection":217,"collections":17471,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","“卧游”一语出自南朝刘宋时期（420—479年）的画家宗炳，他平生喜好出游，后因病而隐居，于是他将自己游历过的地方画成图画，悬于室内观赏，自谓“卧以游之”。1642年， 39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,25,7,114,29,118,119,120,193,482,483,34,116,63,64,115,468,35,5564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":17473,"slug":17474,"title":17475,"dynasty":54,"author":17476,"museum":227,"description":17477,"tags":17478,"thumbUrl":17479,"material":217,"size":217,"collection":217,"collections":17480,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},234131,"xue-ye-mu-gui-juan-huang-chang-yan-234131","雪夜暮归卷","黄昌言","黄景明，字可文，福建晋江县人，明末清初政治人物。同进士出身。\n崇祯七年，登甲戌进士，选长乐县知县，擢礼部仪制司郎，督学粤西。迁浙江三衢副使",[23,24,25,7,114,28,29,63,64,62,116,230,654,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1eff41757c4a05ff903d7cf006d215.jpg",[],{"id":17482,"slug":17483,"title":17484,"dynasty":54,"author":495,"museum":20,"description":17485,"tags":17486,"thumbUrl":17487,"material":9132,"size":17488,"collection":217,"collections":17489,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[23,24,25,7,114,174,120,193,29,209,61,276,275,255,962,524,274,282,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","每段 纵32.6厘米 横50.8厘米",[],{"id":17491,"slug":17492,"title":17493,"dynasty":54,"author":15125,"museum":20,"description":17494,"tags":17495,"thumbUrl":17496,"material":442,"size":217,"collection":217,"collections":17497,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},234123,"shao-xi-chun-se-tu-juan-wen-jia-234123","苕溪春色图卷","本作品体裁是五言律诗，作者是弘历。弘历即爱新觉罗·弘历，清朝的乾隆皇帝。\n吏隐薄青纶（嘉此卷在乌程官舍所作），消闲只合闲。晓岚迷野坞，春色满江关。玉磬参承处，洼尊点缀间。云烟生湿润，活脱米家山。\n爱新觉罗·弘历（1711—1799），清朝乾隆皇帝。乾隆帝是中国历史上实际执掌国家最高权力时间最长的皇帝，在位六十年，期间社会稳定，经济发展，文化繁荣，其文治武功颇为后世称誉。乾隆帝热衷诗词，据说一生作诗4万多首。",[24,25,7,114,29,118,119,193,120,34,63,64,116,196,613,690,786,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":17499,"slug":17500,"title":17501,"dynasty":250,"author":9683,"museum":20,"description":9684,"tags":17502,"thumbUrl":17503,"material":140,"size":217,"collection":217,"collections":17504,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},234110,"hua-hong-li-ping-shan-tang-shi-yi-juan-zhang-zong-cang-234110","画弘历平山堂诗意卷",[24,25,7,27,29,62,116,34,193,119,120,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7c98fe5c42d9369522f0ec973ba1a1.jpg",[],{"id":17506,"slug":17507,"title":17508,"dynasty":250,"author":9683,"museum":20,"description":9684,"tags":17509,"thumbUrl":17510,"material":140,"size":217,"collection":217,"collections":17511,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷",[154,24,25,7,114,27,29,1298,62,63,64,115,116,193,34,35,66,690,3077,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":17513,"slug":17514,"title":17515,"dynasty":133,"author":2740,"museum":4758,"description":17516,"tags":17517,"thumbUrl":17518,"material":353,"size":17519,"collection":217,"collections":17520,"showCount":316,"zanCount":1106,"manualWeight":48,"mainColor":128},232900,"mo-li-gong-lin-ren-ma-tu-quan-juan-zhao-yong-232900","摹李公麟人马图全卷","赵雍（1289—约1360），元代书画家。字仲穆，湖州（今属浙江）人。赵孟頫次子。以父荫入仕，官至集贤待制、同知湖州路总管府事。书画继承家学，赵孟頫尝为幻住庵写金刚经未半，雍足成之，其联续处人莫能辨。擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。传世作品有《兰竹图》、《溪山渔隐》等。\n此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。画人马用线细劲连绵，人物胡须及马尾线描极为精彩。与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。",[23,24,25,7,60,174,27,61,90,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c18bb2f97acaf2887d33f422c15e0a1.jpg","纵31.7厘米，横73.5厘米",[],{"id":17522,"slug":17523,"title":4460,"dynasty":18,"author":832,"museum":227,"description":10539,"tags":17524,"thumbUrl":17525,"material":140,"size":17526,"collection":217,"collections":17527,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},232876,"ren-wu-gu-shi-tu-juan-liu-song-nian-232876",[23,154,24,25,7,28,27,59,119,120,193,61,62,70,34,117,2241,211,731,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83c436c11f7cca4cd37dca18f9de04f.jpg","26.1x446.5厘米",[],{"id":17529,"slug":17530,"title":17531,"dynasty":133,"author":1867,"museum":227,"description":17532,"tags":17533,"thumbUrl":17534,"material":442,"size":17535,"collection":217,"collections":17536,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},232777,"jiu-long-shan-ju-tu-ni-zan-232777","九龙山居图","图中高峰耸立，草木秀润，山下苍松挺立，远山连绵。\n水畔平坡，隐者正立于枯枝下，观赏山色。\n画法取于王蒙，并带有盛懋皴法的特点。\n线条多用中锋，并以水墨渲染，笔法转折灵活，墨色苍润，气韵浑厚。\n该图大体可分为远景、中景、近景三段式：远景为高山峻岭，悬崖峭壁，主峰巍峨，形势十分险峻；中景为山腰，和悬崖峭壁夹江对岸的平缓山坡，期间树木和杂草丛生；近景为山坡和平地，长有几棵树干粗大的苍松和杂树，有的盘根虬曲，枝叶茂密，树荫下的茅亭座落期间，弯树下有一位长者，站在水畔平坡上，作回首之状，观赏山色，后有一僮子携琴随后。\n画面的右侧为开阔湖面，湖水平如镜，平湖滩渚参差。",[23,24,25,7,114,118,120,119,154,29,404,34,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379cd8c73503fa9cc5d8274d05b2de7f.jpg","27.9×146.1cm",[],{"id":17538,"slug":17539,"title":17540,"dynasty":2618,"author":17541,"museum":227,"description":17542,"tags":17543,"thumbUrl":17545,"material":1050,"size":1051,"collection":217,"collections":17546,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},231785,"ming-qing-ri-ben-gu-hua-fen-ben-yao-guai-chu-xing-juan-he-guo-xiao-zhai-231785","明清日本古画粉本-妖怪出行卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,7,174,114,61,17544,5410,3488,193],"妖怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1401d1e4f5070159203b05ca347f68cc.jpg",[],{"id":17548,"slug":17549,"title":17550,"dynasty":2618,"author":430,"museum":227,"description":17551,"tags":17552,"thumbUrl":17554,"material":217,"size":217,"collection":217,"collections":17555,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},230531,"tang-hua-fen-ben-shan-shui-hua-hui-tu-juan-yi-ming-230531","唐画粉本-山水花卉图卷","此作四段分绘雅景与人世行旅：首段烟波浩渺，渔翁垂竿扁舟，三两棹影浮沉沧溟，尽显江湖散逸之趣。次段江干松下，执戟侍者侍立，士人临水话别，林风簌簌似作离歌。三段云海拥卫都门，朱衣仪仗簇拥策官走马，金阙飞甍隐于云涛，尽显仪制煊赫。末段秋山丹枫灼灼，飞瀑漱石，幽居枕流，空山寥寂见林泉高致。通卷以淡彩写形，笔墨清隽，以诗画相映的分段小景，铺陈出江湖林泉到都邑行旅的万象闲情。",[23,24,25,7,27,28,59,29,61,62,115,764,90,254,1071,17553,64,765,63,116],"红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baa70be8acd15b6541e2270d885e01e.jpg",[],{"id":17557,"slug":17558,"title":17559,"dynasty":54,"author":495,"museum":227,"description":17560,"tags":17561,"thumbUrl":17562,"material":217,"size":217,"collection":217,"collections":17563,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},228886,"cun-ju-tu-wen-zheng-ming-228886","存菊图","淡墨轻皴汀洲远山，清润秀雅，茅庐隐于林间，窗内人影凭眺，秋水横波，江天旷远，晕染出江南秋日萧疏淡远的意趣。\n书画合璧，行书题诗笔致温秀，以存菊寄寓林下高逸襟怀，将文人澹泊心境融于水墨湖山。笔底无浓艳重彩，却自见悠悠古意，淡而不薄，秀而不媚，尽显诗书画一体的雅致风神，把秋日怀想与文人雅趣藏进卷中，清和隽永。",[23,24,25,7,27,29,28,118,119,120,193,482,483,254,1298,1123,613,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9a4a897929f713d7c2804fe86703e6.jpg",[],{"id":17565,"slug":17566,"title":17567,"dynasty":54,"author":6014,"museum":227,"description":17568,"tags":17569,"thumbUrl":17570,"material":1050,"size":1051,"collection":217,"collections":17571,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},228854,"xun-yang-song-ke-tu-juan-wen-bo-ren-228854","浔阳送客图卷","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。",[23,24,25,7,114,27,29,115,196,34,117,118,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5504d48b2948047af35986cb9bd270c8.jpg",[],{"id":17573,"slug":17574,"title":17575,"dynasty":54,"author":430,"museum":227,"description":17576,"tags":17577,"thumbUrl":17578,"material":217,"size":217,"collection":217,"collections":17579,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},228781,"fang-li-tang-bai-niu-tu-juan-yi-ming-228781","仿李唐百牛图卷","此作取景平远雅致，水岸林皋间意趣悠然。左侧群牛或立或卧，于浅滩闲散憩息，肌理厚重朴拙，憨态尽显。右侧童子策杖徐行，与近旁食草的牛只相映成趣，野逸生机扑面而来。\n\n林木皴染兼具苍劲与秀润，枯木虬枝疏密错落，新发柔条轻拂水岸，尽显春日郊野的清润之气。设色淡雅沉稳，赭石与墨色晕染出古绢沉静质感，追摹院体笔意又融入牧歌式恬淡，铺陈出物我相忘的山野闲趣，尽显旧朝牧放题材的风雅余韵。",[23,24,25,7,27,61,91,1009,34,29,60,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e62a1ad2b0378e674fd4cb6fc02c2d3.jpg",[],{"id":17581,"slug":17582,"title":17583,"dynasty":54,"author":55,"museum":227,"description":17584,"tags":17585,"thumbUrl":17586,"material":1050,"size":1051,"collection":217,"collections":17587,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},228446,"mo-li-tang-zhong-jiang-die-zhang-tu-chou-ying-228446","摹李唐重江叠嶂图","绘大江高岭，长松红枫，游人往来于山中茅舍，一派江村深秋美景，览之忘世外之情。设色雅静，用笔精诣，是仇英传世摹古浅绛山水精品。",[23,24,25,7,28,27,60,29,2560,30,34,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5a57fdde2240683083bccd12c1185c9.jpg",[],{"id":17589,"slug":17590,"title":17591,"dynasty":54,"author":14347,"museum":227,"description":17592,"tags":17593,"thumbUrl":17594,"material":217,"size":217,"collection":217,"collections":17595,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},228307,"jiang-shan-xue-ji-tu-shou-juan-xiang-sheng-mo-228307","江山雪霁图手卷","此作用淡墨晕染，留白拟积雪，绘就雪后江天。近岸寒林枯槎错落，崖巅孤亭孑立，可眺江色；山石以干笔皴擦，凝住冬日元气。远景江波澹澹，远山如墨痕晕散，孤鸟掠空衬出天地寥廓，满卷萧寒清旷之意。\n师法宋元笔墨，以极简之笔写尽雪霁荒寒，将文人幽居远眺的寄怀藏于山水间。后附题跋小楷娟秀，书画相映，在素淡笔墨里晕开空寂禅意，尽显古雅清逸的文人画风骨。",[23,24,25,7,114,118,29,973,117,34,116,196,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55f709ab0f0994569af64b386bef267.jpg",[],{"id":17597,"slug":17598,"title":17599,"dynasty":18,"author":3193,"museum":227,"description":17600,"tags":17601,"thumbUrl":17602,"material":217,"size":217,"collection":217,"collections":17603,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},227595,"song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227595","送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。",[23,119,120,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3ee6efaf6a6bc07864e1e94e0d9ef0e.jpg",[],{"id":17605,"slug":17606,"title":9229,"dynasty":168,"author":430,"museum":227,"description":17607,"tags":17608,"thumbUrl":17609,"material":217,"size":217,"collection":217,"collections":17610,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},227129,"gong-yuan-tu-juan-yi-ming-227129","《宫苑图》绘青山碧水之间，殿宇壮丽巍峨、行人络绎不绝的繁华盛景。画面以潺潺流水串联起星罗棋布的亭台楼阁，营造出一座精致华美的山水之城。该图“青绿为质，金碧为文”的笔法特色，以及在处理景物关系时的娴熟技巧，都是了解中国古代宫苑画如何走向成熟的重要参考。",[23,24,25,7,27,59,28,29,62,63,64,61,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb131de98f8b7428d587a3235aa38356b.jpg",[],{"id":17612,"slug":17613,"title":17614,"dynasty":250,"author":17615,"museum":227,"description":17616,"tags":17617,"thumbUrl":17618,"material":217,"size":217,"collection":217,"collections":17619,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},224240,"tan-xue-tu-juan-li-zong-wan-224240","探雪图卷","励宗万","此作用平远视角铺展林泉雅境，以披麻皴绘层峦，石骨温润，淡赭晕染出浅淡暖意，衬出山峦清和质感。长溪蜿蜒穿谷，汀渚错落板桥连缀村居，黛瓦茅庐或临水依崖，或藏于花林松荫。\n\n山径、板桥之上，雅士策杖寻幽、携琴晤谈，暗合林泉高致。桃林初绽、松枝苍劲，红白点缀浅绛山水之间，冷润雅致。全卷以精工细笔写尽山居闲旷，将文人心中的世外烟霞融于尺幅，尽显静谧悠然的林下意趣，淡远清和的气息漫卷整幅画卷。",[23,24,25,7,28,118,27,29,973,63,64,61,62,34,117,613,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff435c1018f07729175bd8cc1346e76e1.jpg",[],{"id":17621,"slug":17622,"title":17623,"dynasty":250,"author":17624,"museum":227,"description":17625,"tags":17626,"thumbUrl":17627,"material":217,"size":217,"collection":217,"collections":17628,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},224196,"yan-zi-ji-mo-chou-hu-er-jing-tu-quan-juan-wu-hong-224196","燕子矶莫愁湖二景图全卷","吴宏","此作以全景长卷铺展金陵山水，分绘两处胜景：一侧是燕子矶危崖耸峙，江涛浩渺，帆樯往来，山坞村居错落于林木间，笔墨苍劲，尽显丘壑雄奇；一侧是莫愁湖烟水空濛，汀洲软碧，人家隐于柳岸，笔意清润尽揽湖山温婉。\n\n浅绛设色调和雅致，皴擦勾勒松秀苍逸，远近层次井然，将实景山水晕染出文人意趣。长题诗跋与书画相映，把凭吊幽怀寄于烟岚水色，书卷气漫溢全卷，尽显实景入画又抒情写意的绝妙风韵。",[23,24,25,7,114,29,118,482,483,32,117,34,66,193,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F367d279b39c6d14e9d989d272bc2f3b3.jpg",[],{"id":17630,"slug":17631,"title":17632,"dynasty":133,"author":430,"museum":227,"description":17633,"tags":17634,"thumbUrl":17635,"material":217,"size":217,"collection":217,"collections":17636,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},223676,"qing-shan-bai-yun-juan-yi-ming-223676","青山白云卷","此作用淡墨轻岚绘就江南平远之景，山峦以披麻皴写就，淡赭晕染出温润秀雅的体态，层层铺展间尽显苍润空濛。近渚汀洲错落，林木萧疏简净，村舍隐于林下，渔翁孤棹泛波，寥寥数笔便将山居闲寂之意铺陈开来。\n\n朱红鉴藏印错落排布，与绢本水墨的淡逸形成鲜明冷暖对照，暗合古画递藏的悠悠往昔。全作用笔松秀空灵，以简驭繁摒去雕琢，尽显文人山水的清逸意趣，将春日烟岚轻笼的世外丘壑定格，可卧游其中，于疏淡静穆里细品江南山水的淡远生机。",[24,25,7,27,29,118,482,34,3004,61,338,1286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6951f9724f236be0a1928cf7f43983d.jpg",[],{"id":17638,"slug":17639,"title":17640,"dynasty":54,"author":430,"museum":56,"description":17641,"tags":17642,"thumbUrl":17643,"material":140,"size":17644,"collection":124,"collections":17645,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},223362,"hui-ji-shan-tu-shou-juan-quan-juan-yi-ming-223362","会稽山图手卷全卷","图绘绍兴会稽山景色。远处山峦起伏，满山苍翠；数条河流将群山隔开，河面修长平静，数只船只来往忙碌；近处数座房屋座落于山脚河岸边，背山面水，景色优美，为宜居胜地。技法上，以细皴绘山脉，线条柔和，层次清晰。",[23,24,7,154,763,114,118,405,31,66,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64c41ff2d27b892270217b7097c0f66a.jpg","49.2×712.2",[124],{"id":17647,"slug":17648,"title":17649,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":17650,"thumbUrl":17656,"material":140,"size":6245,"collection":217,"collections":17657,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},223027,"hong-lou-meng-152-sun-wen-223027","红楼梦152",[23,24,28,27,7,1044,59,6243,17651,155,62,17652,3477,17653,15958,17654,17655],"红楼场景","花灯","人物群像","情景交融","雅俗共赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d073d8ba61b680c3d4d7a8e7b172f4.jpg",[],{"id":17659,"slug":17660,"title":17661,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":17662,"thumbUrl":17664,"material":140,"size":6245,"collection":217,"collections":17665,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},222998,"hong-lou-meng-123-sun-wen-222998","红楼梦123",[23,24,28,27,59,17663,61,62,63,64,29,34,3948,117,70,211,7],"工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a3d2b2bd82d67d2ccc6c16c249509af.jpg",[],{"id":17667,"slug":17668,"title":17669,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":17670,"thumbUrl":17672,"material":140,"size":6245,"collection":217,"collections":17673,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},222927,"hong-lou-meng-52-sun-wen-222927","红楼梦52",[23,24,28,27,7,59,61,62,70,4139,875,34,117,14892,5411,17671,14340,17663],"古典场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56277159654d5b8ed21eea08f9f0c3a.jpg",[],{"id":17675,"slug":17676,"title":17677,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":17678,"thumbUrl":17682,"material":140,"size":6245,"collection":217,"collections":17683,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},222896,"hong-lou-meng-21-sun-wen-222896","红楼梦21",[23,154,24,25,7,28,27,140,17679,17680,11186,63,64,61,155,34,3948,2408,117,211,70,17681,5793,69,1550],"工笔人物","设色山水","园林景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff0777d2de3e5717a1c6f1d360c602d.jpg",[],{"id":17685,"slug":17686,"title":17687,"dynasty":54,"author":10715,"museum":227,"description":10717,"tags":17688,"thumbUrl":17689,"material":217,"size":17690,"collection":543,"collections":17691,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},222530,"lin-zhe-mo-lan-ting-wang-duo-222530","临禇摹兰亭",[23,25,119,60,120,193,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b795d3b808e6c26621b5a3f414c8d4.jpg","44X144",[543],{"id":17693,"slug":17694,"title":2224,"dynasty":54,"author":2680,"museum":227,"description":17695,"tags":17696,"thumbUrl":17697,"material":217,"size":217,"collection":543,"collections":17698,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},222473,"shou-juan-zhu-yun-ming-222473","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。\n祝允明出生在文化气氛很浓的苏州，他的书学生涯是在前辈的言传身教下开始的。其中对他影响最大的是外祖父徐有贞和岳父李应祯两人。 徐有贞擅长行草书。他的行草主要师法唐朝的怀素和宋朝的米芾。用笔直率而华美，结构潇洒多姿，很得古雅之气。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。在祝允明二岁时，徐有贞奉诏回苏州闲居，祝允明时常寄宿在外公家里，因此徐有贞的书法风格对他影响是很深远的。\n李应祯也是一个有名的书法家。祝允明也一直得到李应祯的指导。在跟从岳父学书的十几年中，李应祯对于祝允明在书法的发展上起了很大的作用。\n据文徵明的记载，李应祯在晚年告诉他，说自己学习书法四十年才开始有所得，并向文徵明论述了书法上的很多道理。他留下的尺牍，秀丽而又有气度，行笔自然大方，横向取势的撇、捺、横都很生动有致。字的大小，粗细变化自然。他这种富于抒情性的行草书对祝允明也有很深的影响。 祝允明自己谈幼年时学习书法，说前辈不让他学习近代人的字，看到的都是晋唐人的字帖。所指的应该是楷书的学习。应该说祝允明幼年在两位前辈的指导下，打下了很好的底子，为日后的发展作了铺垫。同时两人的书风的优点也传给了祝允明。\n祝允明书法主张是“性”与“功”并重超然出神采，祝允明的书艺思想以“神采”为最终归宿。而要达到这个目标，他认为必须“性”、“功”并重。“性”是指人的精神，“功”是指书法创作的能力和功夫。他认为只有功力而无精神境界，神采就没有，而有了高尚的精神境界，如果没有表达的功夫，那么神采就不能实在地显露。两者不可缺一，必须兼备，在他的代表作《闲居秋日》《致元和手札》《燕喜亭记》《乐志论》《饭苓赋》《云江记》等就秉承了他所倡导的“性”、“功”并重的原则。 对于“功”，祝允明认为只有在向前人学习的基础上才能得到。因此他对时人不愿好好学习传统而把这称为“奴书”的说法很愤慨。特地写下了《奴书订》予以反驳。在这一点上，他晚年在《书述》中还批评了他的岳父李应祯。他强调必须“沿晋游唐”，这是源于他对书法史的深入认识。\n他认为书理极于张芝、王羲之、钟繇、索靖，后人只是在遵循他们的法则，而在根本上已不能改变。他认为唐人能循前人之理，按照当时人的法则来写；宋初还不很差，宋中期仍有可取之处，而后便大变传统，古法遭到败坏，大多流为恶怪。到元代方有赵孟頫扭转时风，复归晋唐，但终因个性不强未免有“奴书”的遗憾。所以要知书法的本来必须向晋唐学习。在学习和熟悉了传统后，其技法必须有独到之处，这是祝允明对“功”的进一步要求。他在《评书》中说自己不屑于步钟、索、羲、献的后尘，而要学习项羽和史弘肇的勇猛以开创自己。他跋 《山谷书李诗》云: “双井之学（黄庭坚之学）大抵以韵胜，文章诗书画皆然，姑论其书积功固深，所得固别。要之得晋人之韵，故形貌若悬而神爽冥会欤!此卷驰骤藏真，殆有夺胎之妙，非有若据孔子比也，其故乃是与素同得晋韵然耳。”(《祝枝山全集》卷二十五)可见他主张学古贵在求其气韵神情，而不必规规于点画形似。 ] 因此他既反对时人对传统的忽视，又强调不能真的成为“奴书”。\n祝允明对于“性”没有很多的论述。他提倡“起雅去俗”，显然是指以学识和修养来陶冶性情、净化心灵，从而达到较高的精神境界。 有了以上两点，就可以在“入神”的状态下创作具有神采的优秀作品了。他对于“入神之境”的解释是“一时超然格度之外”，在超越各种约束的情况下，才能“闲窗散笔”，自然地表达自己。 祝允明在书法理论上的要求，既符合艺术创作本身的规律，又合乎文人书画的审美要求，从而使他的书法创作成果达到了很高的水平。\n祝允明书法主要成就在于狂草和楷书。狂草来自怀素、张旭，更多的是接近黄山谷，提按和使转的笔法交互使用，行与行之间的距离很紧，形成一种汪洋恣肆的视觉效果。受黄庭坚影响很大，所以书法有铁画银钩之称。更难得的是楷书又写得相当严谨，有晋唐人的古雅气息。这种反差很大的综合素养与唐代的张旭十分相似，如《草书自诗卷》《致元和手札》《草书千字文卷》《王文恪公卷》等。 祝允明高明之处，将黄庭坚斤书笔法的特点融于自己小行楷书作中。因此，祝允明对黄庭坚的取法无疑是一种新的创造。",[23,154,24,25,7,1892,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123665fbab9a322e70bef1c799c376a3.jpg",[543],{"id":17700,"slug":17701,"title":17702,"dynasty":54,"author":17703,"museum":56,"description":17704,"tags":17705,"thumbUrl":17706,"material":140,"size":17707,"collection":217,"collections":17708,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},222390,"shan-shui-liu-ce-he-juan-sheng-mao-ye-222390","山水六册合卷","盛茂烨","盛茂烨，明代画家，长洲（今江苏苏州）人。善山水、人物，笔力雄健，烘染精到，好作长林叠嶂巍峨险峻之景，有烟林清旷之概。\n此册六开，因藏于海外，国内学者较少提及，无论是用笔、用墨还是构图、气韵，其独特的艺术风格都表现出一流的大家风范。",[23,24,114,27,10566,7,118,29,63,64,115,230,2038,62,61,193,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d02a1e0c9772dc5dacd3bbddaec7765.jpg","28.6 x 30.5",[],{"id":17710,"slug":17711,"title":6961,"dynasty":54,"author":13435,"museum":380,"description":17712,"tags":17713,"thumbUrl":17714,"material":696,"size":17715,"collection":217,"collections":17716,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},222063,"shui-xian-tu-zhou-tian-qiu-222063","此图细笔微染出花朵和浓淡墨钩出的花叶，突出阴阳向背，表现动的变化。双钩竹和飞白石兼具元人简逸之韵致，承宋之余绪而又不失字家格调。历代画家多用水仙象征高洁，寓意作者的孤傲品格和入泥不染的意志。",[23,24,25,154,7,174,114,280,404,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385efbfd3ac4bd968584f474eb574eee.jpg","33.5x858.1cm",[],{"id":17718,"slug":17719,"title":17720,"dynasty":54,"author":9148,"museum":227,"description":17721,"tags":17722,"thumbUrl":17723,"material":217,"size":217,"collection":217,"collections":17724,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},222052,"shu-su-shi-hou-chi-bi-fu-quan-juan-zhang-rui-tu-222052","书苏轼《后赤壁赋》全卷","本书是中国碑帖经典中的一册。收入了明代书法家张瑞图的草书《后赤壁赋》。该帖笔势矫键跌宕，锋芒凌厉，方笔多于圆笔，一扫元明俏媚之书风，虽未入神，已属不朽之作。\n该书印刷精美，较好地再现了原作，是书法爱好者的极佳范本。\n张瑞图 (1570～1641)明代书法家。字长公，又字无画，号二水、白毫庵主等。泉州晋江人。万历三十五年(1607)探花，授编修，历官少詹事、礼部侍郎、礼部尚书，后入阁办事，晋建极殿大学士，加少师。善山水，尤工书，与邢侗、米万钟、董其昌并称“明四家”。其书法奇恣横生，风格多样，不落流俗，在钟繇、王羲之之外另辟蹊径。善用露锋尖笔，笔势跳荡多姿，节奏感强烈。结体平正而内促，形态紧张，显示出一种前所未有的自抑心理。以强烈的个性与崭新的艺术风貌独树一帜。尤精大字匾额。书名远播日本、朝鲜及东南亚诸国。所书《草书后赤壁赋》，日本人视为珍品，称他是“伟大的章草体书法家”。\n学习张瑞图的书法，必须从笔法开始，在熟练掌握方笔法的基础上，才能写出其草书的姿态，要是不注重笔法，仅学其字的形态，就可能滑入丑怪。",[119,7,120,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdd14654808bc7fd29b40bc7c220432.jpg",[],{"id":17726,"slug":17727,"title":17728,"dynasty":133,"author":17729,"museum":20,"description":17730,"tags":17731,"thumbUrl":17732,"material":3383,"size":17733,"collection":217,"collections":17734,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},221806,"xian-zhi-zhai-tu-juan-wu-zhi-zhong-221806","闲止斋图卷","吴致中","此图是吴致中为他的族人吴彦能所绘山间别墅“闲止斋”的景致。\n画家自题：“野外罕人事，即事多所欣。坐止高荫下，遥遥望白云。东园吴致中为宗人彦能写闲止斋并集陶句。”下钤“延陵世家”、“吴致中”2印。\n吴彦能，字子乃，元末延陵（今江苏常州）人。出身于官宦世家，自幼受到良好的教育，曾拜在经学大师胡仲彝门下，在春秋学研究方面有很深的造诣，后隐居于至亲郑居贞的家乡歙南溪（今安徽东南部、新安江上游）。吴彦能最敬慕东晋名士陶渊明弃官归隐之高操，故将自己的隐居之所取名为“闲止斋”。\n此图在艺术手法上采用平远式构图，将近景、中景、远景有机地结合起来。画面近处高树耸立于湖畔，作为主体的“闲止斋”掩映于林木间。对江平沙曲岸，远岫遥岺，生动地点画出元代文人理想中的山林野趣。\n全画笔墨简练而不放纵，从勾皴点染之间营造出清幽雅静的氛围。山石的画法用卷云皴，可明显地看出北宋郭熙绘画技法的影响。吴致中存世作品极少，《闲止斋图》是了解其画风的重要实物资料。",[23,24,25,7,114,27,29,62,63,64,404,116,196,230,120,664,193,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00874a1dadd20cefff589827a0c57942.jpg","21.8厘米，横1.9厘米。",[],{"id":17736,"slug":17737,"title":17738,"dynasty":133,"author":17739,"museum":20,"description":17740,"tags":17741,"thumbUrl":17742,"material":17743,"size":17744,"collection":44,"collections":17745,"showCount":316,"zanCount":1106,"manualWeight":48,"mainColor":128},221796,"du-qiu-niang-tu-juan-du-mu-shi-zhou-lang-221796","杜秋娘图卷杜牧诗","周朗","署款：“周朗伯高。”下钤印“冰壶画隐”。本幅有元代著名书法家康里巎巎行书录唐杜牧《杜秋娘诗》，明宋璲题记二段。钤清乾隆、嘉庆、宣统内府收藏印等，共计23方。\n此图创作主题突出，无任何衬景点缀，仅绘杜秋侧身沉思状。作者运用暗喻的艺术手法，根据诗意成功地塑造出栩栩如生的杜秋形象。其雍容丰满的体态及身着的唐装表明了杜秋所处的时代特征，发髻上考究的头饰暗示出她的身份与地位，手中所持排箫则揭示出其内在的文化修养。\n此图在人物造型上与唐代周昉《挥扇仕女图》中的人物相仿。杜秋浓密的头发梳理得齐整服贴，前额不见散丝，鸭蛋形脸，丹凤眼，高鼻梁，嘴唇小而丰满，面部没有过多的表情。躯体丰腴，着以直筒形长裙，遮掩了其腰身的曲线，显示出唐代仕女画的审美意识。在表现技法上，此图受到宋以来白描画法的影响，注重以线造型，与唐人浓彩重抹的画风有所差异，充分表现了作者对线条的理解和娴熟的运用能力。人物面部轮廓以细匀的淡墨线勾勒，线条外柔内刚，富有弹性，与以浓墨晕染的高挽的发髻共同衬托出杜秋白晰的面容及细腻光滑的肌肤。衣纹用曲、直两种线条表现，直线条落笔果断，劲健有力；曲线条连绵宛转。两种线条的有机组合成功地表现出衣料柔软下坠的质感。人物肩上的披纱用细劲流动的线条勾描，不仅展现出纱带轻薄飘逸的美感，而且以其动势使画面更为活泼，增强了作品的生动性。\n周朗真迹传世仅见此一卷。清内府《石渠宝笈初编》著录。",[23,24,154,7,174,27,120,119,193,61,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3904aa0b94a417e75feeb9f16a97da2.jpg","设色，纸本","纵32.3厘米，横285.5厘米",[44],{"id":17747,"slug":17748,"title":17749,"dynasty":18,"author":17750,"museum":20,"description":17751,"tags":17752,"thumbUrl":17753,"material":384,"size":17754,"collection":217,"collections":17755,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},221588,"tian-jun-zui-gui-tu-liu-lv-zhong-221588","田畯醉归图","刘履中","这幅画描绘了一位老人和他的同乡田和他的亲戚们的场景。天镇乡在古代是管理区的所有者。这幅画共有三个场景。一是村民和亲戚的热情接待，天真周围都是敬酒。中间的场景是，老人喝醉了，骑在牛背上回来了。",[23,24,25,7,28,174,27,61,91,34,117,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa43ae57688cf51ca4d0b87f4bc13f8c3.jpg","纵21.7cm、横75.8cm",[],{"id":17757,"slug":17758,"title":17759,"dynasty":18,"author":14953,"museum":151,"description":17760,"tags":17761,"thumbUrl":17762,"material":3507,"size":17763,"collection":217,"collections":17764,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},221368,"chi-du-juan-cai-xiang-221368","尺牍卷","书风比起蔡襄他书，贵于端重者又增一份工致。书风渊源，用笔、结体、气息，大致融合虞世南、颜真卿二家。\n该幅署款“癸卯”（1063年，嘉祐八年），时年五十二岁，居汴京任翰林院职，属晚期作品。该幅运笔如行，而结体似楷，写来从容不迫，正是“端严而不刻，温厚而不犯。太平之气郁然见于楮毫间。书风比起蔡襄他书，贵于端重者又增一份工致。与次年所书（1063年、甲辰）以故宫所藏《彦犹帖》比较，紧谨严中自有一份雍容，结体、字距行间，宽紧合适，正是端重的代表。即使相对与其它楷书，如“自书谢表并诗”（作于皇祐四、五年间）等，当以此为压卷。\n蔡襄书以浑厚居其上。历来评论蔡襄的书风渊源，受虞世南、颜真卿影响，该幅用笔、结体、气息，大致融合此二家。又蔡襄自谓：“古之善书者，必先楷法，渐而至于行草，亦不离乎楷正。张芝与旭变怪不常，出于笔墨蹊径之外，神逸有余，而与羲献异矣。襄近年粗知其意，而力不及，乌足道哉。”此条未署年，但语义上非年少时，或亦可为晚年该幅尚端重再作一解。\n该帖内文，即求制作纸中名品澄心堂纸，此纸源于五代南唐烈祖李升，命宣城加工制作，澄心堂为李升任金陵节度使住处名称，据称其纸，肤如卵膜，坚洁如玉，细薄光润。宋代士大夫讲究生活品味，于文房用具，尤其考究。“笔墨纸砚精良，人生一乐。”北宋人对文房用品的追求，每每见于诗文杂记题跋中，其中对南唐的墨及纸备加赞扬。蔡襄本人即谓：“纸李王澄心堂为第一。对于文房用具，如《陶生帖》誉“散”笔。对砚的嗜好，《洮河石砚铭》记此砚之“能下墨，隔宿洗之亦不亦不留墨痕。其肌理细润莹洁，不在端溪中洞石下。”《致彦猷尺牍》谢所送“大砚盈尺，风韵异常，斋中之华繇是而生。”蔡绦《铁围山丛谈》“记昭陵（仁宗）赐宴”，一大臣得李超墨，襄得李廷珪墨，襄以之相易。分道时，襄长揖为谢。盖李廷珪墨虽足宝，而李超为李廷珪之父，更足珍。",[25,7,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce7e63e07b5f16b74d9374ebb1826ea.jpg","24x53",[],{"id":17766,"slug":17767,"title":17768,"dynasty":54,"author":1030,"museum":20,"description":11662,"tags":17769,"thumbUrl":11664,"material":720,"size":17770,"collection":44,"collections":17771,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},219626,"wang-gong-chu-shan-tu-tang-yin-219626","王公出山图",[23,154,24,25,7,114,28,118,120,119,193,29,61,117,34,116],"纵20厘米，横73.5厘米",[44],{"id":17773,"slug":17774,"title":17775,"dynasty":54,"author":6014,"museum":20,"description":17776,"tags":17777,"thumbUrl":17778,"material":78,"size":17779,"collection":124,"collections":17780,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":49},219218,"yun-yan-jia-sheng-tu-wen-bo-ren-219218","云岩佳胜图","该图描绘虎丘山云岩寺实景，从二山门、千人石、双吊桶、剑池、石桥直到山顶的佛阁和虎丘塔都一一收入画面。作品以写生为基础，捕捉住虎丘山的特征，表现出吴门画风。",[23,24,25,7,29,27,114,118,120,119,193,62,117,34,116,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5658b5730929f9dfde87aa2dd8229ce8.jpg","纵31.1cm，横63.6cm",[124],{"id":17782,"slug":17783,"title":17784,"dynasty":54,"author":6014,"museum":151,"description":17785,"tags":17786,"thumbUrl":17787,"material":78,"size":17788,"collection":44,"collections":17789,"showCount":316,"zanCount":48,"manualWeight":48,"mainColor":128},218263,"yang-ji-jing-xiao-xiang-juan-wen-bo-ren-218263","杨季静小像卷","这幅画作于文伯仁24岁时（1526年，嘉靖五年），可能是他现存最早的纪年画，也是他唯一的一幅人物画。画中的主人公杨季静（1504-1530年之前）是苏州有名的琴师，与文征明等人关系友好，所以文博仁有机会为他画了一幅小肖像。",[23,24,25,7,114,27,61,157,119,193,120,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F158b55ad0eb5f9db452582a9d910d80a.jpg","29.1x23.9",[44],{"id":17791,"slug":17792,"title":17793,"dynasty":250,"author":687,"museum":227,"description":17794,"tags":17795,"thumbUrl":17796,"material":1050,"size":1051,"collection":217,"collections":17797,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},290386,"jiang-shan-wo-you-tu-di-yi-bai-wu-shi-juan-cheng-zheng-kui-290386","江山卧游图(第一百五十卷)","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[23,24,7,114,29,117,605,63,64,3823,118,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefd991e50ebb9912ad98f0e5bd43f85a.jpg",[],{"id":17799,"slug":17800,"title":17801,"dynasty":54,"author":932,"museum":227,"description":17802,"tags":17803,"thumbUrl":17806,"material":1050,"size":1051,"collection":217,"collections":17807,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},289798,"jin-jue-tu-chen-hong-shou-289798","晋爵图","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,24,7,27,61,28,1795,17804,17805],"礼仪场景","晋爵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82160bb3618d62d00e8abd0db51bf9c.jpg",[],{"id":17809,"slug":17810,"title":7483,"dynasty":133,"author":760,"museum":227,"description":17811,"tags":17812,"thumbUrl":17814,"material":1050,"size":1051,"collection":217,"collections":17815,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},289012,"jia-he-ba-jing-tu-wu-zhen-289012","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。",[23,154,24,7,25,114,29,690,62,63,64,116,196,35,34,119,193,120,1892,17813],"水乡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fc8353ae0102fb4a9641a461d079bf.jpg",[],{"id":17817,"slug":17818,"title":10013,"dynasty":250,"author":10014,"museum":227,"description":17819,"tags":17820,"thumbUrl":17821,"material":1050,"size":1051,"collection":217,"collections":17822,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":49},288213,"shan-yin-cao-tang-tu-xu-gu-288213","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[23,24,25,7,114,29,3398,34,37,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16f7f94852af7e7a30ef59206740d623.jpg",[],{"id":17824,"slug":17825,"title":17124,"dynasty":54,"author":430,"museum":227,"description":17826,"tags":17827,"thumbUrl":17828,"material":1050,"size":1051,"collection":217,"collections":17829,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":49},287952,"fang-li-tang-hao-pu-tu-juan-yi-ming-287952","此作用笔追摹北宗风骨，取景溪山幽隅。左岸危岩崚嶒，古木盘根错结于石罅，虬曲苍劲，枝叶攒簇如盖；右岸林樾荫蔽，二雅士临流趺坐，静听溪声、观览山光。\n山石以斧劈皴挥写，方硬利落，尽显岩壑沉厚质感；水纹细劲萦回，状摹出溪涧清浅潺湲之态。整幅以古雅底色衬出林泉幽寂，将文人寄情山水的闲淡襟怀，融于雄健笔墨之中，萧散出尘，兼具雄浑骨力与幽远意境。",[23,24,7,763,27,118,117,420,4714,623,9090],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f11da397377cad1cc1e22134625497e.jpg",[],{"id":17831,"slug":17832,"title":17833,"dynasty":54,"author":430,"museum":227,"description":17834,"tags":17835,"thumbUrl":17839,"material":1050,"size":1051,"collection":217,"collections":17840,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":49},287862,"zui-ba-xian-tu-juan-yi-ming-287862","醉八仙图卷","此作以群仙醉态为骨，将八仙酣饮忘形之姿铺陈于卷：有人挥袖踉跄、醉舞不休，有人凭石颓坐、醺然欲眠，亦有二人相顾喟叹，将酒中疏狂放达描摹得淋漓尽致。衣纹线条圆劲流转，古雅沉厚设色带着唐风余韵，把仙人纵酒忘情、脱略形骸的逍遥意态尽数铺展。后拖题跋墨色苍润，诗画相映，衬出长卷林下高致，将酒中仙人们沉醉忘机、寄兴林泉的风流雅趣刻画得入木三分，是兼具笔墨意趣与传神功力的精妙之作。",[23,154,24,7,27,1044,17836,17837,922,119,17838,117,2119],"醉八仙","醉酒","酣醉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba07776ca72d646182cec9a7a2c09a7e.jpg",[],{"id":17842,"slug":17843,"title":17844,"dynasty":18,"author":415,"museum":227,"description":4097,"tags":17845,"thumbUrl":17847,"material":1050,"size":1051,"collection":217,"collections":17848,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},287737,"bai-miao-luo-han-tu-juan-qun-xian-du-hai-li-gong-lin-287737","白描罗汉图卷(群仙渡海)",[23,154,24,7,174,61,173,7958,7959,119,193,17846,8952,37],"仙佛","https:\u002F\u002Foss.chuangqi.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），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位），也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[154,24,25,7,119,120,193,276,5005,483,6711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d175e537c5d64ec94a73379cf795ca0.jpg",[543],{"id":17885,"slug":17886,"title":17887,"dynasty":133,"author":534,"museum":227,"description":9648,"tags":17888,"thumbUrl":17889,"material":1050,"size":1051,"collection":217,"collections":17890,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},241499,"yuan-you-pian-juan-zhao-meng-fu-241499","远游篇卷",[7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5c6adeedc855e11126feed1d6948ba.jpg",[],{"id":17892,"slug":17893,"title":17894,"dynasty":54,"author":3914,"museum":227,"description":11458,"tags":17895,"thumbUrl":17896,"material":1050,"size":1051,"collection":217,"collections":17897,"showCount":460,"zanCount":1106,"manualWeight":48,"mainColor":128},240258,"li-sao-lan-ting-juan-dong-qi-chang-240258","离骚兰亭卷",[23,54,25,119,7,120,114,60,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd9a0e30a0a7135aed7c58e6d367beb1.jpg",[],{"id":17899,"slug":17900,"title":17901,"dynasty":168,"author":8491,"museum":20,"description":17902,"tags":17903,"thumbUrl":17904,"material":10648,"size":8496,"collection":543,"collections":17905,"showCount":460,"zanCount":1106,"manualWeight":48,"mainColor":128},239680,"shan-jian-lv-juan-guo-quan-239680","善见律卷","国诠，初唐经生，生平不详。此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。此卷则为千年传世之本，首尾俱全。卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,119,540,537,7,193,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b60fa620e7960390a17b52368f799f.jpg",[543],{"id":17907,"slug":17908,"title":17909,"dynasty":133,"author":534,"museum":20,"description":17910,"tags":17911,"thumbUrl":17912,"material":442,"size":17913,"collection":543,"collections":17914,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":49},239664,"er-zan-er-tu-shi-juan-zhao-meng-fu-239664","二赞二图诗卷","元代初年，书法的风貌出现很大的变化。自“宋四家”以来所开拓的文人尚意书风逐渐无以为继，要突破这个困境，唯有追本溯源，上追二王，而赵孟頫便是这一复古潮流的提倡者。在这个背景之下，他的书法倾向于蕴籍沉稳、平正秀丽的风格。赵孟頫的《二赞二图诗卷》所流露的风格却与其追慕的风貌不甚相同而较为少见。此卷款署“湖州观堂与受益外郎饮酒，一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫。”从署款可知，此卷是赵孟頫和友人于湖州观堂相众时乘着酒兴而书的。此卷纸质光滑，又为酒后兴酣之作，故写来信笔飞动，流畅圆转。卷后明代鉴藏家董其昌题跋云： “此赵文敏(孟頫)学颜鲁公(真卿)《送蔡明远叙》兼米海岳(芾)用笔，迥异平日之作”，说明此卷兼有唐代颜真卿及宋代米芾笔意，不同于赵氏的其它墨迹。",[23,154,24,25,7,120,119,193,114,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c170d3ec939624a8380812c02f2b52.jpg","27厘米x456.3厘米",[543],{"id":17916,"slug":17917,"title":17918,"dynasty":133,"author":17919,"museum":20,"description":17920,"tags":17921,"thumbUrl":17922,"material":2109,"size":17923,"collection":543,"collections":17924,"showCount":460,"zanCount":914,"manualWeight":48,"mainColor":128},239657,"shao-zhi-shui-shi-juan-lu-ju-ren-239657","苕之水诗卷","陆居仁","《苕之水诗》卷释文\n卷前钤陆氏“云间”、“幽谷一叟”印2方；卷末钤陆氏 “宅山”、“陆氏居仁”、“静寿山”、“卧松亭”、“寄寄轩”款印5方。鉴藏印以项元汴、卞永誉、安岐三家最多，并有项氏“意字号”编号。\n《苕之水诗》卷书七言古诗一首，赞扬笔工陆文俊所制毛笔精良耐用，夺造化之功。据自署年款，此卷书于明洪武四年辛亥（1371年），是陆居仁晚年的草书精品。书法飘逸苍秀，得张旭、怀素、孙过庭遗意。\n后幅有元代张枢楷书次韵陆诗并记，乃张枢传世名迹。又有元代陈朴题跋、袁凯题诗各一段。\n此卷曾经清代乾隆内府、宣统内府收藏。",[23,119,1892,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf9d630c01a023eb1170d1e0a54a344.jpg","纵28.2厘米，横130.7厘米",[543],{"id":17926,"slug":17927,"title":17928,"dynasty":250,"author":12717,"museum":227,"description":12718,"tags":17929,"thumbUrl":17930,"material":217,"size":217,"collection":45,"collections":17931,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":185},239381,"hong-wu-kuo-er-ka-jin-xiang-ma-tu-juan-hong-wu-239381","弘旿廓尔喀进象马图卷",[23,24,25,7,27,29,28,61,90,6218,34,117,37,35,420,193,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b4396c56ffa5c6d5916409e929ea31.jpg",[45],{"id":17933,"slug":17934,"title":17935,"dynasty":54,"author":430,"museum":227,"description":17936,"tags":17937,"thumbUrl":17938,"material":217,"size":217,"collection":217,"collections":17939,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":49},235054,"shen-shi-lan-ting-xiu-xie-tu-juan-yi-ming-235054","沈时兰亭修褉图卷","此作用青绿设色铺陈林泉雅集，苍松茂柳环合掩映，青绿山石古雅沉静，将林下幽境晕染得清旷悠然。左侧文士或围坐清谈，或凭石闲憩，神态萧散清和，衣袂舒展自带林下风流，暗合流觞曲水之雅意。林间隐着简雅亭台，衬出集会的雅致氛围。右侧水扁舟轻泛，对岸轩阁凭栏，将林泉之景延展得悠远空灵。\n\n画作工写兼具，古旧绢色晕染出温润古意，将文会吟咏唱和的悠然光景复刻于卷上，漫溢出文人集会的从容风雅，尽显林泉雅集的清逸意趣。",[24,25,7,27,28,61,116,64,115,254,117,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455cd376df096daa4f2307bb08f68e66.jpg",[],{"id":17941,"slug":17942,"title":17943,"dynasty":54,"author":17944,"museum":227,"description":17945,"tags":17946,"thumbUrl":17947,"material":217,"size":217,"collection":217,"collections":17948,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},234214,"zhang-yan-mo-hua-juan-zhang-yan-234214","张彦墨花卷","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n万历四十一年（1631年）作《山水图》，著录于《退庵题跋》\n崇祯二年（1629年）作《寒林钟馗图》，著录于《爱日吟庐书画录》\n传世作品有《山径携琴图》轴，现藏南京博物院\n崇祯十年作《松溪放舟图》轴图录于《中国名画宝鉴》\n崇祯十二年（1639）作《设色山水图》卷著录于《中国书画家印鉴款识》；同年作《雪景梅花图》轴，纸本，设色，现藏苏州市博物馆",[23,24,25,7,114,174,209,274,282,275,283,277,278,279,434,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff41ab333b99a0d13328d654b652e75f6.jpg",[],{"id":17950,"slug":17951,"title":17952,"dynasty":54,"author":2055,"museum":227,"description":17953,"tags":17954,"thumbUrl":17955,"material":217,"size":217,"collection":217,"collections":17956,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},234209,"shu-hua-he-bi-juan-liu-jue-234209","书画合璧卷","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。",[23,154,24,25,7,119,120,114,118,29,116,34,117,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2727e34c1088f093d9673232a8eced1b.jpg",[],{"id":17958,"slug":17959,"title":17960,"dynasty":54,"author":495,"museum":227,"description":17961,"tags":17962,"thumbUrl":17963,"material":217,"size":217,"collection":217,"collections":17964,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},234207,"wen-zheng-ming-quan-nong-tu-juan-wen-zheng-ming-234207","文徵明劝农图卷","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。 [1]\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,7,114,120,119,193,29,61,63,64,116,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b09253d9d58e272bdeb6f3bee99f795.jpg",[],{"id":17966,"slug":17967,"title":17001,"dynasty":54,"author":7127,"museum":20,"description":17968,"tags":17969,"thumbUrl":17970,"material":442,"size":217,"collection":217,"collections":17971,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},234161,"luo-han-juan-li-lin-234161","李麟（1558—？），字次公，四阴（今浙江宁波）人，明朝画家。\n李麟善白描，作佛像下笔如莼条，用焦墨而不觉其枯，眉目粗而不觉其重。尤长写貌，亦以焦墨粗钩为之。师丁南羽（云鹏）有出蓝之誉。自署龙眠后身，崇祯八年（1635）尝写文殊维摩图，时年七十八。又有参寥子像卷，现藏故宫博物院。（《无声诗史》、《画髓元铨》、《图绘宝鉴续纂》、《宁波志》、《中国名画集》）",[23,154,24,25,7,27,28,173,61,7958,4337,254,3888,6818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2afad23ebaf7357b70a3be598dccc1.jpg",[],{"id":17973,"slug":17974,"title":17975,"dynasty":54,"author":110,"museum":20,"description":17976,"tags":17977,"thumbUrl":17978,"material":353,"size":17979,"collection":217,"collections":17980,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},234132,"zhi-tian-tu-juan-shen-zhou-234132","芝田图卷","沈周擅长山水、花鸟、人物各体，然以山水画最精，也最能鲜明地反映出他的艺术特色。归纳起来，可从内容和形式两方面论析。\n内容：即包括题材、立意、构思、思想、情感诸因素。\n沈周的山水画题材，主要可分为写实、抒情、仿古三大类。写实山水最富特色和意义，按内容又可分为访胜纪游、幽居庄园、雅集文会、寻访送别等几种类型。\n幽居庄园图，或表现苏州文人隐居的茅屋斗室，或描写精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和闲适的情致，寄托文人的理想和爱好，有时还寓以一定的象征意义，或缘物传情，或比喻人品。《东庄图》册（南京博物院藏），是描绘其师吴宽的庄园，二十一景均绚丽多姿，真实再现了老师居游皆宜的优美环境；《南山祝语图》卷（北京故宫博物院藏），刻划良医韩世光所居的“云堂”，环境既点出了主人公的身份和居处，又烘托出韩氏一心行医济世的高尚品德；《芝田图》卷（北京故宫博物院藏）则进一步采取人格化的表现手法，藉芝田遍地来表达主人公董君施德于人，天赐灵芝的主题。这些象征手法为后世吴门画家广泛采用。",[23,154,24,25,7,114,27,120,118,29,4994,34,35,405,692,420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da0cce0291188d5f0a529cd4293de06.jpg","画323×33cm；跋64×33cm",[],{"id":17982,"slug":17983,"title":7235,"dynasty":250,"author":17108,"museum":227,"description":17984,"tags":17985,"thumbUrl":17987,"material":217,"size":217,"collection":217,"collections":17988,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},234117,"hua-guo-juan-yuan-jiang-234117","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[24,25,154,7,27,114,28,209,4190,17986,555,278,434,279,280,554,274,282,275,283,3676,281,456,193],"西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":17990,"slug":17991,"title":17992,"dynasty":18,"author":3159,"museum":227,"description":17993,"tags":17994,"thumbUrl":17995,"material":140,"size":17996,"collection":217,"collections":17997,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":49},232883,"ren-wu-shou-juan-chen-ju-zhong-232883","人物手卷","陈居中，南宋画家。嘉泰年间（1201-1204）画院待诏，生卒年不详。专工人物及马，杂画亦佳。擅画反映贵族游乐、出猎生活和表现少数民族放牧风情等题材，注重写实，观察入微，构图简洁，风格清新，富于生趣。明人题其《八骏图》称“精彩逼真似唐画，系临史道硕、韩幹之辈，为两宋人物第一神品也”（吴其贞《书画记》）。元代夏文彦《图绘宝鉴》谓其“布置着色，可亚黄宗道”。",[23,24,25,7,28,27,61,90,1009,29,34,4139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a8d26c75f65f46eee8b4627c5dcacc.jpg","29.8x229cm",[],{"id":17999,"slug":18000,"title":18001,"dynasty":54,"author":14347,"museum":151,"description":18002,"tags":18003,"thumbUrl":18004,"material":442,"size":18005,"collection":217,"collections":18006,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[23,24,7,114,29,118,119,120,193,117,34,64,63,116,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":18008,"slug":18009,"title":18010,"dynasty":54,"author":495,"museum":227,"description":13872,"tags":18011,"thumbUrl":18012,"material":217,"size":217,"collection":217,"collections":18013,"showCount":460,"zanCount":48,"manualWeight":48,"mainColor":128},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图",[23,24,25,7,114,118,120,193,29,419,3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、“朝乾夕惕”。\n雍正帝的一系列社会改革对于康乾盛世的连续具有关键性作用。雍正十三年（1735年）农历八月二十三日驾崩，终年58岁。庙号世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之泰陵，传位于第四子弘历。",[23,24,25,7,27,28,61,62,34,70,18382,875,5926,4081],"古代建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76703745414aaf3c5171983bea62096c.jpg",[],{"id":18386,"slug":18387,"title":18388,"dynasty":250,"author":17624,"museum":20,"description":18389,"tags":18390,"thumbUrl":18393,"material":442,"size":217,"collection":217,"collections":18394,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},234162,"yan-zi-ji-mo-chou-hu-er-jing-tu-juan-wu-hong-234162","燕子矶莫愁湖二景图卷","吴宏（1615 —1680），一作弘，字远度，号竹史、西江外史。江西金溪人，移居江宁（今南京）。\n吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。\n传世作品有康熙五年（1666）作《山水》册页、《江山行旅图》卷，均藏北京故宫博物院；十一年（1672）作《松溪草堂图》轴、《竹石图》轴，藏南京博物院；《山村樵牧图》轴，藏天津市艺术博物馆。《国(清)朝画征录、读画录、桐阴论画、安雅堂集、江宁志、清画家诗史》",[23,154,24,7,114,763,405,4666,138,4421,946,610,609,18391,18392],"苍郁","生活气息","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2193f9b4953e0d1929de82ac13992b.jpg",[],{"id":18396,"slug":18397,"title":10061,"dynasty":250,"author":18398,"museum":227,"description":18399,"tags":18400,"thumbUrl":18401,"material":217,"size":217,"collection":217,"collections":18402,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},234150,"shan-shui-he-juan-liu-ru-shi-234150","柳如是","此卷以淡墨轻皴写江岸丘壑，林木萧疏、汀洲隐现，水墨晕染出江南烟水空蒙之态，简淡天真，尽得文人画简远逸趣。\n\n通篇题跋行书秀逸灵动，笔致清劲温婉，墨色浓淡参差，与画作的淡远意境相融，诗、书、画三者浑融无间。笔墨里交织江南山水的静雅与文人情致，长卷铺展出悠悠林下之风，将澹澹愁思与清雅襟怀藏入点染挥毫间，尽显灵秀才思与林下襟期。",[23,24,25,7,114,174,118,120,193,29,63,64,116,34,117,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca11af530f678f1b3f4c15b1e5ac59a6.jpg",[],{"id":18404,"slug":18405,"title":18406,"dynasty":54,"author":9744,"museum":20,"description":18407,"tags":18408,"thumbUrl":18410,"material":442,"size":217,"collection":217,"collections":18411,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},234143,"jiang-nan-bie-yi-juan-lu-zhi-234143","江南别意卷","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,18409,7,114,27,120,5125,29,610,34,63,64,61],"吴门画派","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7318ab2ac09bf9c15a1e91c7c9ced007.jpg",[],{"id":18413,"slug":18414,"title":18415,"dynasty":54,"author":495,"museum":20,"description":18416,"tags":18417,"thumbUrl":18418,"material":384,"size":18419,"collection":217,"collections":18420,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},234134,"wen-zheng-ming-cang-xi-tu-juan-wen-zheng-ming-234134","文徵明沧溪图卷","文徵明《沧溪图卷\u002F沧谿图卷》，75岁为宜兴吴俦作（嘉靖二十三年），绢本设色，尺寸31.7厘米×139.8厘米，故宫博物院藏。王文治书法题跋：文衡山沧谿图并记。\n《沧谿记》；嘉靖二十三年（1544年），岁在甲辰二月既望前，翰林待诏将仕佐郎兼修国史，长洲文徵明书。",[23,24,25,7,27,28,118,120,119,29,116,63,64,117,34,35,486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0dda54a1515fc400167e23cfd822052.jpg","31.7×139.8厘米",[],{"id":18422,"slug":18423,"title":18424,"dynasty":133,"author":18425,"museum":20,"description":18426,"tags":18427,"thumbUrl":18429,"material":442,"size":18430,"collection":217,"collections":18431,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":49},233785,"gou-lei-zhu-juan-zhang-xun-233785","钩勒竹卷","张逊","张逊 (约13世纪末～14世纪中)字仲敏,号溪云，吴(今江苏苏州)人。此图纸本，水墨，纵 43.4 厘米，横 686厘米。画坡陀间双钩竹数丛，枝干劲挺，竹叶扶疏，间作老松披佛偃仰。石用中锋圆笔钩皴，有董源、巨然遗意。本幅后楷书自题记上款“伯时”，下署“至正九年四月卅日，吴郡张逊题于吴氏舍馆”。钤“张逊私印”。作于1349年，是张逊晚年用心之作。\n后纸有察伋、倪瓒、张绅、梁用行、王汝玉、张间、钱溥、刘钮、陈鉴、严树、陆广、谢希曾、徐渭仁、黄芳、宝熙等人题以及谢希曾等鉴藏印 150余方。《朱氏铁网珊瑚》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。现藏故宫博物院。",[154,24,25,7,174,18428,275,61,90,254,193],"钩勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2630f34cd123917126bd47636aae1dec.jpg","纵 43.4 厘米，横 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横688cm",[],{"id":18442,"slug":18443,"title":8461,"dynasty":54,"author":110,"museum":20,"description":18444,"tags":18445,"thumbUrl":18447,"material":442,"size":18448,"collection":217,"collections":18449,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},233216,"xin-yi-mo-cai-tu-juan-shen-zhou-233216","第一段：此幅采用没骨法绘折枝辛夷，以苍秀古拙之笔画花卉枝干，以不同水分的色墨画出花瓣叶片，色泽浓淡分明，层次丰富，再用重墨劲细之笔勾画叶筋。构图疏密有致，设色清妍秀雅，富于蕴蓄之致。\u2028　　第二段：画中运用干笔的飞白、水墨的渲染和重笔浓墨的点写将一棵普普通通的白菜表现得栩栩如生。此画突出了书法用笔的特点，粗放率意，转折自然，用墨亦变化多端，颇具逸致，天趣盎然。",[24,7,114,27,272,2161,209,8464,1821,456,18446,193],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7e94e8db94371a03e84ca9826f8650.jpg","纵34.9厘米，横58.8厘米",[],{"id":18451,"slug":18452,"title":18453,"dynasty":133,"author":534,"museum":4758,"description":18454,"tags":18455,"thumbUrl":18456,"material":140,"size":18457,"collection":217,"collections":18458,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},232887,"tian-ma-fu-tu-juan-zhao-meng-fu-232887","天马赋图卷","《天马赋》是一篇辞赋作品，是著名辞赋家天山客最新完成的辞赋力作。该篇笔力遒劲，描写天马（伊犁马）的形态、声貌、神韵惟妙惟肖，对天马的历史、马的能力描写的非常到位。这是一篇十分成功的优秀辞赋，行文纵横捭阖、笔走龙蛇，有气吞万里之势。本篇可用劲节、雄浑、粗犷、豪迈来概括文章的风格，这也符合中国西部天山、昆仑、伊犁的地域特色。",[23,133,7,27,120,90,61,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7d933fc0197c7ef5b8b25cbfaf99b3.jpg","26.7x76.5厘米",[],{"id":18460,"slug":18461,"title":18462,"dynasty":133,"author":10736,"museum":227,"description":18463,"tags":18464,"thumbUrl":18465,"material":140,"size":18466,"collection":217,"collections":18467,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},232885,"you-mu-kuang-huan-tu-juan-zhang-yu-232885","游牧狂欢图卷","张雨（1283～1350），元代诗文家、词曲家、书画家、茅山派道士。旧名张泽之，又名张嗣真；字伯雨，号贞居之，又号句曲外史。钱塘（浙江杭州）人。\n博学多闻，善谈名理。诗文、书法、绘画，清新流丽，有晋、唐遗意。曾从虞集受学，诗才清丽。年二十弃家为道士，居茅山，道名嗣真，道号贞真子，又自号句曲外史。师事茅山宗师许道杞弟子周大静，后师事玄教高道王寿衍，居杭州开元宫，与当时文士如杨维桢、张小山、马昂夫、仇山村、班彦功等均有唱和往来。\n传世书迹有《台仙阁记》卷（现藏于上海博物馆）《题画二诗》卷（现藏于故宫博物院）；著有诗集《贞居集》（又名《句曲外史集》）五卷。",[23,154,24,25,7,27,61,511,1060,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdf3dd2a8a2ad4ac8b4c773e7f7cd412.jpg","30.4×89 厘米",[],{"id":18469,"slug":18470,"title":18471,"dynasty":133,"author":12342,"museum":227,"description":18472,"tags":18473,"thumbUrl":18477,"material":10754,"size":18478,"collection":217,"collections":18479,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},232637,"mo-lou-shu-can-zhi-tu-cheng-qi-232637","摹楼璹蚕织图","《耕织图》是中国古代为劝课农桑，采用绘图的形式详实记录耕作与蚕织的系列图谱，原为南宋绍兴年间画家楼璹所作，作品得到了历代帝王的推崇和嘉许。此内整理：传元程棨摹楼璹绘本、清康熙三十五年焦秉贞绘、内府刊本（两种）、清雍正时期陈枚彩绘本、清代彩绘本及和刻本，共九种版本。\n南宋绍兴年间于潜县令楼璹绘制的《耕织图》呈献给宋高宗，深得高宗赞赏并获得吴皇后题词。皇上还专门召见他，并将其《耕织图》宣示后宫，一时朝野传诵，从而引发了“耕织图”发展的第一次高潮。社会上接连不断地出现了许多《耕织图》，形成了中国绘画史、科技史、农业史、艺术史中一个独特的现象，成就了中国文化遗产的一大瑰宝。《耕织图》历经近千年流传到世界各地。\n楼璹的《耕织图》又是一卷诗画相配的文学艺术作品，有人将他的诗与南宋诗人范成大的作品相比较，充满田园气息，也有人评价他的作品的内容更像是以农业为主题的农学著作，有人将它与《天工开物》、《农政全书》相媲美。说是一部有韵的农书。\n《耕织图》描绘细致入微又富有艺术感染力，有赖于楼璹对农业生产的长期观察体验和高超的艺术造诣。他在任县令时，跑遍於潜县治十二乡之周边的南门畈、横山畈、方元畈、祈祥畈、对石畈、竹亭畈、敖干畈等大畈，深入田头地角，出入农家，与当地有经验技术的农夫蚕妇研讨种田、植桑、织帛等经验技术得失。尤其难得的是，它在画面上留下的从事农业生产的图像，为研究农业特别是农具留下了无法从文字资料中得到的珍贵资料。例如《灌溉》《一耘》图，绘出了当时使用戽斗、桔槔和龙骨车抽水灌田的情景。从《收割》图中看到的是一幅紧张的割稻场面。《织》和《攀花》等图绘出了当时已经使用的素织机和花织机，使人们能够更形象地了解当时蚕桑及纺织的发展面貌。其中记载的许多耕织知识和生产工具一直沿用至今。\n该图为康熙年间，江南士人进呈南宋楼璹《耕织图诗》，康熙命内廷供奉焦秉贞重绘而成。康熙亲自题序，并为每幅图“制诗一章，以吟咏其勤苦而书之于图”。时著名木刻家朱圭、梅裕凤奉旨镌版印制。本次编辑将楼诗原文、康熙行草释文用简体文字附于图页，方便读者阅读。《御制耕织图》含23幅耕种图和23幅纺织图，每幅图都配有一首诗。这些诗是由康熙皇帝所作。清宫廷画家焦秉贞创作的这些画很大部分是根据南宋楼璹的《耕织图》来创作的，创作时做了调整。",[23,154,24,7,27,28,61,18474,18475,2887,119,13428,18476],"耕织","蚕织","传统技艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc381aebd2353ed49054ea70b9ec3a5.jpg","32.7X1049",[],{"id":18481,"slug":18482,"title":18483,"dynasty":2618,"author":17541,"museum":227,"description":17542,"tags":18484,"thumbUrl":18486,"material":1050,"size":1051,"collection":217,"collections":18487,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},231807,"ming-qing-ri-ben-gu-hua-fen-ben-zhuo-yao-juan-he-guo-xiao-zhai-231807","明清日本古画粉本-捉妖卷",[23,6346,27,7,61,1857,639,946,997,18485],"粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5900c3a3fda86d8ad4b7a8c7ca938.jpg",[],{"id":18489,"slug":18490,"title":18491,"dynasty":54,"author":430,"museum":227,"description":18492,"tags":18493,"thumbUrl":18494,"material":217,"size":217,"collection":217,"collections":18495,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":49},228780,"fang-li-tang-bai-niu-tu-yi-ming-228780","仿李唐百牛图","此作以长卷铺展郊野牧歌，百头水牛形神各异，或缓步山径、或卧息林麓、或就水嬉游，尽显野性生机。村童三两，或骑牛徐行、或滩间闲坐，稚态可掬。平远山水间，枯木疏林、浅坡村居晕染出淡远乡野意趣。笔墨朴雅清润，勾勒皴擦简淡灵秀，于苍旧绢色里晕开田园闲逸，将牧放日常的悠然意致尽数铺陈，写生状物精妙，尽显古雅的山野生机之美。",[23,24,25,7,27,60,91,29,34,61,63,64,404,118,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84587f45aecfd3e120826fe52fe1e9fc.jpg",[],{"id":18497,"slug":18498,"title":18499,"dynasty":54,"author":9744,"museum":227,"description":18407,"tags":18500,"thumbUrl":18501,"material":1050,"size":1051,"collection":217,"collections":18502,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},228311,"tian-chi-wan-tiao-tu-lu-zhi-228311","天池晚眺图",[23,24,25,7,29,27,118,405,34,69,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed16a02709d4880a243cf9b576eb41.jpg",[],{"id":18504,"slug":18505,"title":18506,"dynasty":133,"author":430,"museum":227,"description":18507,"tags":18508,"thumbUrl":18509,"material":217,"size":217,"collection":217,"collections":18510,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},228249,"lao-shu-wu-ya-tu-yi-ming-228249","老树乌鸦图","这幅山水以淡墨晕染出空阔秋水，汀渚横陈，水汽如薄纱漫过江天。滩头老树枯槎盘虬，枝桠无叶，孑然伫立在寒渚之上，将深秋江野的荒寂尽数铺展。\n\n画师以简驭繁，不用繁复皴擦，以水墨晕染造境，留白衬出江天寥廓，将元代文人萧索幽微的心境寄寓其间，淡墨里藏着清寂，枯枝中凝着怅惘，把寒江晚景的萧寒逸趣写尽，淡而愈远，枯而弥长。",[23,24,25,7,114,118,29,230,2574,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302366aef14e011720d4f3e96ae9223f.jpg",[],{"id":18512,"slug":18513,"title":18514,"dynasty":133,"author":2740,"museum":227,"description":18515,"tags":18516,"thumbUrl":18518,"material":217,"size":217,"collection":217,"collections":18519,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":49},228058,"ma-xi-tu-zhao-yong-228058","马戏图","此作棕褐绢底上，一众骑手纵马驰骋，热烈图景扑面而来。骏马昂首扬蹄，鬃尾飞动，将奔跃张力尽数铺开；骑手或控马回身，或俯身驯骑，动态鲜活灵动，尽显驯马驰驱的飒爽意气。人物服饰晕染雅致鲜明，胡汉装束兼具，暗合塞上风情。线条劲挺流畅，勾勒出马的矫健筋骨与人的生动情态，朴拙笔触里带着刚健力道。\n\n后附题跋墨色淋漓，笔意苍劲，书画相映成趣，将鞍马游猎的雄健快意定格绢素，古意盎然，尽显此类题材画作的雄浑气度。",[23,154,24,7,27,28,61,90,18517,119,120,193],"马戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff87f7bf4a9f1d905dd707947937bd78f.jpg",[],{"id":18521,"slug":18522,"title":18523,"dynasty":133,"author":12342,"museum":227,"description":18524,"tags":18525,"thumbUrl":18526,"material":217,"size":217,"collection":217,"collections":18527,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},228036,"mo-lou-shu-geng-zuo-tu-cheng-qi-228036","摹楼璹耕作图","它以长卷娓娓铺展江南农耕全景，从育秧插田到收谷晾晒，田埂间农人往来忙碌，挑担、插秧、打谷各尽其事，农舍林木点缀其间，晕开融融烟火气。\n笔墨以淡彩衬白描，人物形神鲜活灵动，田畴草木朴拙写实，完整复刻出古早农事的全过程。卷身遍留历代题跋钤印，让这幅纪实之作，又成为递藏传承的书画珍迹，既是乡土民生的鲜活注脚，也承载着后世对旧时田家意趣的追慕。",[23,154,24,25,7,60,27,28,120,664,193,61,91,4994,11674,5815,254,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a0dc446b4b1e22194f3aab6e230f72.jpg",[],{"id":18529,"slug":18530,"title":18531,"dynasty":133,"a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，情深意切。\n画中描绘兴福庵的景物，寺外杂树丛竹，墙内孤松白鹤，本是一处清幽之所，然人去室空，满目凄清，透露出作者以笔墨寄托哀思的心境。\n树木勾点结合，层次分明，穿插自然，蜿蜒曲折的围墙加强了画面的纵深感，山石有皴有染，大面积的青绿敷色表现了真实自然的景致，是画家兼取宋、元画法而别具一格的代表作。",[23,24,25,7,27,29,120,193,34,35,64,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f571ff10a4082ce3d8b946f44feff0.jpg",[],{"id":18593,"slug":18594,"title":18595,"dynasty":250,"author":18596,"museum":227,"description":18597,"tags":18598,"thumbUrl":18599,"material":217,"size":217,"collection":217,"collections":18600,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":49},224405,"bao-bi-zhuang-shi-er-feng-wang-xue-hao-224405","宝碧庄十二峰","王学浩","此作用笔苍润秀雅，以水墨兼淡色绘就十二枚湖石，各峰形神迥异，将赏石“瘦、透、漏、皱”之美尽致展现，或如干霄孤直，或若玲珑宛转，顽石似被赋予君子清介风骨。\n\n每石配行草题咏，笔意洒脱与奇石雅姿相互衬映，书画合璧，把文人寄情于石的雅怀尽显无余，将赏石意趣与文人情思相融，尽显传统文人画以物托志的风雅意韵，淡墨轻色间，勾勒出藏于奇石中的林下高致。",[23,24,25,7,114,27,118,120,193,404,5774],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601424168e70bd55e579842423ea8b45.jpg",[],{"id":18602,"slug":18603,"title":18604,"dynasty":250,"author":13241,"museum":227,"description":18605,"tags":18606,"thumbUrl":18607,"material":1050,"size":1051,"collection":217,"collections":18608,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":49},224113,"lin-lan-ting-qian-long-224113","临兰亭","据款署，此册于戊寅年（1758年）上巳日临于三希堂。",[23,25,119,7,60,120,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ff6111fae3342a4f814c8ae36a7071.jpg",[],{"id":18610,"slug":18611,"title":18612,"dynasty":18,"author":430,"museum":20,"description":18613,"tags":18614,"thumbUrl":18616,"material":140,"size":18617,"collection":217,"collections":18618,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[23,154,24,25,7,114,27,29,118,28,120,1892,537,119,193,18615,64,34,610,63,196,404],"溪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":18620,"slug":18621,"title":18622,"dynasty":250,"author":4830,"museum":2658,"description":18623,"tags":18624,"thumbUrl":18625,"material":1411,"size":18626,"collection":217,"collections":18627,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},223322,"fa-jie-yuan-liu-tu-jing-pian-5-ding-guan-peng-223322","法界源流图镜片-5","此卷是丁观鹏奉乾隆之命于乾隆三十二年创作，是以宋代张胜温所画的《梵像图》摹成两卷，第一卷名为《蛮王礼佛图》，第二卷为《法界源流图卷》。图卷以释迦牟尼为中心，以对称的方式绘佛祖达几百人，人物神态丰富，栩栩如生。",[23,24,25,7,28,27,61,173,6818,60,14833],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6947c2572988eff22ebc6a73e43d3ae5.jpg","全卷长33＊1635cm",[],{"id":18629,"slug":18630,"title":18631,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":18632,"thumbUrl":18633,"material":140,"size":6245,"collection":217,"collections":18634,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},222959,"hong-lou-meng-84-sun-wen-222959","红楼梦84",[23,24,28,27,7,6242,61,677,62,2144,29,281,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4dcee8d1028a3fdc8e07e5b4417573.jpg",[],{"id":18636,"slug":18637,"title":18638,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":18639,"thumbUrl":18640,"material":140,"size":6245,"collection":217,"collections":18641,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},222947,"hong-lou-meng-72-sun-wen-222947","红楼梦72",[23,24,154,7,28,27,59,61,62,116,275,254,63,70,4713,117,211,16326,731,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd807b15e590283a3a76a6a485663721.jpg",[],{"id":18643,"slug":18644,"title":13275,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":18645,"thumbUrl":18646,"material":140,"size":6245,"collection":217,"collections":18647,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":128},222931,"hong-lou-meng-56-sun-wen-222931",[23,24,28,27,7,1044,6242,70,62,155,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f55da093f54203f7d792795bc674235.jpg",[],{"id":18649,"slug":18650,"title":18651,"dynasty":54,"author":9148,"museum":20,"description":18652,"tags":18653,"thumbUrl":18654,"material":4813,"size":18655,"collection":543,"collections":18656,"showCount":425,"zanCount":48,"manualWeight":48,"mainColor":49},222060,"shu-qian-chi-bi-fu-zhang-rui-tu-222060","书前赤壁赋","这是一件张氏手书东坡《前赤壁赋》的行书作品，书于明季生产的云母册页上，以淡墨书熟，是功夫欠佳者所不敢办的，也为张氏墨迹中颇不多见的一路。册页在清初被改装为手卷，长近九米，字逾六百，当是晚年作。此卷曾为藏家姚文黛、赵光、王蒙泉所递藏。王蒙泉收藏的张氏墨迹，多且精，如其所藏册页等两种今皆在故宫博物院，亦钤有“文心审定”等印，可资考正。",[23,119,120,1892,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd85ac220810ce2fc5515833cedccc1c.jpg","30×506cm",[543],{"id":18658,"slug":18659,"title":18660,"dynasty":133,"author":18661,"museum":380,"description":18662,"tags":18663,"thumbUrl":18664,"material":11985,"size":18665,"collection":217,"collections":18666,"showCount":425,"zanCount":1106,"manualWeight":48,"mainColor":128},221828,"zhu-lin-da-shi-chu-shan-tu-chen-jian-ru-221828","竹林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厘米",[],{"id":18955,"slug":18956,"title":18957,"dynasty":2618,"author":17541,"museum":227,"description":17542,"tags":18958,"thumbUrl":18959,"material":1050,"size":1051,"collection":217,"collections":18960,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},231790,"ming-qing-ri-ben-gu-hua-fen-ben-shan-shui-juan-he-guo-xiao-zhai-231790","明清日本古画粉本-山水卷",[23,24,7,114,27,29,30,37,34,256,973,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d12f5d72d96918e6b40bcf86252f60d.jpg",[],{"id":18962,"slug":18963,"title":18964,"dynasty":2618,"author":430,"museum":227,"description":18965,"tags":18966,"thumbUrl":18967,"material":1050,"size":1051,"collection":217,"collections":18968,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},231708,"lian-cang-shi-dai-yin-fan-tang-yao-shi-yuan-qi-hua-juan-yi-ming-231708","镰仓时代 因幡堂药师缘起画卷","此卷以长卷铺陈起承转合，开篇池畔官邸廊桥萦回，士人往来水榭，尽显中古贵族日常的闲雅意趣。中段笔锋一转，山石林莽间骑队驰驱，人马错落间带出杀伐行旅的肃杀张力。末段复归静谧山门与深宅，还原仪礼日常。\n\n淡墨勾勒间晕染红褐屋瓦，线描柔劲兼具，古雅底色斑驳厚重。随行文书与画面相映成趣，将信仰缘起与世俗叙事揉为一体，尽展中古绘卷叙事与审美融合的独特韵味。",[23,24,25,7,27,28,59,61,62,90,29,34,35,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8500d26c5220b3230efe9d4238175c7f.jpg",[],{"id":18970,"slug":18971,"title":18972,"dynasty":250,"author":8148,"museum":227,"description":18973,"tags":18974,"thumbUrl":18975,"material":217,"size":217,"collection":217,"collections":18976,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":49},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","夏山欲雨图","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[23,24,25,7,114,29,482,1071,254,419,196,420,690,799,117,37,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":18978,"slug":18979,"title":18980,"dynasty":250,"author":3062,"museum":227,"description":18981,"tags":18982,"thumbUrl":18983,"material":217,"size":217,"collection":217,"collections":18984,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},230851,"lu-cun-gao-yi-tu-wang-hui-230851","麓村高逸图","画面以平远之法铺展幽居盛景，近处方林下，高士安坐，侍童静立旁侧，溪桥丹顶鹤独立顾盼。芭蕉修竹环合掩映，屋舍隐于烟林，远景以淡墨晕染，水雾空濛，将江南丘壑的温润清寂尽数铺陈。\n画作兼工带写，设色浅雅柔润，笔致秀逸灵和，把林下高逸散淡的襟怀融在咫尺山水间，环周题跋与画意呼应，书画合璧，尽显文人雅流出世的襟抱，悠悠林下风致扑面而来。",[23,24,27,29,61,1857,3948,257,34,64,117,250,7,28,114,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb7e72fa79915f2446b59af3c56c8c6.jpg",[],{"id":18986,"slug":18987,"title":18988,"dynasty":149,"author":12848,"museum":227,"description":18989,"tags":18990,"thumbUrl":18991,"material":1050,"size":1051,"collection":217,"collections":18992,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},230844,"huo-lu-tu-juan-li-zan-hua-230844","获鹿图卷","耶律倍（899年—937年1月11日），又名耶律突欲，赐名李赞华，是辽太祖耶律阿保机的长子，辽太宗耶律德光的长兄，辽世宗耶律阮的父亲。\n自幼聪颖好学，深得耶律阿保机的喜爱和器重，916年被立为皇太子。926年，封为东丹国王、称“人皇王”。926年太祖病逝后，耶律德光继位为帝。天显三年（928年）东丹国南迁，升东平为南京。同时耶律德光对耶律倍施以控制和监视。930年耶律倍弃国投奔后唐。936年后唐发生政变，耶律倍遇害，葬显陵。\n947年，耶律德光去世。耶律倍长子耶律阮最终夺回了皇位，追谥耶律倍为让国皇帝，庙号义宗。",[23,154,24,25,7,27,28,61,90,1009,120,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c78c4635306e17df9bb76f00a59baf.jpg",[],{"id":18994,"slug":18995,"title":18996,"dynasty":2618,"author":430,"museum":227,"description":18997,"tags":18998,"thumbUrl":18999,"material":1050,"size":1051,"collection":217,"collections":19000,"showCount":881,"zanCount":1106,"manualWeight":48,"mainColor":128},230529,"gu-hua-mo-ben-ma-yuan-deng-tu-juan-yi-ming-230529","古画模本(马远等图卷)","此作绘折枝白牡丹，以浅设色工笔写就。花瓣以淡墨轻勾轮廓，留白晕染出莹润肌理，层叠舒展如堆雪凝霜，将白花清贵柔雅的姿态尽显。叶片以青绿晕染，深浅过渡自然鲜活，枝叶偃仰有态，衬得牡丹愈发冰洁脱俗。\n\n画面取折枝一角取景，简淡清雅，无繁复铺陈，以极简笔墨烘托出牡丹自带的端方贵气，尽显院体花鸟的雅致意趣。勾勒晕染可见细腻功力，于素净底色里藏着幽隽诗意，淡远之中尽显传统花鸟写生的精妙意韵。",[23,24,7,209,28,27,278,193,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bcf111fbb76a851ceea6d4d8ac6220c.jpg",[],{"id":19002,"slug":19003,"title":12409,"dynasty":250,"author":430,"museum":227,"description":19004,"tags":19005,"thumbUrl":19006,"material":217,"size":217,"collection":217,"collections":19007,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},230344,"cai-wen-ji-gui-han-tu-juan-yi-ming-230344","此作用简练白描绘就长卷行旅图景，笔线细劲苍古，随形勾勒，尽显古朴气韵。队伍排布疏密有致，前导擎旄扬旗、骑士策辔缓行，后卫整肃相随，间杂负囊驼队，暗合万里归途的厚重羁旅之感。\n\n人物神态各有不同，或肃穆凝然，或侧首顾盼，胡汉服饰细节暗藏身份之别，将归乡心绪的沉郁与队伍的威仪相融。人马姿态生动自然，动静相映，把漫漫归程的苍茫氛围徐徐铺展，古旧绢色晕染出岁月沉淀的厚重，让历史故事的沉郁质感满溢卷间。",[23,24,25,7,174,61,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633d534a82155b87bc779a8d224b9e64.jpg",[],{"id":19009,"slug":19010,"title":7126,"dynasty":250,"author":19011,"museum":227,"description":19012,"tags":19013,"thumbUrl":19014,"material":217,"size":217,"collection":217,"collections":19015,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},228484,"mu-niu-tu-zhang-mu-228484","张穆","此作以水墨铺就郊野溪谷之景，虬曲老木扎根荒滩，崖间飞瀑漱石，溪水蜿蜒漫过浅渚。群水牛或缓步就溪啜饮，或抵角相嬉，或蜷卧青草地休憩，神态憨然自在，将耕牛卸轭后的松弛尽显。笔墨朴拙写实，勾勒皴擦间，林石苍古荒率的野趣、水牛肌理的厚重质感一一浮现，似能闻得水草清腥，听哞哞牛鸣回荡溪山，将郊野牧歌式的闲逸悠然融于尺幅间，把山野生趣与静谧氛围揉合，于平淡笔墨中尽显自然真意。",[23,24,114,7,118,91,29,230,64,419,468,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0eca3394d51ce6da7ee2a9c0b498ddd.jpg",[],{"id":19017,"slug":19018,"title":19019,"dynasty":54,"author":19020,"museum":227,"description":19021,"tags":19022,"thumbUrl":19023,"material":217,"size":217,"collection":217,"collections":19024,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":49},228387,"peng-lai-xian-yi-tu-juan-1-leng-qian-228387","蓬莱仙奕图卷-1","冷谦","《蓬莱仙弈图》一图由明代 所绘 手卷，著录于《石渠宝笈三编》，有文征明题跋与文彭题引首，为仇英青绿山水的典型画风。\n1. 题跋。\n2. 题引首。\n. 梁清标、梁清寯、清内府递藏。\n图1中描绘池塘边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐；又有三仕女，一执扇，一伏案，一取水，整幅意境悠闲雅淡。\n作品结构严整，层次清晰，布局有序，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。\n此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，是仇英青绿山水的典型画风。\n此件《蓬莱仙弈图》著录于《石渠宝笈三编》，有文徵明题跋与文彭题引首。\n将这幅画与北京故宫藏的一幅南宋团扇《荷亭对弈图》相比较可以发现，此图在图式、母题上与团扇有着惊人的相似之处，最大的区别只是把团扇改成了长卷，另外增加了其他画面中的母题和构图。\n而它与美国华盛顿弗利尔美术馆所藏的冷谦的《蓬莱仙弈》在构图、母题上也毫无二致。\n明代王鏊（145—1524）在《震泽长语》中首次收录了《蓬莱仙弈图》及 的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[24,25,7,27,26,29,34,404,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f83116d1482be85f63c5b6bf0eda143.jpg",[],{"id":19026,"slug":19027,"title":19028,"dynasty":54,"author":14347,"museum":227,"description":19029,"tags":19030,"thumbUrl":19031,"material":217,"size":217,"collection":217,"collections":19032,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[23,24,25,7,114,29,118,193,119,120,117,34,31,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":19034,"slug":19035,"title":19036,"dynasty":133,"author":19037,"museum":227,"description":19038,"tags":19039,"thumbUrl":19040,"material":217,"size":217,"collection":217,"collections":19041,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},228176,"xuan-men-shi-zi-tu-hua-zu-li-228176","玄门十子图","华祖立","《玄门十子图卷》是元代画家华祖立、吴炳共同所绘的画作，现收藏于上海博物馆。\n该图根据元赵孟頫《十子图》石刻本和木刻本摹写而成。\n十子为春秋战国时期著名道家人物，再加上老子共十一人。\n这十位分别为尹喜、辛钘（音jian）、庚桑楚、南荣趎（音chu）、尹文、士成绮、崔瞿、柏矩、列御寇（列子）和庄周（庄子）。\n该图所绘十一位人物神情严肃、造型各异、不设背景，其侧书以与之相应的传记。\n技法上，笔法刚劲，描绘人物线条园转秀逸，婉转流畅，设色淡雅，反映了这十一人的仙风道骨。\n华祖立（元代活动于十四世纪），字唐卿，籍贯不详，擅画人物。\n吴炳（元代活动于十四世纪），字彦辉，河南开封人，擅书法。",[23,24,25,7,174,27,61,404,193,15920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc04f788d9b54ae5367fa0e9826ee7a.jpg",[],{"id":19043,"slug":19044,"title":3513,"dynasty":133,"author":11876,"museum":227,"description":19045,"tags":19046,"thumbUrl":19047,"material":217,"size":217,"collection":217,"collections":19048,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},228082,"shui-cun-tu-juan-cao-zhi-bai-228082","此作用平远之境铺陈水乡暮色，湖面浩渺空阔，洲渚星罗点缀浅滩，水色澹澹间漾出清寂之意。岸边林木萧疏，枯枝干桠错落伸展，茅舍隐于林间水岸，暗藏三两村意，尽揽江南水村闲淡野趣。\n笔墨以干笔皴擦衬以淡墨晕染，山石苍秀简劲，脱去繁缛刻画，尽显清逸松灵的韵致，以极简笔触勾勒出幽远空寂的林下隐逸之境，暗合文人疏离尘嚣、寄情林泉的雅趣风骨。",[23,154,24,25,7,114,118,29,31,34,7598,35,63,690,786,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db4bab9056df9fa5cfdb5f848bd2a54.jpg",[],{"id":19050,"slug":19051,"title":19052,"dynasty":18,"author":4356,"museum":227,"description":19053,"tags":19054,"thumbUrl":19055,"material":1050,"size":1051,"collection":217,"collections":19056,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},227978,"you-jun-shu-shan-tu-juan-ba-wen-liang-kai-227978","右军书扇图卷(跋文)","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元人赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[23,119,120,7,193,114,25,4040],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5eaef1cd544138440d4dec3fac1cad1.jpg",[],{"id":19058,"slug":19059,"title":19060,"dynasty":18,"author":19061,"museum":227,"description":19062,"tags":19063,"thumbUrl":19064,"material":1050,"size":1051,"collection":217,"collections":19065,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},227947,"gao-shen-juan-si-ma-ji-227947","诰身卷","司马伋","司马伋，字季思，夏县 （今属山西）人。高宗绍兴八年（一一三八），受诏以司马光族曾孙为右承务郎，嗣光后（《建炎以来系年要录》卷一二一）。",[23,119,7,120,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff464cca5cd099bcd067dfce8a06a7aa1.jpg",[],{"id":19067,"slug":19068,"title":19069,"dynasty":18,"author":430,"museum":111,"description":19070,"tags":19071,"thumbUrl":19072,"material":140,"size":19073,"collection":217,"collections":19074,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":49},223378,"shi-liu-ying-zhen-du-hai-tu-juan-yi-ming-223378","十六应真渡海图卷","文中斯别开生面。形状奇怪夙所称，耳熟闻之目新见。苍鳞若龙若非龙，擎爪来闻法以现。第一。据树坐椸钵多罗，鸦鹊来餐香积饭。第二。飘然白鹤驾以降，屈眴七条披已惯。第三。数珠在手。第四。把明珠。第五。自摇箑其貌颟顸。第六。端立左铃而右杵。第七。扶童者迵顾彼崖。第八。是皆渡海履水物。水物狰狞名不辨。拍持具叶。第九。促舍汉。第十。白泽曳轮坐以晏。别有袖手乘骞槎。第十一。相参法喜作佳伴。据石入定若无人。第十二。牛哀跪伏如猫豢，傍见共谘二大士，其一默坐。第十三。一持扇。第十四。似步而迥更迥，第十五。臃肿披缁目光炫。第十六。跏趺相对谈二禅。云空。第十七。云色。第十八。色空幻，是为不二法之宗。绣居士说法编，向曾韵统考同文。位号次第订梵汉。莆田愚者不羁士。传神何碍后前舛。长歌笑我尚拘墟。山阴讶似镜中按。乾隆乙巳（1785）仲秋，御题。",[23,24,154,7,174,114,173,61,4337,1009,117,34,1071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbfb5332900a9dfc823e81b021913cf.jpg","29X322",[],{"id":19076,"slug":19077,"title":19078,"dynasty":250,"author":4830,"museum":2658,"description":6815,"tags":19079,"thumbUrl":19081,"material":1411,"size":6822,"collection":217,"collections":19082,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},223309,"fa-jie-yuan-liu-tu-juan-3-ding-guan-peng-223309","法界源流图卷-3",[23,28,27,7,173,61,2803,1046,7958,2804,175,4337,6218,1009,1613,5612,29,62,19080],"神佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39be0fc022f890817bbffb782f3979ec.jpg",[],{"id":19084,"slug":19085,"title":19086,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":19087,"thumbUrl":19089,"material":140,"size":6245,"collection":217,"collections":19090,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},222967,"hong-lou-meng-92-sun-wen-222967","红楼梦92",[23,24,25,7,28,27,116,62,61,2408,3948,117,194,2144,211,19088],"回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37ac43c8394a731fbdbcf24bc56c51.jpg",[],{"id":19092,"slug":19093,"title":19094,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":19095,"thumbUrl":19096,"material":140,"size":6245,"collection":217,"collections":19097,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":49},222918,"hong-lou-meng-43-sun-wen-222918","红楼梦43",[23,24,28,27,7,1044,14602,70,5924,14610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9d84d4b41657028e8d69548ce1197c.jpg",[],{"id":19099,"slug":19100,"title":19101,"dynasty":250,"author":6239,"museum":705,"description":6240,"tags":19102,"thumbUrl":19103,"material":140,"size":6245,"collection":217,"collections":19104,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":185},222916,"hong-lou-meng-41-sun-wen-222916","红楼梦41",[23,154,24,25,7,28,27,61,62,70,34,117,211,16326,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71143b0e3881c22a1570161c623f281c.jpg",[],{"id":19106,"slug":19107,"title":19108,"dynasty":54,"author":2680,"museum":151,"description":14636,"tags":19109,"thumbUrl":19110,"material":470,"size":19111,"collection":543,"collections":19112,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},222479,"shi-tie-kong-hou-pian-zhu-yun-ming-222479","诗帖《箜篌篇》",[23,119,1892,1229,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faebf9d1756ea1dc16ab54fdb95d54307.jpg","纵36.1厘米,横1147.5厘米",[543],{"id":19114,"slug":19115,"title":19116,"dynasty":54,"author":1030,"museum":380,"description":19117,"tags":19118,"thumbUrl":19119,"material":696,"size":19120,"collection":217,"collections":19121,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":128},222340,"wu-yang-zi-yang-xing-tu-quan-juan-tang-yin-222340","悟阳子养性图全卷","图绘溪水流淌、绿树成荫的幽静之处，有草厅一间，一老者坐于蒲团之上，双手握于膝上，仰望的姿势似观赏远处的大好山水，身旁一桌上置诗书几本，表达出修身养性的意境；卷后有文徵明题《悟阳子诗叙》，二大才子书画合璧，精彩绝伦！",[23,24,25,7,114,120,119,29,61,613,34,404,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7458bac5765bb1775c9eeabee74ee5f5.jpg","29.5x103.5cm",[],{"id":19123,"slug":19124,"title":19125,"dynasty":133,"author":19126,"museum":1514,"description":19127,"tags":19128,"thumbUrl":19129,"material":19130,"size":19131,"collection":217,"collections":19132,"showCount":881,"zanCount":48,"manualWeight":48,"mainColor":49},221786,"yuan-zhen-zeng-fa-yin-da-he-shang-wei-bing-zhi-zheng-da-shi-shi-hao-chi-shu-xiao-ye-dao-feng-221786","円珍赠法印大和尚位并智证大师諡号勅书","小野道风","延历寺第十代住持增命和尚圆寂时，由朝廷赐予「静观」之谥号，同时，增命之师、已故之圆珍（814－891）和尚则被升晋为僧人中地位最高的「法印大和尚位」，并赐予「智证大师」之谥号。时为延长五年（西元927年），也就是圆珍和尚圆寂后第三十六年的事。\n本卷即是当时用来宣告醍醐天皇（885－930，897－930在位）御令之诏书。据记载，内文是由藤原博文起稿，小野道风（894－966）誊写。在淡蓝色的纸上，施以淡墨界栏，并以具有量感的浑厚和样化书风及充满气魄的笔势所写成。被视为和样化书法创始者的小野道风，誊写本诏书之时，年　　三十四，正任中务省少内记之职，担当书写诏书或位记的工作（位记指授予官吏位阶时所颁发的文书）。本诏书正面共钤有「天皇御玺」朱文方印十三处，背面有二处。\n圆珍是延历寺第五代住持，也是天台宗寺门派的开山祖师，由于他的努力，才使得园城寺（三井寺）再次兴盛起来。",[23,4050,119,540,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401ef7701286afab6dc5c97da0b82bbb.jpg","彩笺","28.7×156.9;",[],{"id":19134,"slug":19135,"title":19136,"dynasty":168,"author":430,"museum":227,"des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。明宪宗成化二年进士，久任兵部郎，议论无所顾忌，出为南安（今江西大余）知府，律己爱物，大得民和。长于诗文，草书甚佳，被评为“颠张复出”。尝自言吾书不如诗，诗不如文，著有《东海集》。",[154,24,25,7,119,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe27ea78ae6322412c4479dac140b101.jpg",[],{"id":19283,"slug":19284,"title":19285,"dynasty":54,"author":13479,"museum":227,"description":19286,"tags":19287,"thumbUrl":19288,"material":442,"size":217,"collection":543,"collections":19289,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},241005,"zhi-ri-ren-zha-juan-wang-shou-ren-241005","致日仁札卷","王守仁（1472—1529），字伯安，别号阳明，浙江余姚人。弘治十二年（1499年）进士，官至南京兵部尚书、都察院左都御史。谥文成，后人称王文成公。明代著名的思想家、文学家、哲学家和军事家。",[23,25,119,7,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe737e04e12f5c183b7f73e90c68a017c.jpg",[543],{"id":19291,"slug":19292,"title":19293,"dynasty":168,"author":430,"museum":227,"description":19294,"tags":19295,"thumbUrl":19296,"material":217,"size":217,"collection":543,"collections":19297,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},239684,"guang-ming-zi-ri-ben-ti-za-a-she-jing-juan-di-nian-wu-juan-yi-ming-239684","光明子（日本）题杂阿舍经卷第廿五卷","这卷写经以小字行草抄录经文，通篇排布繁密却不显拥塞，字态灵动又不失书写的规整法度，带着唐人写经特有的朴拙清雅。墨色沉厚莹润，历经岁月经虫蛀略有破损，反而晕染出古旧苍茫的质感。朱笔圈点批注错落行间，是抄录校读时的留痕，更见抄写者的专注虔诚。\n\n书写既有恪守经文抄写的恭谨，又自然流露出行笔的舒展笔意，质朴间藏着内敛文气，静静承载着千年前的笔墨信仰与岁月温度。",[23,540,119,7,173,537,1973,193,114,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bb8301b3490a48815746b1d386cecb0.jpg",[543],{"id":19299,"slug":19300,"title":19301,"dynasty":133,"author":2740,"museum":20,"description":19302,"tags":19303,"thumbUrl":19304,"material":442,"size":19305,"collection":543,"collections":19306,"showCount":617,"zanCount":1106,"manualWeight":48,"mainColor":128},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","释文：\n鄣南八咏。\n天目晴雪\n雨池银水在云中，岩壑生花瑞气隆。盐虎作寒连地合，玉鳌扶冻与天通。照人错落山应瘦，向日消残树半空。独有小梅清见骨，只将真色笑春风。\n渚溪夕照\n渚溪行过少邻家，操面黄蜂趁晚衙。一片素秋清暎水，半汀红日澹迎霞。渔竿影没人争渡，牧笛声沉雁落沙。危石路头清浅处，只消新月照梅花。\n北庄梅花\n颠倒溪流险在兹，山中忽复见横枝。天生一白世无匹，花压万红春有私。疏影卧波宜入夜，暗香蒙雪幸同时。江南地暖开容易，马上逢人寄所思。\n樊坞梨园\n旧日樊川雪作团，尚余清艳后人看。一枝香湿雨初霁，千树恨多春企寒。留月只应空院落，闭门谁复倚阑干。何当载酒来花下，洗却凡妆跨素鸾。\n梅溪春涨\n玉磬峰头积雪消，紫梅花下水平桥。喷开石窦山倾倒，怒拍溪门浪动摇。连岸白沙鸥鸟下，满川红雨鳜鱼跳。黄流引入星河去，一任乘槎上碧霄。\n独松冬秀\n撞破关门山势开，树头云起唤龙来。擎天老盖高千丈，傲雪贞标压众材。岁久节根坚作玉，风生岩壑响成雷。苍颜不改只依旧，万古相期竹与梅。\n浮玉晚娇\n白玉山前叠绮纨，故将娇艳弄轻寒。天香喷散龙涎饼，国色铺交玛瑙盘。贵重万花春作主，醉逢三月日凭阑。自从李白题诗后，不许寻常子弟看。\n石埭夜航\n顺风吹送下山前，石鼓沿溪不碍船。帆影扑开沙上月，橹声摇动水中天。沧浪一曲寻秋去，玄鹤孤鸣恼夜眠。乘涉已为天下共，载云归越在何年。\n凌孟傅诗，赵仲穆书。\n钤“仲穆”印。卷前为执柔道人篆书“鄣南八咏”，卷后有刘麟、顾应祥题诗。本幅鉴藏印有“陈子受家珍藏”、“子受秘玩”等3方。\n赵雍书法结体用笔及笔画特点都恪守家法，《书史会要》记载赵孟頫：“尝为幻住庵写金刚经未半，雍足成之，其联续处，人莫能辨。”此书结体稳健，功力深厚，形体秀美，温润闲雅，具有赵书遗意。",[23,7,25,119,120,114,193,274,1185,482,483,921,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 横227.9厘米",[543],{"id":19308,"slug":19309,"title":19310,"dynasty":133,"author":10736,"museum":227,"description":19311,"tags":19312,"thumbUrl":19313,"material":217,"size":217,"collection":217,"collections":19314,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":185},239653,"shi-zha-juan-zhang-yu-239653","诗札卷","《元张雨小楷诗札卷》是元代书画家 创作的一幅书法作品。\n书于元至元六年（14），现藏于故宫博物院纸本小楷，通幅。\n张雨此作对于初唐楷书大家 之“家法”有着颇多的摄取。\n这件小楷，严整清和，洋溢着古风古韵，和其“道法自然”、“道可道，非常道”的道家审美标准有着一定的距离。\n在复古大旗指引下行进的元代书法，对于古法的承续，在书法史上可谓空前。\n元代的书法家对“晋韵唐风”多是一副沉迷状，张雨亦不例外。\n故宫博物院收藏的张雨的这件《诗札卷》（图为作品局部），书于元至元六年（14），系纸本小楷，通幅纵21.5厘米，横1.9厘米。\n从书法风格来看，张雨此作对于初唐楷书大家 之“家法”有着颇多的摄取。\n欧书用笔规范严整、体势刚劲险绝，是楷书中的巅峰之作。\n赵松雪称欧阳询书法“清劲秀健，古今一人”。\n张雨小楷在承续欧书基础上，又另僻蹊径地融入一些晋人萧散飘逸的灵动之气，为自己的书作增色不少。\n从用笔的感觉上来看，此卷小楷中一些横式笔画的习惯性动作，同民间的经生所创的“写经体”有着高度的契合，这是一个值得关注的问题，或许是因为张雨自身本来就是一个隐入丛林道观的高明的“经生书手”的缘故吧。\n在此作中，一些横势用笔的斜切、轻行、重按和轻入重收都和民间“写经体”书法保持着高度的一致。\n而其中一些放式用笔的体势，又使人怀疑此作系明人写的小楷。\n从明代祝枝山、王宠的小楷体例的斜欹体式的运用中，可体察出明代小楷书家们或多或少地受到了张雨小楷书风的影响。\n这种书风和取法的“代代承传”符合书法的客观发展规律。\n而张雨此卷“楷中插行”的书法体式则自赵松雪运用以来，已逐渐成为一种惯用的书法体例。\n这一体例还频繁地出现在他后来的小楷书作之中。\n和其同时代的倪云林，其后的张瑞图、黄道周、王铎等人的作品，也同样沿用了这一体例。\n张雨此卷中钤有“敬身”、“龙泓馆印”、“玉礼治印”、“龙尾山房”、“萧山蔡陆士藏玩书画钤记”、“金瘦仙青父箱长物”、“彭城观澜阁藏”等印记，也是流传有绪的一件作品。\n张雨（128-15），元代诗文家，号句曲外史，道名嗣真，道号贞居予，自称曲外史，人称句曲先生，钱塘（今浙江杭州）人，是宋崇国公张九成之后裔。\n其人学识渊博，善谈名理，诗文、书法、绘画，无一不通。\n曾师从虞集，与赵孟颡交好，后弃家为道士，居于茅山，拜茅山檀四十三代宗师许道杞弟子周大静为师。\n曾有人邀其进京为官，不就：著《句曲外史贞居先生诗集》，今存小令五首，曲风清丽淡雅。",[23,119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaaa6eafb50e0619e08776e1ab9665a7.jpg",[],{"id":19316,"slug":19317,"title":19318,"dynasty":18,"author":4842,"museum":227,"description":19319,"tags":19320,"thumbUrl":19321,"material":217,"size":217,"collection":217,"collections":19322,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},239651,"wang-da-ling-bao-mu-zhuan-ti-ba-juan-jiang-kui-239651","王大令保母砖题跋卷","此卷笔墨清劲秀雅，笔致灵动舒展，暗合晋人萧散风神。题字疏密错落，墨色枯润相生，朱印点缀素纸，丹砂与墨色相映成趣，雅致尽显。\n\n题跋兼具金石考据的谨严与文人挥毫的随性，将考证之思寄于笔墨挥洒之中，书卷气扑面而来，是宋人尚意书风里的清雅典范。清冷隽秀的笔意一如作者词韵，尽显宋代文人淡远空灵的审美意趣，耐人反复品味。",[23,154,24,25,7,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb0fb92962b6cd0165bd6474876165a.jpg",[],{"id":19324,"slug":19325,"title":19326,"dynasty":18,"author":19327,"museum":227,"description":19328,"tags":19329,"thumbUrl":19330,"material":217,"size":217,"collection":217,"collections":19331,"showCount":617,"zanCount":914,"manualWeight":48,"mainColor":128},239649,"zi-shu-shi-lian-ju-shi-juan-wu-jun-239649","自书诗联句诗卷","吴浚","《自书诗联句诗卷》是宋年出版的图书，作者是吴浚。\n【名称】自书诗联句诗卷【年代】宋 【作者】吴浚 【类别】纸本，行书，手卷 【规格】纵6.2cm，横1cm，纵6.2cm，横141cm，79行，12字。\n本幅钤“山西”、“国”、“云根”、“虚谷”诸印。\n鉴藏印钤“生”、“南禺世史”、“丰氏人叔”、“云间邹氏珍藏”、“苕南吴氏午峰鉴赏”及项元汴诸印。\n卷后有宋朱鉴孙、翁□，明丰坊题跋。\n署年款“咸淳丁卯”，为咸淳三年（1267年）。\n此卷书法气秀色润，笔调谦和，点画精细柔媚，一钩一捺，均以温婉取态，反映了吴浚的典型书风。",[23,119,7,120,1892,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918438660d71677b30f9ca090b89abc0.jpg",[],{"id":19333,"slug":19334,"title":19335,"dynasty":54,"author":11071,"museum":20,"description":19336,"tags":19337,"thumbUrl":19338,"material":217,"size":217,"collection":543,"collections":19339,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":185},239581,"zhang-jin-xue-jie-juan-song-ke-239581","章进学解卷","宋克（1327―1387）字仲温，一字克温，自号南宫生，长洲（今江苏苏州）人。是明代初期闻名于书坛的书法家“三宋二沈”之一。与高启等称十友，诗称十才子。\n洪武初为凤翔同知。素工草隶深得钟、王之法，笔精墨妙，风度翩翩。并工写竹，虽寸冈尺堑，而千篁万玉，雨叠烟生，萧然无尘俗之气。尝作鸡栖石业条一幅，题语有“艺成不觉自敛手”之句，谓不可复得也。书学急就章，故写竹能妙。尝于试院牍尾用朱笔扫竹，张伯雨有“偶见一枝红石竹”之句，人遂以为朱竹自宋克始。卒年六十一。宋克的书法，在明代颇享盛名，与当时擅长书法的宋璲、宋广合称三宋。\n宋克处元末明初，少年英俊，磊落清爽，常以李太白、苏东坡自比，任侠使气，闻鸡起舞。其聪慧过人，博涉经史，长于丹青，尤善画竹，今尚有《万竹图》传世。诗文亦名于时,与吴门文士高启、张羽、徐贲、陈则等为友，时称“十才子”。曾从元康里之入室弟子饶介学书，所传皆二王草法，故仲温特别钟情于草书。草书流走畅贯，挥运自如，似飞剑狂舞，潇洒纵横，十分契合于宋克任侠使气的性格。宋克学书取法甚高，楷宗钟繇，行书慕二王，章草学皇象之《急就章》，笔力清峭劲拔，笔意圆融洒脱，尤其是他的小草和章草，冠绝一代，吴宽评其书谓：“一克书出魏晋，深得钟王之法，故笔精墨妙，而风度翩翮可爱……仲温书索靖草书势，盖得其妙而无愧于靖者也。”其书出于魏晋，深得钟、王之法。擅长楷书、草书，尤精工章草，为当时第一。他的章草，延续赵孟頫、邓文原的风格又有所发展，融入了今草和行书的写法，更加流利、矫健。",[23,154,24,25,7,119,1892,8505,4052,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f41c8ec7ce88088c36ba2bd84e9fbde.jpg",[543],{"id":19341,"slug":19342,"title":12935,"dynasty":54,"author":19343,"museum":227,"description":19344,"tags":19345,"thumbUrl":19346,"material":217,"size":217,"collection":217,"collections":19347,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":49},239212,"bai-ma-tu-juan-xu-bao-239212","许宝","《百马图卷》作者明代 许宝。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n【名称】明许宝百马图卷 【年代】明 【简介】绢本，设色，纵：26cm，横：728.cm。\n现藏故宫博物院。\n是图卷首部分残破严重，卷尾署款“许宝”，钤印“ ”、“烟霞散人”。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n马匹以 勾勒，重彩填色，工细之处远胜南宋院体，与 的树石画风既形成鲜明的对比，又相融相汇形成一体。\n马群多处于静态，其微妙之处在于同为静态的马匹竟有着百种不同的姿态，可见作者有着很强的把握马匹细微活动的能力，同时画家也兼具了 和 的山水画风和置景技巧。\n该卷堪称是现存最长的画马图，代表了明人画马的最高艺术成就。\n遗憾的是，许宝其人被画史疏漏，这卷杰作被深藏于皇宫大内，久不为世人所知。\n许宝（生卒年不详），明代画家。\n画史无载。\n存世画作有《百马图》，现存故宫博物院。",[23,24,7,27,28,118,90,1009,34,117,639,420,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cb3ca3a9a8b62711cebe01b4011b3a.jpg",[],{"id":19349,"slug":19350,"title":19351,"dynasty":250,"author":550,"museum":20,"description":19352,"tags":19353,"thumbUrl":19354,"material":696,"size":217,"collection":217,"collections":19355,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},234248,"yi-zhu-zhai-juan-yun-shou-ping-234248","一竹斋卷","《一竹斋图》卷上的落款是“甲子春正月”，即为康熙二十三年二月（1684年），是恽寿平51岁时，于他人生中最后的一个十午岁月初始时，为他的好友一竹斋主人唐若营所画的命题创作。此图是一幅短小而精悍的横幅山水画作，画面中有作者的一段自题以及杨（雪臣）、蔡元宸和济永三家的题诗。画迹本身的尺寸并不长，不过画前引首处裱有一条和画幅几乎等大的暗黄色绢面的题额，",[23,24,25,7,114,174,120,537,193,275,29,254,116,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79c676d0d4d8a8903713389711c9e2d.jpg",[],{"id":19357,"slug":19358,"title":19359,"dynasty":54,"author":6373,"museum":20,"description":19360,"tags":19361,"thumbUrl":19362,"material":696,"size":217,"collection":217,"collections":19363,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},234240,"ting-qiu-tu-juan-zhou-chen-234240","听秋图卷","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》《春泉山隐图》等 ，济南博物馆收有《访友图》 ，及台湾、国外大博物馆内也收藏一些作品。周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,24,25,7,114,120,1892,61,254,1857,196,29,4002,2119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc39bceafc9a156609910412949d149.jpg",[],{"id":19365,"slug":19366,"title":9296,"dynasty":133,"author":1206,"museum":20,"description":9297,"tags":19367,"thumbUrl":19368,"material":40,"size":9300,"collection":217,"collections":19369,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":49},233828,"er-ma-tu-juan-ren-ren-fa-233828",[24,25,7,28,27,90,1009,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1058010d2a8e2e377aa7c701fb014f9b.jpg",[],{"id":19371,"slug":19372,"title":19373,"dynasty":54,"author":55,"museum":20,"description":18346,"tags":19374,"thumbUrl":19375,"material":40,"size":18349,"collection":217,"collections":19376,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷",[24,25,7,27,28,118,120,119,193,29,61,62,63,64,116,196,34,613,690,3077,138,5564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg",[],{"id":19378,"slug":19379,"title":19380,"dynasty":2618,"author":430,"museum":227,"description":19381,"tags":19382,"thumbUrl":19383,"material":1050,"size":1051,"collection":217,"collections":19384,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},231688,"ping-an-shi-dai-di-yu-cao-zhi-yi-ming-231688","平安时代 地狱草纸","绘卷以图文交错铺陈，将地狱酷刑具象铺展。赤裸罪人身受火雨灼烧、沸血沉溺之苦，肢体扭曲仓皇，粗粝线条勾勒出受罚者的惊惧绝望。浓烈朱红晕染的火焰与枯旧纸色撞色对冲，将炼狱的灼热暴戾铺散开来，古朴稚拙的笔触裹带着厚重威慑力。一旁的墨书与画作彼此呼应，将罪与罚的因果悄然诉尽，带着中古时代的肃穆警示，把幽冥苦楚直抵观者眼前，让这份对业报的刻画沉郁又撼人。",[23,173,7,27,114,61,6057,25,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774e7a20f89a325f446a0e9a13a010a7.jpg",[],{"id":19386,"slug":19387,"title":19388,"dynasty":2618,"author":430,"museum":1514,"description":19389,"tags":19390,"thumbUrl":19392,"material":442,"size":19393,"collection":217,"collections":19394,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[23,24,7,27,28,61,34,29,64,62,63,117,256,677,5613,19391,196],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":19396,"slug":19397,"title":19398,"dynasty":18,"author":19399,"museum":227,"description":19400,"tags":19401,"thumbUrl":19402,"material":1050,"size":1051,"collection":217,"collections":19403,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},230560,"jin-gang-bo-re-jing-kai-ti-can-juan-hong-fa-da-shi-kong-hai-230560","金刚般若经开题残卷","弘法大师空海","弘法大师空海（公元774—835）是日本真言宗的开山祖师，为汉传密宗八祖，作为日本弘扬佛法的先驱者享有崇高的声誉。大师在奈良时代末，于宝龟五年（公元774）诞生于风景秀丽的“玉藻所归之岛，櫲樟蔽日之浦”赞岐国（现香川县）屏风浦。其父为佐伯田公，母为阿刀氏。",[23,119,540,7,120,173,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0893179b2d0c67d9aeaabae2404d729.jpg",[],{"id":19405,"slug":19406,"title":19407,"dynasty":2618,"author":430,"museum":227,"description":19408,"tags":19409,"thumbUrl":19411,"material":1050,"size":1051,"collection":217,"collections":19412,"showCount":617,"zanCount":1106,"manualWeight":48,"mainColor":128},230525,"fu-hua-zhen-yan-tu-xiang-man-tu-luo-juan-quan-tu-yi-ming-230525","佛画真言图像曼荼罗卷全图","此卷以素绢为地，朱红、石青、泥金敷色，满铺神佛诸天、护法印相与卷草云纹，经文题识错落点缀其间。构图绵密却秩序分明，将密宗曼荼罗的严整仪轨，融入唐绘绮丽笔致之中。神佛形象饱满灵动，衣袂线条柔婉劲细，设色调和古雅，神圣的宗教氛围与装饰美感相融。繁复造像排布不显拥塞，云气纹串联画面，既有密教仪轨的庄严规整，又不失中古绘画的秀逸古雅，尽显宗教绘画的精致法度与肃穆气韵。",[23,7,173,27,28,61,13751,19410,174],"佛教造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d244be1b25048fd6371229130cb0f5b.jpg",[],{"id":19414,"slug":19415,"title":19416,"dynasty":2618,"author":430,"museum":227,"description":19417,"tags":19418,"thumbUrl":19419,"material":1050,"size":1051,"collection":217,"collections":19420,"showCount":617,"zanCount":1106,"manualWeight":48,"mainColor":128},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[23,24,25,7,27,15259,193,29,61,64,34,37,117,116,419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":19422,"slug":19423,"title":19424,"dynasty":250,"author":19425,"museum":227,"description":19426,"tags":19427,"thumbUrl":19428,"material":1050,"size":1051,"collection":217,"collections":19429,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},230295,"lin-sheng-jiao-xu-li-hong-zhang-230295","临圣教序","李鸿章","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选庶吉士，授编修，督河南学政。同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁内阁学士，署户部左侍郎。同治四年（1865年），再升都察院左都御史，加太子少保。光绪二年（1876年），命兼总理各国事务衙门，反对完颜崇厚擅订《里瓦几亚条约》。历任礼部尚书、协办大学士，调吏部尚书。光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥文正，赠太子太傅，入祀贤良祠。",[23,119,7,120,60,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689d84932e9309fab27ff7e5a4389dad.jpg",[],{"id":19431,"slug":19432,"title":19433,"dynasty":54,"author":12317,"museum":227,"description":19434,"tags":19435,"thumbUrl":19436,"material":217,"size":217,"collection":217,"collections":19437,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},228891,"san-you-tu-juan-1-chen-gua-228891","三友图卷-1","此作用笔老辣苍劲，枯木虬枝以铁线勾勒，皴擦间尽显嶙峋古拙，淡墨晕染与留白相衬，晕出清寂萧疏的幽远意境。\n以极简水墨托物言志，寥寥数笔写尽岁寒君子的坚贞品格，将物象风骨与文人逸趣融为一体。鉴藏古玺朱红点缀，为画面添上古雅厚重的传世质感，是以意驭笔的写意典范，于简淡间藏雄浑气度，枯涩中暗蕴生机，尽显水墨写意的淋漓意趣。",[24,25,7,114,29,276,275,274,193,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d64f497889ad0f9607453a6af8ab34.jpg",[],{"id":19439,"slug":19440,"title":19441,"dynasty":54,"author":495,"museum":227,"description":13872,"tags":19442,"thumbUrl":19443,"material":1050,"size":1051,"collection":217,"collections":19444,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},228870,"shu-hua-he-bi-gui-qu-lai-ci-wen-zheng-ming-228870","书画合壁归去来辞",[23,24,25,7,120,114,1298,435,1857,117,486,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951ce94121c71e1716a09cb31ca991f2.jpg",[],{"id":19446,"slug":19447,"title":1353,"dynasty":54,"author":430,"museum":227,"description":19448,"tags":19449,"thumbUrl":19450,"material":217,"size":217,"collection":217,"collections":19451,"showCount":617,"zanCount":1106,"manualWeight":48,"mainColor":49},228783,"ru-bi-tu-yi-ming-228783","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,24,25,154,7,28,27,61,62,63,64,116,90,29,34,117,89,4139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":19453,"slug":19454,"title":19455,"dynasty":54,"author":2740,"museum":227,"description":19456,"tags":19457,"thumbUrl":19459,"material":217,"size":217,"collection":217,"collections":19460,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":49},228401,"yu-dong-qun-xian-tu-zhao-yong-228401","玉洞群仙图","青绿晕染出层叠仙山，苍松虬枝斜曳，桃林漫山绽花，幽谷间烟云轻漾。群仙散游林泉：或围坐松下清谈，或策杖寻幽揽胜，或凭崖临流遐观，情态自在萧散，尽得世外雅逸之趣。\n\n全卷气息清灵古雅，山水与人物相融无间，青绿妍丽厚重，人物笔致简逸传神，烘托出洞天幽寂出尘的氛围。卷后题咏呼应画境，诗画合璧，将文人梦寐中的栖隐仙乡藏于尺幅之间，尽显世外仙乡的出尘之致。",[23,24,25,7,5431,27,28,29,61,19458,34,117,120],"群仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85733ce0975ae279b032bedb227bdbd2.jpg",[],{"id":19462,"slug":19463,"title":19464,"dynasty":54,"author":2711,"museum":227,"description":19465,"tags":19466,"thumbUrl":19467,"material":217,"size":217,"collection":217,"collections":19468,"showCount":617,"zanCount":1106,"manualWeight":48,"mainColor":128},228329,"lan-ting-shi-xu-tu-juan-qian-gong-228329","兰亭诗序图卷","此作以长卷铺展，左幅行书长题呼应雅集意韵，卷中山水苍润清雅，茂林修竹环绕曲溪，将雅集盛景尽藏其间。画中雅士或临流待觞，或围坐清谈，或凭栏观山，人物意态从容散逸，尽显林下风流。\n\n笔墨以淡墨皴染山峦林泉，勾勒松筠奇石尽显苍秀灵润，把诗文意境融入山水人物，以静雅水墨晕染出雅集的清旷高致，让千年前的文会雅韵宛在眼前，尽显追慕古贤的文人意趣。",[23,24,25,7,114,28,120,29,61,116,63,64,34,468,694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fce7c7c1d0fbf13a0cc677d54615b4.jpg",[],{"id":19470,"slug":19471,"title":19472,"dynasty":18,"author":415,"museum":227,"description":19473,"tags":19474,"thumbUrl":19475,"material":217,"size":217,"collection":217,"collections":19476,"showCount":617,"zanCount":1106,"manualWeight":48,"mainColor":49},227604,"wu-zhong-san-xian-tu-juan-li-gong-lin-227604","吴中三贤图卷","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,154,24,25,7,174,27,61,119,120,193,1973,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a8d47955d7901c90829f8ca4228c24.jpg",[],{"id":19478,"slug":19479,"title":5318,"dynasty":18,"author":415,"museum":227,"description":19480,"tags":19481,"thumbUrl":19482,"material":217,"size":217,"collection":217,"collections":19483,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":49},227582,"xiao-jing-tu-juan-li-gong-lin-227582","李公麟，北宋著名画家，字伯时，号龙眠居士，北宋舒州(今桐城)人。其白描绘画为当时第一，《宣和画谱》第七卷评价他的作品曰：“(龙眠)尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。”\n\n《孝经》大约成书于公元前350-公元前200年，在北宋时被列入“十三经”，成为儒家经典之一。李公麟的话中加入了他对孝道的理解，作品将道德承载功用与书法功底结合，以及宋人以书法来翻译古人模拟自然的画法。",[23,154,24,25,7,174,114,61,62,116,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750ead0dcaa7216f7a4c885b5bc5545.jpg",[],{"id":19485,"slug":19486,"title":19487,"dynasty":168,"author":430,"museum":227,"description":19488,"tags":19489,"thumbUrl":19490,"material":217,"size":217,"collection":217,"collections":19491,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":49},227226,"jiang-mo-bian-yi-ming-227226","降魔变","【 唐 佚名 《降魔变文》 】卷，纸本设色，27.5×571.5cm，法国国家图书馆藏。此卷敦煌遗物在1908年被法国的希伯和所盗取。画面从笔墨和造型上看应当是真正的唐代人物宗教故事画，虽非名手所作，但也是珍贵的文物，为研究唐代人文宗教历史提供了第一手材料。\n画卷中的国王、外道和佛弟子的形象特征鲜明。描绘了外道如何向国王口出狂言，扬言自己本领高强，要取代佛弟子的地位。他们制造显现出离奇的景象、恐怖的物事、吓人的声音、惊惧的场面，企图威慑佛弟子；佛弟子则神态平静，在淡然默语之中，展现神通，一一予以粉碎、消除、化解、冲刷得干干净净。国王看到这一切，当然心悦诚服，欣喜异常。外道则黔驴技穷，一筹莫展，最终不得不遵从国王的旨意，归顺了佛弟子。",[23,24,25,7,173,27,28,174,61,1009,511,196,34,117,640,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dd62430861a3914d1d4d7d6ab142ba.jpg",[],{"id":19493,"slug":19494,"title":19495,"dynasty":2618,"author":430,"museum":1242,"description":19496,"tags":19497,"thumbUrl":19498,"material":1050,"size":1051,"collection":217,"collections":19499,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":128},226520,"jiu-mo-luo-shen-jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-226520","鸠摩罗什金刚般若波罗蜜经手稿","敦煌壁画特指中国敦煌石窟内壁的绘画艺术作品，属于世界文化遗产。\n敦煌壁画总面积5万多平方米，包括敦煌莫高窟、西千佛洞、安西榆林窟等522个石窟历代壁画，规模巨大，技艺精湛，内容丰富，题材广泛。\n敦煌壁画描绘了神的形象、神的活动、神与神的关系、神与人的关系，寄托良愿，安抚心灵。\n敦煌壁画具有与世俗绘画不同的审美特征和艺术风格，源于生活，美赏生活；源于艺术，集成艺术；源于世界，分享世界。",[173,119,540,537,7,174,27,15920,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20afbc02f34d54a8b4b81f1b887565a2.jpg",[],{"id":19501,"slug":19502,"title":19503,"dynasty":250,"author":5024,"museum":227,"description":19504,"tags":19505,"thumbUrl":19506,"material":217,"size":217,"collection":217,"collections":19507,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":49},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉 。",[23,24,7,27,174,61,29,1070,91,94,230,2791,62,64,654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg",[],{"id":19509,"slug":19510,"title":19511,"dynasty":250,"author":8696,"museum":227,"description":19512,"tags":19513,"thumbUrl":19514,"material":217,"size":217,"collection":217,"collections":19515,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":49},224180,"qiu-lin-guan-quan-tu-juan-hua-yan-224180","秋林观泉图卷","古木虬枝盘绕，繁叶如幄将溪岸轻笼，清寂秋意漫开。右侧石台之上，逸士围坐晤言，襟怀散朗，似伴淙淙泉声叙尽雅怀。\n\n浅墨勾出水波萦回，溪石错落排布，撞出幽远潺潺之意。山石以斧劈兼披麻皴写就，朴拙老辣，林木细笔点染、疏密相生，清雅古淡的设色晕开沉静古雅的氛围，将林泉清旷与文人情致相融，把秋日观泉的萧散林下之趣，藏进尺幅间的静穆诗意里。",[23,24,25,7,27,118,29,5554,420,468,61,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fbf31cff307ebed96fcbb978417b13.jpg",[],{"id":19517,"slug":19518,"title":19519,"dynasty":18,"author":430,"museum":227,"description":19520,"tags":19521,"thumbUrl":19522,"material":217,"size":217,"collection":217,"collections":19523,"showCount":617,"zanCount":48,"manualWeight":48,"mainColor":49},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 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239666,"jiu-de-song-juan-zhao-meng-fu-239666","酒德颂卷","释文：\n有大人先生以天地爲一朝，以萬期爲須臾，日月爲扃牖，八荒爲庭除。行無轍迹，居無室廬，幕天席地，縱意所如。止則摇卮執孤，動則挈榼提壺，唯酒是務，焉知其餘。有貴介公子，搢紳處士，聞吾風聲，議其所以，陳說禮法，是非蠭起，奮袂攘襟，怒目切齒。先生於是方捧甖承槽，銜杯嗽醪，奮髯箕踞，枕麹藉糟，無思無慮，其樂陶陶。兀然而醉，恍爾而醒。靜聽不聞雷霆之聲，熟視不見泰山之形。不覺寒暑之切肌，嗜欲之感情。俯觀萬物，擾擾焉如江海之載萍。二豪侍側，如螺蠃之與螟蛉。延祐三年丙辰歲十一月廿一日，爲瞿澤民書。子昂。\n本幅自识：“延祐三年丙辰歲十一月廿一日，爲瞿澤民書。子昂。”钤“赵子昂氏”印。帖后题跋有孙星衍（5段）、徐有贞、陈鉴、刘珏、杨循吉、文彭、王穉登、翁方纲（4段）、阮元等26家。鉴藏印有戴植、吴云、顾文彬等15方。\n明詹景凤《东图玄览编》、《真迹日录》，清顾文彬《过云楼书画记》、完颜景贤《三虞堂书画目》著录。\n延祐三年（1316年），赵孟頫时年63岁。\n此卷是赵孟頫为瞿泽民录写的西晋刘伶《酒德颂》全文，共19行。瞿泽民无考。刘伶为“竹林七贤”之一，其《酒德颂》充分反映了晋代文人的心态，由于社会动荡不安，统治者对一些文人的政治迫害，使有的文人或借酒浇愁，或以酒避祸，并借酒后狂言发泄对时政的不满。\n此帖笔法纵逸，又是自家风貌，肥不没骨，瘦不露筯，姿媚隽逸，出神入化，可谓人书俱老，炉火纯青，是赵氏书法的精品之作。正如帖后文彭跋所云：“信手拈来，头头是佛，若必曰'兰亭'，恐不必以此论松雪。”明、清各家题跋亦对此卷推崇备至。其文校之《昭明文选》小有出入。",[23,7,119,120,537,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31512f695b6d65fe30c4b2db8aaaaa7f.jpg","纵28.5厘米，横65.2厘米，19行",[543],{"id":19799,"slug":19800,"title":19801,"dynasty":133,"author":19802,"museum":227,"description":19803,"tags":19804,"thumbUrl":19805,"material":217,"size":217,"collection":543,"collections":19806,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":185},239647,"shi-tie-juan-zhang-shen-239647","诗帖卷","张绅","张绅，字士行，一字仲绅，元代末期胶州人（（宣统）《山东通志·艺文志》于其著《法书通释》下云绅为登州人）。元至正七年（1347年）与弟经、缉同领乡荐。张咏乖崖之孙。\n《四库全书总目》于其著《法书通释》下云：“《书史会要》但称为山东人，洪武中官浙江布政使，不详为山东何地之人(应为济南人，《孔子庙堂碑》古拓本中有记载)，亦不详其出身。考《明史·吴伯宗传》附载鲍恂事，称洪武十五年（1382年）吉安余诠、高邮张长年、登州绅并以明经老成为礼部主事所荐，召至京。恂、长年皆以老病辞归，惟绅授鄠县教谕，寻召为右佥都御史，终浙江布政使。则绅乃为登州人，以荐举起家也。”是以知（宣统）《山东通志》沿《明史》之误。今按（道光）《重修胶州志》于《人物志》中列张绅传，于《艺文志》中收入其《逸诗》一卷，且有“元至正七年与弟经、缉同领乡荐”之载，并加按语云：“《明史》绅登州人，《明山左诗抄》绅济南卫人，又称云门山樵，盖尝至益都，皆其生平流寓之地。” 《法书通释》分十篇：八法、结构、执使、篇段、从古、立式、辨体、名称、利器、总论。多汇集晋、唐以来名家之论，间及苏轼、黄庭坚、姜夔之说，所取古人碑帖至唐而止，然均为习见之文。立式篇“辨古无真书之名，钟、王楷书皆是隶法”一条，足正近代俗者之陋。",[23,119,7,120,1229,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e46960c1b670d0173f9d60a749a4e3.jpg",[543],{"id":19808,"slug":19809,"title":19810,"dynasty":133,"author":19811,"museum":20,"description":19812,"tags":19813,"thumbUrl":19814,"material":442,"size":19815,"collection":543,"collections":19816,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},239583,"yu-he-zi-shu-shi-juan-yu-he-239583","俞和自书诗卷","俞和","《自书诗》卷为俞和自作、自书七言诗8首，描写他拜僧访友、游历山水的情景。 此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[23,154,24,25,7,120,119,193,1229,1973,627,626,3665,3666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm",[543],{"id":19818,"slug":19819,"title":19820,"dynasty":54,"author":430,"museum":227,"description":19821,"tags":19822,"thumbUrl":19823,"material":217,"size":217,"collection":217,"collections":19824,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},235621,"zhu-zhan-ji-wu-hou-gao-wo-tu-juan-yi-ming-235621","朱瞻基武侯高卧图卷","此卷以淡墨写幽篁林泉，武侯侧身卧于林间，竹枝苍秀清润，笔墨简逸秀雅，将林下幽寂旷远的意韵尽数铺展，寥寥几笔便勾勒出武侯高蹈淡泊的襟怀。\n\n后拖尾题跋连绵，合体篆书点缀其间，将跨越千古的君臣知遇之意娓娓道来，字里行间皆是对武侯鞠躬尽瘁的追慕，亦暗含对识贤明君的叹赏。书画合璧，淡墨绘尽贤相风骨，长题书就千古知己佳话，整卷清雅沉静，将武侯隐逸风姿与君臣相得的美谈融于一处，是书画共情的绝佳典范。",[23,24,25,7,114,120,193,275,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674be4be137862148724ce7ef701a8a9.jpg",[],{"id":19826,"slug":19827,"title":19828,"dynasty":250,"author":19829,"museum":20,"description":19830,"tags":19831,"thumbUrl":19832,"material":696,"size":217,"collection":217,"collections":19833,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},234197,"fu-chun-tu-juan-shen-zong-jing-234197","富春图卷","沈宗敬","沈宗敬（1669—1735）《清朝画徵录》作雍正三年（1725）卒，清朝书画家笔录从之。字恪庭、南季，号狮峰、狮峰道人、双鹤老人、双杏草堂主人、卧虚山人等，华亭（今松江属上海市）人，沈荃之子。今依历代画史汇传。",[23,24,7,114,29,118,117,34,419,420,116,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa965d8172e9441cd6e732859da4e7b.jpg",[],{"id":19835,"slug":19836,"title":14241,"dynasty":54,"author":15125,"museum":20,"description":19837,"tags":19838,"thumbUrl":19839,"material":442,"size":19840,"collection":217,"collections":19841,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},234155,"yun-shan-tu-juan-wen-jia-234155","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,24,25,7,114,118,120,119,29,8266,37,405,34,3066,35,63,64,115,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":19843,"slug":19844,"title":19845,"dynasty":54,"author":495,"museum":20,"description":19846,"tags":19847,"thumbUrl":19848,"material":7254,"size":5727,"collection":217,"collections":19849,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},234098,"lan-ting-xiu-xie-tu-wen-zheng-ming-234098","兰亭修褉图","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。",[24,25,7,27,28,120,29,116,61,64,63,34,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046d4095b1dc977863b6313fbbd424f8.jpg",[],{"id":19851,"slug":19852,"title":19853,"dynasty":133,"author":430,"museum":56,"description":19854,"tags":19855,"thumbUrl":19856,"material":353,"size":19857,"collection":217,"collections":19858,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":49},232802,"liu-jun-tu-juan-yi-ming-232802","六骏图卷","《六马图卷》旧传出自赵伯驹之手，卷分两段，非出一手，后段末缘下有伪款“千里”及伪印“赵伯驹氏”，清高宗弘历在后半上两题，一为七言古风，一为识语，知款印俱伪，书于同日。此卷曾入张大千手并加跋语四行。\n乾隆皇帝题识：平川苜蓿丰且滋。清泉映带沙冈披。戎人习马知马性。此处调马实所宜。牵者樴者二皆駵，白驹黑鬛绁柳枝，昻蔵翘足骊其色，一戎跨背鞍不施，紫骝回首嘶厥匹，有駓龁草意自怡，骥不称力称其德，况复一一皆英奇，作者寓意应有在，夏官遗法谁深知，即今大宛致汗血，骨格皆合图中姿，亦不渥洼诩作瑞，亦不交河资兴师，迥立阊阖詄荡荡，欲起王孙走笔为。",[23,24,7,27,28,193,119,61,90,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51563118f42df0d8b09f57e6f52a9b14.jpg","纵46.2厘米，横168.3厘米",[],{"id":19860,"slug":19861,"title":19862,"dynasty":133,"author":534,"museum":151,"description":19863,"tags":19864,"thumbUrl":19865,"material":470,"size":19866,"collection":217,"collections":19867,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":49},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[23,24,25,7,114,118,120,119,193,29,115,63,64,116,196,230,404,275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":19869,"slug":19870,"title":19871,"dynasty":18,"author":415,"museum":56,"description":19872,"tags":19873,"thumbUrl":19874,"material":19875,"size":19876,"collection":217,"collections":19877,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},232631,"xiao-jing-tu-juan-bai-miao-tu-li-gong-lin-232631","孝经图卷(白描图)","《孝经图》水墨绢画，被一致公认为是李公麟1085年绘真迹。此卷后有南宋汗漫翁题跋，明董其昌四次题跋，清代毕沅六次题跋。其他明清人题跋十五人，还有晚清重臣李鸿章一跋。作者是依据《孝经》经义，所绘十五段的图说式画卷，以行楷书方式书写《孝经》内容，在以线描笔法绘写配图，书画合璧。\n李公麟（公元1049~1106年）北宋画家。字伯时，号龙眠居士，舒州（今安徽潜山）人。好古博学，喜藏钟鼎古器及书画。宋神宗熙宁年间中进士，官至朝奉郎。居京师十年，不游权贵之门，以访名园荫林为乐。其天赋极高，又博学勤业，书法飘逸具晋人风韵，擅画人物、山水，尤精画鞍马，更以白描画法独步当世，被评者推为宋画第一。《孝经图》是北宋著名画家李公麟在约1085年创作的绢本水墨画。该画以《孝经》为内容配以插图，充分展现了李公麟绘画和书法的雄厚功底。",[23,154,24,25,7,174,61,29,69,62,116,193,119,537,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1137c51b1df595b6c25246f4b4866b.jpg","水墨绢画","21.9 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cm",[],{"id":19879,"slug":19880,"title":19881,"dynasty":2618,"author":430,"museum":227,"description":19882,"tags":19883,"thumbUrl":19884,"material":1050,"size":1051,"collection":217,"collections":19885,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},231791,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-yi-ming-231791","明清日本古画花鸟山水人物粉本-人物卷","此卷以白描淡彩铺陈，笔致简逸稚拙。起首持杖人物寥寥数笔便形神尽显，随后跃马挽弓的武士气宇轩昂，线条勾勒出战马奔腾的飒爽气势，将武人豪烈之风晕染纸面。继而转绘惊马失控的骑者，笔意诙谐生动，添入俗世趣意。垂首疾行的仕人姿态恭谨，自带沉静闲雅之感。终了圆光中丰润女像，设色柔淡，神情恬和静穆。整卷将武人豪壮与世俗闲趣并置，古雅张力与谐趣意韵相融，朴拙天真间尽显别致意趣。",[23,7,174,27,61,90,14710,155,623,119,193,156,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33e0f2c578b5c3f6b12100a60dfe51d.jpg",[],{"id":19887,"slug":19888,"title":19889,"dynasty":54,"author":19890,"museum":4758,"description":19891,"tags":19892,"thumbUrl":19893,"material":19894,"size":19895,"collection":217,"collections":19896,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},231590,"shi-xiang-tu-chen-xian-231590","释像图","陈贤","自跋：焚香合掌祭拜作于仙迹精舍，崇祯癸未菊月（1643年）。卷末再题：清紫陈贤谨识。长卷共绘有二十四位佛教人物。此卷人物线质极具特色，已是禅师们作画常用的“棒喝”性线条。\n陈贤［明］号希三，又号瞻葵，又号半秃僧，华山道人。喜画佛像人物，书法似文徵明。",[23,24,25,7,174,114,61,5613,1298,117,4337,91,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec35347fab7a37b924029e930db1d82.jpg","绫本设色","49.5×731.3厘米",[],{"id":19898,"slug":19899,"title":19900,"dynasty":250,"author":19901,"museum":705,"description":19902,"tags":19903,"thumbUrl":19904,"material":9132,"size":19905,"collection":217,"collections":19906,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":49},231353,"xi-sai-shan-zhuang-di-er-tu-shen-zong-qian-231353","西塞山庄第二图","沈宗骞","此卷绘西塞山庄之胜景，虽不是张志和诗中之西塞，然长松阔水，溪山静好，亦是人间佳境。此幅全法南宗山水之圭臬，又有黄子久富春山居图笔墨之法，而加“四王”之平实笔意。是沈熙远精心之作。\n沈宗骞（1736—1820）。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》、《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。",[23,24,25,7,114,118,29,34,117,31,37,690,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a52250e5d999c337a4036662e188ac5.jpg","27cmx285cm",[],{"id":19908,"slug":19909,"title":19910,"dynasty":250,"author":3062,"museum":227,"description":19911,"tags":19912,"thumbUrl":19913,"material":217,"size":217,"collection":217,"collections":19914,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":49},229013,"lin-dong-bei-yuan-xia-jing-shan-kou-dai-du-tu-wang-hui-229013","临董北苑夏景山口待渡图","此作用平远之法铺陈江南水泽盛景，平缓山峦层层延展，以淡墨披麻皴晕染，满缀苔点，尽显苍润温厚之态。河港萦回，洲渚错落，汀岸间茂林修竹扶苏成林，茅舍隐于林麓，野趣自生。渔舟泛于空蒙烟波，水鸟掠波而过，处处皆是夏日江南的安闲日常。\n\n整幅画作追摹南宗山水的平淡天真，以柔婉的笔调晕开湿润氤氲的夏山氛围，没有奇崛造势，只将江南水乡的沉静清和与田园诗意，融在烟水林峦之间，尽显秀雅浑融的古淡意境。",[23,24,25,7,60,29,34,115,196,765,118,27,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b35e298b8584b4bb63527842380557.jpg",[],{"id":19916,"slug":19917,"title":19918,"dynasty":54,"author":430,"museum":227,"description":19919,"tags":19920,"thumbUrl":19921,"material":1050,"size":1051,"collection":217,"collections":19922,"showCount":410,"zanCount":1106,"manualWeight":48,"mainColor":128},228794,"ming-xiao-kang-zhang-huang-hou-lu-zhi-die-yi-ming-228794","明孝康张皇后箓职牒","此《张皇后箓牒图卷》（孝康张皇后授箓图），全卷大致分为三个部分：第一部分为「三洞赤文總真仙簡」（云篆）、第二部分是五十二张神仙画像、第三部分是整张《箓牒》的正文，即文字部分，内容记录明孝康张皇后参加授箓，成为道教上仙玄君",[23,24,25,7,27,28,119,173,61,1060,156,664,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f967df2d9b493d13ce84a7a8fbe491e.jpg",[],{"id":19924,"slug":19925,"title":16877,"dynasty":54,"author":430,"museum":227,"description":19926,"tags":19927,"thumbUrl":19928,"material":217,"size":217,"collection":217,"collections":19929,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":49},228782,"fang-dong-yuan-xia-shan-tu-yi-ming-228782","此作以长卷铺展全景江南夏山，烟波平湖与层叠丘壑相映，尽显董源山水平淡天真之致。山峦以披麻皴缓笔写就，层层晕染，尽显丘壑深秀。洲渚间林木扶苏，村舍错落于山麓水滨，渔舟静泊浅滩，处处流露江南水乡的悠然野趣。\n\n用墨温润苍厚，设色古雅沉静，复刻出原作浑厚华滋的质感，将盛夏山林的蓊郁葱茏、水色天光的澹澹交融尽皆铺陈，整体意境清和悠远，带着宋初山水的平和生机，虽为摹古之作，却得江南山水的闲逸真味，尽显文人山水的雅淡风神。",[23,24,25,7,29,60,27,118,405,34,31,986,63,64,610,196,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17443e12643edb2c4b0c7baa318363d.jpg",[],{"id":19931,"slug":19932,"title":19933,"dynasty":54,"author":55,"museum":227,"description":19934,"tags":19935,"thumbUrl":19936,"material":1050,"size":1051,"collection":217,"collections":19937,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},228442,"mu-lv-tu-chou-ying-228442","募驴图","《募驴图》是一幅书画合卷,先有徐祯卿撰写《为朱君募买驴疏》,并附十位苏州文人的署名及出资金额,后由画家仇英补图,合成一卷.这幅合卷以艺术的方式纪念了为朱存理募资买驴这样一个现实事件,它将主人翁朱存理置于苏州文人的关系网络之中,他们的交往与活动映射出明代文人生活的雅趣.仇英的补图作为一幅为数不多的人物小品,理想化地呈现了先辈文人的风流遗韵,而这种补图也在某种程度上反映了他的精神归属和对于吴中文人集团的文化认同.",[24,25,7,174,61,91,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2182a1352bb51ed21369761f8cd2a8ad.jpg",[],{"id":19939,"slug":19940,"title":17268,"dynasty":133,"author":2780,"museum":227,"description":19941,"tags":19942,"thumbUrl":19943,"material":217,"size":217,"collection":217,"collections":19944,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},228052,"yi-mu-yu-fu-tu-juan-bai-miao-quan-juan-wang-zhen-peng-228052","此作为白描神品，线条劲挺匀细如春蚕吐丝，流畅自然。将育佛场景铺陈得细腻入微，人物衣袂褶皱流转灵动，发丝、璎珞等细节毫厘毕现，尽显对线条的极致把控能力。\n\n画面叙事悠然，姨母的温婉慈爱，幼佛的沉静安然，侍从的恭谨神态跃然纸上，场景层次分明，静谧祥和的宗教氛围扑面而来。全卷未施丹青，仅以浓淡变化的墨色便勾勒出织物的柔软、金属的冷硬，将宗教题材的庄严与俗世温情完美融合，尽显白描的高深造诣，是古典线描宗教人物画的上乘之作。",[23,154,24,25,7,173,174,61,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9d0065345992856348ca48994de99e.jpg",[],{"id":19946,"slug":19947,"title":8176,"dynasty":18,"author":415,"museum":227,"description":15223,"tags":19948,"thumbUrl":19949,"material":217,"size":217,"collection":217,"collections":19950,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":49},227612,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227612",[23,24,25,7,174,114,61,29,115,116,196,64,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada9312dd485017bc4fab757eba67b6c.jpg",[],{"id":19952,"slug":19953,"title":19954,"dynasty":18,"author":415,"museum":227,"description":19473,"tags":19955,"thumbUrl":19956,"material":217,"size":217,"collection":217,"collections":19957,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},227602,"xian-xian-shi-shi-tu-juan-li-gong-lin-227602","先贤事实图卷",[23,24,25,7,174,61,90,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddbbbc9cefdf5bedca92f7ccdb5a151.jpg",[],{"id":19959,"slug":19960,"title":14822,"dynasty":18,"author":415,"museum":227,"description":19961,"tags":19962,"thumbUrl":19963,"material":217,"size":217,"collection":217,"collections":19964,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},227583,"qun-xian-gao-hui-tu-juan-li-gong-lin-227583","李公麟（1049年－1106年），北宋画家。字伯时，号龙眠居士，舒州（今安徽桐城）人。\n\n进士出身，历南康、长垣尉、泗州录事参军，官至朝奉郎。擅画人物、佛道像，吸取历代流派之长，自创一格，多用线描，笔法如行云流水，而不设色，生动地表现了人物的神情意态，人称“白描”；尤精擅画鞍马，常观察群马生活，求其变化，下笔形神兼备。注重写生，画技博取前人之长，承继顾恺之、吴道子等人笔法，在新画中表达新义。 《十八罗汉渡江图》画中人物按未渡者、方渡者、已渡者三组依序进场，人物神态，栩栩如生。李公麟画作时人评价甚高，宋徽宗曾赞他为当朝最重要画家。元符三年（1100年）病痹告老，隐居龙眠山，号龙眠居士。\n\n存世作品有《五马图》、《临韦偃牧放图》等。",[23,24,25,7,174,29,61,62,196,404,116,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173ecc080401c62a94a56f59342ed64d.jpg",[],{"id":19966,"slug":19967,"title":19190,"dynasty":18,"author":430,"museum":20,"description":16278,"tags":19968,"thumbUrl":19969,"material":215,"size":19970,"collection":217,"collections":19971,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":49},223590,"fan-qi-tu-yi-ming-223590",[23,154,24,25,7,28,27,61,90,14453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792f8737e0cca0585a895623b1b869be.jpg","27.4x127",[],{"id":19973,"slug":19974,"title":19975,"dynasty":18,"author":430,"museum":322,"description":19976,"tags":19977,"thumbUrl":19978,"material":40,"size":19979,"collection":217,"collections":19980,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":49},223469,"gui-qu-lai-ci-shu-hua-juan-yi-ming-223469","归去来辞书画卷","此图出自东晋末陶渊明不愿为五斗米折腰，离开宦场而作的抒情小赋《归去来兮辞》。卷首是陶渊明像，后一图一文依次描绘了他辞官后，其归隐的生活情趣和内心轻松愉悦的感受。",[23,24,25,7,27,28,29,61,62,63,64,115,34,116,120,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4c6140c5f57b11d67f190f51d137d6.jpg","30x438.6cm",[],{"id":19982,"slug":19983,"title":19984,"dynasty":54,"author":10715,"museum":1514,"description":19985,"tags":19986,"thumbUrl":19987,"material":10720,"size":19988,"collection":217,"collections":19989,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},222546,"zeng-zhang-bao-yi-shi-juan-wang-duo-222546","赠张抱一诗卷","《王铎草书赠张抱一诗卷》的内容，是作者王铎自撰的七律诗五首，主要为赠送友人张抱一而作，并在诗歌内容上、在书法艺术中抒发、体现自己的情感。诗卷全文如下（注：原作品没有标点断句）：\n《张抱一公祖招集湖亭》：有酒沧池对烟丘，相招者谁任意游。晋人唐人曾几度，泉水溪水还同流。钟鼓此城鸣白露，戎兵何处领高秋。芦花今古依然在，羡尔无声眠野鸥。（注：第一首七律完）《登岳庙天中阁看山同友》：四围紫逻坐相望，突兀高峰划大荒。谁复凌空呼帝座，我今乘胜挹天浆。香烟古庙通灵气，石路神丘点太阳。冻草暮云无限意，汉京封禅旧山房。（注：第二首七律完）《牛首山同堪虚静原》：一樽绝巘放高歌，回首禅房忘坎坷。旦树晴分天目近，午帆气挟海风过。山吞吴楚犹新燕，寺趁齐梁只故萝。莫管星辰朽不朽，吹箫何处倚嵯峨。（注：第三首七律完）《频入》：频入长安过九衢，谁知幽梦在髭须。只今人路何从说，渐审岩居不可无。屈指箸筹赊日月，伤心戎旅满江湖。此生休外韬真处，锦瑟琪华待醍醐。（注：第四首七律完）《汴京南楼》夷门萧瑟俯晴空，万事欷献向此中。梁苑池台新萑苇，宋家艮岳老苔丛。牧人壕外时驱犊，猎骑天边晚射鸿。旧月多情依汴水，滔滔东去更朦胧。（注：第五首七律完）崇祯十五年三月夜。洪洞同邑弟王铎具草。抱翁公祖教正。\n按：《张抱一公祖招集湖亭》卷中七律五首，有三首见于《拟山园选集》（台湾学生书局）。分别是：《登岳庙天中合看山同友》，载集中七律卷九，题作《登岳庙天中阁看山感时》，原为二首，卷中所书为第一首；《频入》，载集中七律卷三，卷中所书之“待醍醐”，集中作“醉醍醐”；《汴京南楼》亦载集中七律卷三。\n另两首虽不见于集中，但是，同书五律卷三有《湛虚、静原游牛首》、《燕子矶湛虚招同静原》、《上天开岩同湛虚、静原》三首，与卷中《牛首山同湛虚、静原》—诗显然是同时之作。湛虚，即张镜心，字孝升，湛虚为号，累官至兵部尚书，是王铎的挚友。见于《拟山园选集》（台湾学生书局）及《拟山园初集》中的与张镜心有关的诗作多达五十首以上。张镜心亦曾为王铎的《拟山园初集》作序，与王铎以“年弟”相称，盛赞王铎诗文“浩乎哉如烟海，修辞之家，未之有也。”\n王铎书法的书法，到了《赠张抱一草书诗卷》时，已经摆脱了模仿的痕迹，有了主体性较强的跌宕雄逸的意态。《赠张抱一草书诗卷》亦是王铎草书长卷现可见较早的一件。《王铎草书赠张抱一诗卷》，在王铎书法的发展过程中具有十分重要的意义，从这件作品可领略王铎若干书法艺术特点。\n一个是强烈的节奏感使草书作品产生出运动力和冲击力。《王铎草书赠张抱一诗卷》中书法的点画线质表现其弹性产生运动力，运动的返急产生冲击力，在这一点上王铎成功地将力运用到书法点画的变化上，使笔在绢、绞、纸上的运动过程中产生顿挫、仰侧、奇崛、突变，使个性的张扬发挥到极致。尤其是充满着激情的用笔，如同少林武僧，有屈铁之力，挥棒生风。\n一个是前无古人的字法造势。王铎亦受时风影响，但他站在传统基础之上，破除旧有的模式，创建出一种崭新的恢弘博大的图式，充满艺术的震撼力。王铎书法的一个鲜明特点便是造势。《王铎赠张抱一行书卷》中，通篇显现出变幻莫测的感觉，字势左右叵诡，笔致老辣，章法宕逸。唐张旭狂草《古诗四帖》，如龙蛇之行，富于变幻，王铎在这一点上进一步追求草书中险绝、突变、膨胀与内敛之势，识字者，可领略触笔、行笔、运笔中的运动轨迹。\n第三是墨象万千，酣畅淋漓。中国画中有墨分五彩之说，利用墨之浓、淡、干、湿可使画面产生出无穷的变化，显现出生机勃勃的趣味。王铎从中国画中悟出用墨之道，并大胆地运用到书法创作中，从而增强了作品的视觉效果，把涨墨之法发挥到极致。《王铎赠张抱一行书卷》中，其作品的冲击力与用墨是分不开的，他书法点画的流动感也与用墨紧密相关。历史上在王铎以前的草书大家无一人用“涨墨”法，此法实乃王铎开创也，这种不同位置的参差对比，使作品在整体视觉效果上别具一格，特点鲜明。\n最后是独特笔法。王铎笔法早年受二王影响，笔势较为平和，行笔温润，他中年学米后，笔势、笔法发生了较为明显的变化。后终于成中国书法技法集大成式的开拓者。在《王铎草书赠张抱一诗卷》中，多处凸显其集大成的大家手笔，可谓将壮美之力表现到极致。在中国书法发展的这条主线上，王铎既崇尚对传统吸收，又善标新立异达到裂变之意。\n王铎为书近五十年的探索，终自成家法，成为“有明书法推第一”（吴昌硕诗句）、“于明季书坛可谓中兴之主”（沙孟海《近三百年的书学》）。他的书法对后世影响极大。清代早期的傅山受王铎书风影响之后，创博大流变之体，标立书坛。至近现代受王铎书风影响最深，写大草的书家，如林散之、沙孟海、沈鹏等书法家，都对王铎书法有深入的研究和汲取过优秀的养分。在日本等，他更是影响东瀛书坛多年。日本人对王铎的书法极其欣赏，还因此衍发成一派别，称为“明清调”。在日本关西地区甚至整个日本书坛，有“后王（王铎）胜前王（王羲之）”的说法。",[23,1892,7,119,193,114,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706317ef80c72d495a33ab77cf4de37a.jpg","长469cm，高26cm",[],{"id":19991,"slug":19992,"title":19993,"dynasty":54,"author":10715,"museum":151,"description":10717,"tags":19994,"thumbUrl":19995,"material":442,"size":19996,"collection":217,"collections":19997,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":49},222541,"zeng-zheng-gong-du-shi-juan-wang-duo-222541","赠郑公度诗卷",[23,119,25,7,1892,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d453ef98af224b61aec3187798b045.jpg","每开纵28.3公分,横36公分",[],{"id":19999,"slug":20000,"title":20001,"dynasty":54,"author":9027,"museum":151,"description":9028,"tags":20002,"thumbUrl":20003,"material":27,"size":9031,"collection":217,"collections":20004,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},222320,"qian-li-jiang-cheng-tu-juan-1-zhou-long-222320","千里江程图卷-1",[154,24,25,7,114,118,29,34,419,117,37,64,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5e82d606bd4790ed080e73a7e5d886.jpg",[],{"id":20006,"slug":20007,"title":20008,"dynasty":54,"author":7606,"museum":151,"description":20009,"tags":20010,"thumbUrl":20011,"material":442,"size":20012,"collection":217,"collections":20013,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},222315,"zi-shu-wu-yi-ge-juan-wang-chong-222315","自书五忆歌卷","这件书卷恣肆纵逸，神彩飞扬。王宠下笔硬挺，只有在转笔的地方稍微圆润一些，所以笔调硬拙峻拔。虽然这是一件今草的作品，但几乎字字独立，字迹又带有章草的笔意，如书卷中的“眠”、“泰”、“裂”等字的捺笔收尾都还保存了隶书的韵致。这件书法是王宠三十五岁的作品，写在质地坚硬的金粟山藏经纸上，更能将王宠起伏顿按、急遽有力的笔法特色表现出来，是他传世的一件精品。",[23,120,119,7,539,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ab10ee06054449e08cd21de2467d24.jpg","29.3×294.7厘米",[],{"id":20015,"slug":20016,"title":20017,"dynasty":54,"author":9148,"museum":380,"description":20018,"tags":20019,"thumbUrl":20020,"material":442,"size":20021,"collection":543,"collections":20022,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},222058,"guo-pu-you-xian-shi-zhang-rui-tu-222058","郭璞游仙诗","此为张瑞图草书节录晋代郭璞的《游仙诗》之三首及梁简文帝萧纲《仙客诗》，文字与原诗略有出入。",[23,154,24,25,7,119,120,1892,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684b2fc238586d292dcccf947ab9fbf9.jpg","纵28厘米，横540厘米",[543],{"id":20024,"slug":20025,"title":20026,"dynasty":18,"author":4114,"museum":20,"description":20027,"tags":20028,"thumbUrl":20029,"material":442,"size":20030,"collection":217,"collections":20031,"showCount":410,"zanCount":48,"manualWeight":48,"mainColor":128},221377,"ying-chang-hu-shang-shi-ci-juan-wang-shen-221377","颍昌湖上诗词卷","王诜作为画家的名声似乎要远远高出作为书法家的名声。其实，在书法方面，王诜的字清劲紧实而别具面目。《自书诗帖卷》共分四段，第一段二十三行一百五十四字，以散文叙说“前年恩移清颍（按即颍州）”，道阻于许昌，与韩维（持国）、范镇（景仁）诗酒留连于颍昌府（按即许昌）之西湖的情况。，第二段十七行九十六字，记颍昌湖上三人所作唱和诗句。第三段八行六十四字，为《蝶恋花》词一首，观其描述，亦当为湖上景色。第四段二行十七字，自言近年能饮酒，多醉书。字句之间虽然有感伤惜别的味道，但落笔痛快淋漓，锋芒毕露，可谓独具风貌。 （资料转自上海博物馆网站）\u2028 余前年恩移清颍，道出许昌，前途小阻，留西湖之别馆者几一月。常与韩持国、范景仁泛舟啸咏，使人顿忘去国流离之恨也。韩公德性温厚，风度高雅，固已可爱。范公虽老而精神不衰，议论纯正，白须红面，动辄醺酣。时余有所赋咏，公即取红莲叶命笔疾书，初不经思，佳辞丽句，顷刻而成，坐客莫不惊叹也。比闻朝庭就除端明殿学士以宠之，因思方今进任老成，如公者再起之，亦足以厚风俗耳。\u2028 颍昌湖上。余有赠诸公诗，其略曰：“清影十分月，暗香千柄莲。不知从此别，高会复何年？”韩公诗曰：“浩歌轻白雪，密意得青莲。诗就西桥月，留为好事传。”西蜀公云：“惯乘霄汉雀，翻说淤泥莲。可惜玉台处，等闲闲几年。”盖公不喜释氏，故有是句，亦可一笑也。\u2028 小雨初晴回晚照，金翠楼台倒影芙蓉沼。杨柳垂垂风袅袅，嫩荷无数青钿小，似此园林无限好，流落归来到了心情少。坐到黄昏人悄悄，更应添得朱颜老。右蝶恋花。余旧不饮酒，近年辄能饮，故多醉中所书耳。\n本卷分三段，首段记述了作者在去清颍途中受阻，与韩维（持国）、范镇（景仁）泛舟于西湖啸咏之事；中段与末段分别为三公在颍昌湖上诗作及王诜和蝶恋花词一阙。《宋史》记载，韩维在宋哲宗刚登基时上表推荐范镇，因为范在宋神宗时于建储有功，于是拜范为端明殿学士兼侍读，即文中所称“比闻朝廷就除端明殿学士以宠之”。由此可知，该帖应书于1086年。“余前年恩移清颍”中的“前年”是指1084年。其时韩、范二人亦居于许昌，颍昌湖即文中所称西湖，位于许昌的西北，所以，三人可以相遇于西湖游宴赋诗。该卷虽系以诗词和友有伤感流连之意，但下笔痛快淋漓，结体紧实，笔多横放，锋芒毕露，独具风貌。《吴氏书画记》卷六将此卷误称为黄庭坚书，至曹溶跋方为纠正。之后，《式古堂书画汇考》卷一二、《墨缘汇观》续录、《石渠宝笈续编淳化轩》、《壮陶阁书画录》、《三虞堂书画目》等均改为王诜书。",[23,25,7,120,119,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ae0a2cd0effd3a16a39257bcac83f5.jpg","31.3×271.9 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》《古诗十九首》《李白古风诗卷》等。",[119,1892,7,193,2224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f4b31c83f7426792cf04befc86868.jpg",[],{"id":20173,"slug":20174,"title":20175,"dynasty":250,"author":20176,"museum":227,"description":20177,"tags":20178,"thumbUrl":20179,"material":1050,"size":1051,"collection":217,"collections":20180,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},287553,"teng-wang-ge-shu-fa-juan-tie-bao-287553","滕王阁书法卷","铁保","董鄂·铁保（1752~1824年），字冶亭，号梅庵，本姓觉罗氏，满洲正黄旗人。清代大臣，著名书法家。\n乾隆三十七年（1772年），中进士，授吏部主事，后升为郎中、户部及吏部员外郎、翰林院侍讲学士、侍读学士、内阁学士。嘉庆四年（1799年），因弹劾官员过当被贬到盛京；不久，以吏部侍郎出任漕运总督。\n嘉庆十年（1805年），升任两江总督，赏一品顶戴，成为管辖江苏、安徽和江西三省的最高军政长官。嘉庆十四年（1809年），发生山阳县令王伸汉冒赈，鸩杀委员李毓昌事件，铁保遭到免职，流放新疆。道光初年，告病退休。道光四年（1824年），去世。\n铁保以文章和书法驰名朝野。曾任《八旗通志》总裁，并将旗人诗文编为《白山诗介》134卷，个人作品则编为《惟清斋全集》。铁保是满人中最著名的书法家，与成亲王永瑆、刘墉、翁方纲，称为“清朝四大书家”。书法早年曾学“馆阁体”，后学颜真卿，纠正“馆阁体”带来的板滞之病。他谪居吉林时仍勤于临摹古法帖，引起眼病，刻有《惟清斋帖》。",[23,119,7,120,1892,3781],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066b7b43ac2e973e8b5526d26df6bcb6.jpg",[],{"id":20182,"slug":20183,"title":20184,"dynasty":54,"author":430,"museum":227,"description":20185,"tags":20186,"thumbUrl":20187,"material":1050,"size":1051,"collection":217,"collections":20188,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},287340,"fang-li-gong-lin-shi-liu-luo-han-tu-yi-ming-287340","仿李公麟十六罗汉图","此作为白描长卷，以淡墨勾勒晕染，将山水丘壑与罗汉群像相融铺展。\n\n开篇题识后，烟波水岸渐入山林，罗汉与众侍者错落排布。人物神态各殊，或趺坐禅思，或执杖徐行，衣袂线条清劲圆润，尽得行云流水的古雅笔意，复刻出李公麟白描的隽秀韵致。山水以淡墨皴擦写就，层峦叠嶂间古木扶苏，云雾漫漤于崖谷之间，烘托出幽寂出尘的禅林之境。\n\n整卷气脉贯通，人物与山水呼应合宜，将罗汉清修的超脱意趣，与林泉雅境浑然相融，尽显明代仿古白描的精妙功底，沉静禅韵漫溢卷间。",[23,154,24,7,174,114,61,173,7958,60,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593803aadfe9432e1d644fbab419c044.jpg",[],{"id":20190,"slug":20191,"title":20192,"dynasty":54,"author":430,"museum":227,"description":20193,"tags":20194,"thumbUrl":20196,"material":1050,"size":1051,"collection":217,"collections":20197,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},287339,"fang-dai-song-mu-niu-tu-yi-ming-287339","仿戴嵩牧牛图","此作为平远长卷，水岸逶迤铺展，枯木寒林错落点缀其间。群牛或卧憩坡岸、或垂首饮水、或结伴闲行，姿态灵动各异，尽得山野牧群的悠然天真，复刻出戴嵩画牛的朴拙野趣。\n设色温润古雅，以淡赭晕染汀洲秋岸，墨色点簇林木、皴擦牛身，浅淡青绿缀出残叶新枝，晕开秋日郊野的清寂萧散。拖尾题跋与画意呼应，书画合璧，尽显追摹唐风画牧的古雅意趣，将田家放牧的日常景致，晕作一卷闲散清和的秋日郊居牧歌。",[23,24,7,27,25,91,29,605,60,20195],"牧牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b948a588da2c82dd8401abd9e571ff6.jpg",[],{"id":20199,"slug":20200,"title":20201,"dynasty":133,"author":1867,"museum":227,"description":17355,"tags":20202,"thumbUrl":20203,"material":1050,"size":1051,"collection":217,"collections":20204,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":185},287306,"lin-xi-qing-yin-tu-juan-ni-zan-287306","林溪清隐图卷",[23,24,154,7,25,114,120,119,275,29,193,7930,420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c9a683588fa53ede3255dbac057270.jpg",[],{"id":20206,"slug":20207,"title":20208,"dynasty":18,"author":20209,"museum":227,"description":20210,"tags":20211,"thumbUrl":20212,"material":442,"size":217,"collection":543,"collections":20213,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},241661,"ming-qing-zhu-jia-ba-ci-zhan-kui-shi-tuo-juan-zhao-shen-241661","明清诸家跋赐詹骙诗拓卷","赵眘","宋孝宗趙昚（1127年11月27日－1194年6月28日），初名趙伯琮，後改名趙瑗，賜名趙瑋，字元永，籍貫秀州（今浙江嘉興），宋太祖趙匡胤七世孫、宋高宗趙構養子。宋朝第十一位皇帝、南宋第二位皇帝（1162年7月20日－1189年2月18日在位）。\n紹興二年（1132年），被高宗選中育於宮中。紹興三十年（1160年），被立為皇子，受封開府儀同三司、寧國軍節度使，封建王。紹興三十二年（1162年），被立為皇太子。同年高宗讓位於趙昚，使宋朝的皇位再次回到宋太祖一系。淳熙十六年（1189年），趙昚禪位於三子趙惇，自稱壽皇聖帝。紹熙五年（1194年），趙昚崩逝，在位二十七年，年六十八。累諡號紹統同道冠德昭功哲文神武明聖成孝皇帝，廟號孝宗，葬於永阜陵。《全宋詞》錄有其詞一首。\n後世普遍認為趙昚是南宋最有作為的皇帝。他在位期間，平反岳飛冤案，起用主戰派人士，鋭意收復中原；內政上，加強集權，積極整頓吏治，裁汰冗官，懲治貪污，重視農業生產，百姓生活安康，史稱“乾淳之治”。後世稱其為“卓然為南渡諸帝之稱首”。",[23,25,7,2917,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039a2b079120574c0a96be072dc2c54b.jpg",[543],{"id":20215,"slug":20216,"title":20217,"dynasty":250,"author":20218,"museum":227,"description":20219,"tags":20220,"thumbUrl":20222,"material":442,"size":217,"collection":543,"collections":20223,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},241054,"zhi-zi-ji-zha-heng-zhao-zhi-qian-241054","致子继札横","赵之谦","赵之谦（1829年8月8日 －1884年11月18日 ），汉族，浙江会稽（今绍兴）人。 初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。 在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[25,119,120,7,20221],"信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780d500e113fe99af594781fc50f9f4a.jpg",[543],{"id":20225,"slug":20226,"title":20227,"dynasty":133,"author":4516,"museum":227,"description":20228,"tags":20229,"thumbUrl":20230,"material":1050,"size":1051,"collection":217,"collections":20231,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},241013,"su-da-nian-ba-yu-ji-zhu-wen-fu-can-pian-juan-ke-jiu-si-241013","，苏大年跋虞集诛蚊赋残片卷","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[119,120,193,7,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffd8d5198e008f4b5fed14a7f6d8543.jpg",[],{"id":20233,"slug":20234,"title":20235,"dynasty":54,"author":13479,"museum":227,"description":13480,"tags":20236,"thumbUrl":20237,"material":1050,"size":1051,"collection":217,"collections":20238,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},241004,"zhi-luo-feng-zha-juan-wang-shou-ren-241004","致罗峰札卷",[23,154,24,25,7,114,120,664,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88979f0060eb58657f91f1b367c1d40f.jpg",[],{"id":20240,"slug":20241,"title":20242,"dynasty":54,"author":20243,"museum":227,"description":20244,"tags":20245,"thumbUrl":20246,"material":442,"size":217,"collection":543,"collections":20247,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},240927,"wu-kuan-deng-liu-jia-kai-shu-xie-jing-ji-li-dai-fa-shu-can-pian-ji-juan-yang-shen-240927","无款、等六家楷书写经及历代法书残片集卷","杨慎","此卷合集残片，诸家笔墨风神各异。小楷写经端雅匀整，笔致清隽静穆，带着抄经时的沉虔；行草题跋则笔势跌宕纵横，铺陈出文人抒怀的疏放不羁。纸面虽有残损漫漶，墨色依旧沉厚温润，朱印斑驳晕开，晕染出岁月的古旧质感。残片拼接之间，牵系起散佚的文脉，将数代书家的伏案心境揉入长卷，既有敬谨的抄经笔意，亦有洒脱的论书闲情，古意盎然，墨迹里沉淀着悠悠时光的余温。",[23,537,120,5432,664,1892,119,540,7,1229,2917,193,4040,60,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48729af0e433bd2120beb4512ee4c60d.jpg",[543],{"id":20249,"slug":20250,"title":20251,"dynasty":54,"author":20252,"museum":227,"description":20253,"tags":20254,"thumbUrl":20256,"material":442,"size":217,"collection":543,"collections":20257,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},240510,"gu-wen-cai-lian-shi-juan-gu-wen-240510","顾问采莲诗卷","顾问","顾问 蕲州人（今属湖北蕲春蕲州）人。明代著名思想家、哲学家和教育家。嘉靖十六年丁酉，举于乡。十七年戊戌（1538）进士正德六年（1511）十一月初八日生，万历十九年（1591）正月十四日卒，享年八十一岁。\n嘉靖十七年（1538）进士，弟弟 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Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,24,25,7,27,28,29,11196,3111,3874,7173,3516,115,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e5f661c7377d7282ed7dd3a7183f6c.jpg",[],{"id":20402,"slug":20403,"title":20404,"dynasty":2618,"author":430,"museum":227,"description":20405,"tags":20406,"thumbUrl":20411,"material":217,"size":217,"collection":217,"collections":20412,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},231694,"jiang-hu-shi-qi-ying-yi-die-shi-er-yue-tu-juan-yi-ming-231694","江户时期 英一蝶十二月图卷","这幅长卷铺陈出鲜活的市井浮生，水岸舟楫往来摇荡，市肆街巷串联起岁时日常。茶寮酒幌招展，宾客围坐言笑晏晏；贩夫走卒穿行长街，挑担叫卖的身影生动鲜活。亭台掩映在松柳浓荫，屋舍错落间见邻里闲话的松弛意趣。\n\n淡墨轻敷晕染出水色天光，线条细腻灵动勾勒众生百态，将岁时里的烟火温热与雅致闲情尽数揉入长卷，把日常俗事绘成温柔的时代剪影，让百年前的俗世风物宛在眼前。",[23,24,7,27,114,61,73,4804,20407,9702,20408,2038,610,34,2228,20409,20410],"市肆","茶寮","烟火气","闲情雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F169b830ee82cd17c77c2038154101eb1.jpg",[],{"id":20414,"slug":20415,"title":20416,"dynasty":2618,"author":20417,"museum":227,"description":20418,"tags":20419,"thumbUrl":20420,"material":1050,"size":1051,"collection":217,"collections":20421,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},231663,"shan-shui-shi-yi-tu-juan-ge-chuan-guang-zhong-231663","山水诗意图卷","歌川広重","远景富士山隐在烟霭之中，淡墨晕开水天，浅赭岸渚衔着空蒙烟波，扁舟孤悬，漾开幽远空寂。近湾村落黛瓦层叠，苍松与秋红林木错落相偎，暖调砂岸揉入冷色烟水，将乡居温软与湖山清旷相融。\n\n整体用色清润柔和，以淡彩晕开暮烟朦胧氛围，简淡线条精准勾勒山水层次，把幽玄意趣藏在平远构图中。将秋郊湖村的安闲与远山清寂揉为一处，将寻常乡野晕作一阙淡远秋歌，静穆里漫着松弛悠然的秋意。",[23,154,16197,7,27,763,29,1298,35,138,3004,690,3874,34,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69334a00861007071920e53a54ebe83a.jpg",[],{"id":20423,"slug":20424,"title":20425,"dynasty":2618,"author":20426,"museum":227,"description":20427,"tags":20428,"thumbUrl":20429,"material":1050,"size":1051,"collection":217,"collections":20430,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,25,7,27,28,59,173,119,537,120,61,62,63,64,90,1009,29,116,196,34,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":20432,"slug":20433,"title":20434,"dynasty":250,"author":20435,"museum":227,"description":20436,"tags":20437,"thumbUrl":20438,"material":217,"size":217,"collection":217,"collections":20439,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},230149,"jiu-ri-xing-an-wen-yan-tu-ye-fang-lin-230149","九日行庵文宴图","叶芳林","这幅雅集图里，茂林修竹、丹木青柯错落铺展，园林雅致悠然。文士或围坐展卷品评，或挥毫泼墨，松下石边二三知己清谈对坐，侍童随侧研墨奉茶，众人情态各别、意态从容。\n\n设色清润秀雅，淡晕花青赭石晕染花木，衣纹线条简净流畅，将文人士大夫秋日宴聚、诗酒流连的闲逸高情细腻铺陈，把文宴间的闲散风雅尽数描摹，尽显旧时文人雅集的悠然意趣。",[23,24,25,154,7,27,28,61,34,1857,255,7292,7293,11601,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0249e53ec64a91f819c2127887290d53.jpg",[],{"id":20441,"slug":20442,"title":20443,"dynasty":54,"author":20444,"museum":227,"description":20445,"tags":20446,"thumbUrl":20449,"material":1050,"size":1051,"collection":217,"collections":20450,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},228348,"you-xian-tu-shen-xi-yuan-228348","游仙图","沈希远","山水宗马远，亦善传神。洪武（一三六八-二二九八）中写御容称旨，授中书舍人。",[23,24,25,7,27,28,118,29,61,34,117,63,64,116,692,20447,20448],"树木茂密","山石险峻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68de92a5cd889b76de35179cab49741b.jpg",[],{"id":20452,"slug":20453,"title":20454,"dynasty":133,"author":430,"museum":227,"description":20455,"tags":20456,"thumbUrl":20457,"material":1050,"size":1051,"collection":217,"collections":20458,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},228204,"huan-ji-tu-yi-ming-228204","宦迹图","此作用笔匀稳秀雅，墨色沉润妍丽，行书结体舒展俊逸，牵丝映带自然流畅，兼具帖学流美与端凝气度。整幅以长题辨伪析真，文思随笔墨流转，考据的严谨与书法的灵动相融无间。古朴装裱间朱印错落点缀，金石气晕染笔墨意趣，旧迹古雅质感尽显。将学术考辨的理性与翰墨创作的审美风韵合为一体，既是鉴藏考据的珍贵文献，亦是颇具审美价值的书法佳迹，尽显古卷雅致意蕴。",[23,24,25,7,120,119,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a18b15997a9a31f9d9c80679db188d4.jpg",[],{"id":20460,"slug":20461,"title":14241,"dynasty":133,"author":430,"museum":227,"description":20462,"tags":20463,"thumbUrl":20464,"material":217,"size":217,"collection":217,"collections":20465,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},228184,"yun-shan-tu-juan-yi-ming-228184","以水墨晕染铺就江南烟岚，山峦在氤氲雾气中远近层叠，淡墨轻扫出山形轮廓，虚实相生，将天地边界揉作一团朦胧。汀渚林木以浓墨点染，和淡远云山相映成趣，江面一叶江帆轻泛，寥寥数笔便牵起江南秋日的柔婉空濛。\n\n整卷诗画交融，墨色晕开如将秋夜湖山揽入卷中，山岚裹挟水汽漫过纸面，和题跋里的梦中游湖意境呼应，萧散简远的文人意趣尽藏其间。仿佛踏入一场水墨织就的清寂旧梦，伸手便可以触到湿润的山雾，将江南烟水的淡远之美，晕染成挥之不去的朦胧诗意。",[23,154,24,25,7,114,29,37,115,34,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189cb0b82f453db9f4924ab23b668e3a.jpg",[],{"id":20467,"slug":20468,"title":9296,"dynasty":133,"author":1206,"museum":227,"description":20469,"tags":20470,"thumbUrl":20471,"material":217,"size":217,"collection":217,"collections":20472,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},228172,"er-ma-tu-juan-ren-ren-fa-228172","此作以两马对照，道尽世相。肥马油光水滑，络首垂缰，姿态轩昂，全然是养尊处优之态；瘦马骨瘦嶙峋，绳索缠身，垂首缓步，尽显潦倒疲顿。\n\n作者以马喻世，将朝堂贪腐官吏与廉能寒官的境遇暗藏其中，辛辣讽刺吏治不公。后附题跋笔墨苍劲，点明画作托物言志的深意，工笔写实兼带写意讽喻，设色雅致克制，将状物抒情融为一体，是借物针砭时弊的经典笔墨。",[23,154,24,25,7,28,27,90,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8000c097545c3f6282e70f9b5caa8d.jpg",[],{"id":20474,"slug":20475,"title":20476,"dynasty":133,"author":20477,"museum":227,"description":20478,"tags":20479,"thumbUrl":20480,"material":217,"size":217,"collection":217,"collections":20481,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},228074,"lin-ji-jiu-zhang-deng-wen-yuan-228074","临急就章","邓文原","《章草急就章等》，是 28年出版的图书，作者是 。\n本书是历代法书真迹萃编系列之一。\n《章草急就章等(元·邓文原法书选)》是历代法书真迹萃编系列之一。\n出版社: 黄山书社; 第1版 (28年12月1日) 丛书名: 历代法书真迹萃编 平装: 2页 正文语种: 简体中文 开本: 8 ISBN: 978754611781, 754611786 条形码: 978754611781 尺寸: .2 2.4 .8 cm 重量: 181 g 邓文原（1258-128年），元代书法家。\n字善之，一字匪石，人称素履先生。\n绵州（今四川绵阳）人。\n年十五，通《春秋》。\n至元二十七年（129），辟为杭州路儒学正。\n至治二年（122），召为集贤直学士，兼 。\n泰定二年（125），召拜翰林侍讲学士。\n谱文肃。\n翰墨擅名一代，尤工于笔札，与赵孟俯齐名。\n其正、行、草书早期法二王，后法李北海（邕），章草亦颇具特色，与皇象、索靖的质朴相比，他更流利矫健，神采飞动。\n传世书迹有：《杖锡见过帖》、《与本斋札》、章草代表作《临急就章》等。\n着有《巴西文集》、《内制集》、《素履斋藁》等。\n邓文原《章草急就章》为纸本，纵2.厘米，横98.7厘米；《行书伯夷颂帖》为纸本，纵2.7厘米，横4.9厘米；《行书家书帖》为纸本，纵24.2厘米，横29.1厘米；《行书家书帖》为纸本，纵1.2厘米，横4.5厘米。\n以上作品均藏于北京故宫博物馆。\n书法，指有较高艺术水平的书法作品。\n古代将书写于缣楮纸帛而有法度的书法作品均称“法书”，或称“书”。\n《书法三味》：“作字之要，下笔须沉着，虽一点一画之间，皆须三过其笔，方为法书。\n”北宋王安石有“好事所传玩，空残法书帖”诗句。\n今通称所作之书法作品为法书，还含有尊重作者之意。",[23,119,60,7,1892,193,4040,1229,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa768e24b1772d5da23b0f42ad8116b23.jpg",[],{"id":20483,"slug":20484,"title":20485,"dynasty":18,"author":430,"museum":227,"description":20486,"tags":20487,"thumbUrl":20488,"material":217,"size":217,"collection":217,"collections":20489,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},227868,"li-gong-lin-kuan-zui-seng-tu-juan-yi-ming-227868","李公麟款醉僧图卷","此作用笔清劲秀逸，白描绘松阴下醉僧安坐，童子躬身侍弄，二仆携酒趋前，将怀素酣醉欲书的放旷神态暗蕴于简淡画面中，人物情态鲜活宛然。\n卷中题跋络绎，行书大字苍劲疏朗，长卷书法纵逸洒脱，与画作意趣呼应相合，全卷鉴印琳琅，书画合璧，尽显宋人的尚意风雅，笔墨间流转着颠僧醉后挥毫的疏狂意气，把禅意与文人情致融为一体，尽显古雅悠然的旧时艺坛意趣。",[23,154,24,25,7,174,114,61,34,338,922,623,18130,119,120,664,193,2119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683a9ddc056efb94f95ef1ed88605b69.jpg",[],{"id":20491,"slug":20492,"title":20493,"dynasty":18,"author":1682,"museum":227,"description":20494,"tags":20495,"thumbUrl":20499,"material":217,"size":217,"collection":217,"collections":20500,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},227828,"shi-jing-bin-feng-tu-juan-ma-yuan-227828","诗经豳风图卷","此卷以清雅小楷书就诗篇，笔力清劲秀逸，结体舒展端雅，墨色匀净温润，尽显宋人书法的雅致意趣。原作诗画合璧，将《豳风》里的时序农桑、岁时日常铺陈于卷上，把周人春耕秋收、寒来暑往的稼穑生涯融于笔底。\n诗与画交相辉映，笔墨间既有文人书卷的清雅气韵，又带着乡野农耕的朴拙意致，将古老诗篇中的田园图景鲜活呈现，让千载之前的风土日常跃然绢素，尽显宋代文人的审美意涵，是诗书画合一的经典佳构。",[23,24,25,7,120,193,119,114,27,61,195,486,11674,3034,174,29,20496,20497,20498,3196,140,28,272],"农事场景","传统服饰","古文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932ea9b37676bb120402ac80c3f96d65.jpg",[],{"id":20502,"slug":20503,"title":20504,"dynasty":168,"author":20505,"museum":227,"description":20506,"tags":20507,"thumbUrl":20508,"material":217,"size":217,"collection":217,"collections":20509,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},227091,"xiao-zi-fa-hua-jing-juan-shang-bu-li-yuan-hui-227091","小字法华经卷上部","李元惠","本卷乃唐人李元惠于延载元年（西元694年）所抄写之经卷，内容为活跃于魏晋南北朝时代的僧人兼佛典翻译家、鸠摩罗什（344-413）译于后秦弘始八年（西元406年）的《法华经》。李元惠是长安人，但具体的生平事迹并不清楚。\n\n本卷是由麻纤维抄造而成的麻纸三十九张连接而成，每纸施以淡墨行界五十六行，每行作三十二字，将一部七卷的《法华经》写成一长卷，全长逾二十公尺。书写之文字是略呈扁平状的蝇头小楷，字迹精细而谨慎，但随着抄写卷数的增加，用笔转趋迅速，字体亦略显放逸。本卷之书写年代可确定为唐代，而以蝇头小字将一部《法华经》全部抄写于一卷中的做法，也十分珍贵。\n\n本卷的拨形（弹奏琵琶的拨子）轴头上镶有碧玉，而用以收纳本卷的经筒则以一段分裁两半、刳空木心的沉香木制成。本卷长久以来一直收藏于法隆寺，相传是圣德太子生前所有物，并俗称为“御同朋经”。根据传闻，圣德太子乃中国高僧慧思禅师转世降生，本经典乃太子派人渡唐取回，为其前世于中国修行时之寺院道友（即“同朋”所指）使用的经书，故云。",[23,119,540,7,537,173,1973,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7bf78e50c50364d376832c3ce6eb677.jpg",[],{"id":20511,"slug":20512,"title":20513,"dynasty":2618,"author":430,"museum":1242,"description":20514,"tags":20515,"thumbUrl":20518,"material":1050,"size":1051,"collection":217,"collections":20519,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},226511,"xie-jing-p-4501-fu-ding-zun-sheng-tuo-luo-ni-jing-juan-yi-yi-ming-226511","写经P.4501佛顶尊胜陀罗尼经卷一","佛顶尊胜陀罗尼，尊胜佛顶尊之陀罗尼也。帝释天，悯善住天子有从今受七度畜生恶道身之业因，诣祇园精舍请佛救济之法，佛为说此陀罗尼，令诵之。尊胜陀罗尼经曰：“告帝释言：天帝有陀罗尼名为如来佛顶尊胜，能净一切恶道，能净除一切生死苦恼。（中略）佛告天帝：此佛顶尊胜陀罗尼，若有人闻一经于耳，先世所造一切地狱恶业皆悉消灭。”",[119,540,173,3196,7,20516,20517,537],"古籍","手写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb934fc0031f87f7f2495d22609071206.jpg",[],{"id":20521,"slug":20522,"title":5041,"dynasty":250,"author":18801,"museum":227,"description":20523,"tags":20524,"thumbUrl":20525,"material":1050,"size":1051,"collection":217,"collections":20526,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},224288,"qian-zi-wen-fu-shan-224288","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[23,119,1892,7,25,626,193,1973,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa914d3fbe1a9706062a7d66ca91061e6.jpg",[],{"id":20528,"slug":20529,"title":20530,"dynasty":250,"author":17186,"museum":227,"description":20531,"tags":20532,"thumbUrl":20533,"material":217,"size":217,"collection":217,"collections":20534,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},224159,"dong-fang-shuo-hua-zan-wu-xi-zai-224159","东方朔画赞","此作用笔雄畅恣肆，苍劲老辣，线条提按转合间尽显潇洒意气。通篇布局疏密有致，字势欹正相生，既有帖学灵动秀雅的意趣，又融北碑雄浑厚重的骨力。\n\n笔力沉实，墨色润燥相间，枯笔处筋骨棱棱，尽现劲挺姿态；润笔时腴润饱满，暗含温婉韵致。书家将文辞高世狂狷之风寄寓于挥毫运墨之间，通篇气韵连贯酣畅，文墨互映，尽显深厚功底与恣意文人意气。",[23,119,120,7,4081,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe071817abe145a54b40346226799491c.jpg",[],{"id":20536,"slug":20537,"title":20538,"dynasty":250,"author":13241,"museum":380,"description":20539,"tags":20540,"thumbUrl":20542,"material":442,"size":20543,"collection":1013,"collections":20544,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":2653},224120,"ni-jin-shu-si-de-xu-lun-qian-long-224120","泥金书四得绪论","此卷为乾隆帝在泥金纸上书写的手卷，长卷在章法布局上疏朗大气，落落大方，气韵贯通，字体端壮秀丽，运笔上讲究迟送涩进之法，弥补了泥金书在书写时迟滞的缺点。",[23,20541,119,537,7,193],"泥金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77247b88eb1097cbe6c5b29bbacd118.jpg","35.7x502.2cm",[1013],{"id":20546,"slug":20547,"title":20548,"dynasty":18,"author":430,"museum":227,"description":20549,"tags":20550,"thumbUrl":20551,"material":217,"size":217,"collection":217,"collections":20552,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":185},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[23,24,25,7,174,114,118,173,61,29,1857,1298,468,419,610,63,64,90,196,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":20554,"slug":20555,"title":20556,"dynasty":18,"author":430,"museum":380,"description":20557,"tags":20558,"thumbUrl":20559,"material":140,"size":20560,"collection":217,"collections":20561,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},223573,"ran-deng-fu-shou-ji-shi-jia-wen-tu-juan-yi-ming-223573","燃灯佛授记释迦文图卷","燃灯佛授记释迦文图描绘的是燃灯佛授记释迦文的故事。燃灯佛身披红色袈裟居画幅中央，目视前面一着红裤、祼上身、长发拖地虔诚的跃然拜者。众菩萨、金刚、罗汉、送子观音及供养人计二十八人簇拥其周围，神情贯注。此图人物依主次设计大小，造型准确生动。线描婉转自如，极富节奏感，并施石绿朱砂等重彩，格调肃穆古朴",[23,24,25,7,173,61,28,27,193,119,540,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96bfee1f0b0b6bf616743eeab01ae44.jpg","26.2x38.2",[],{"id":20563,"slug":20564,"title":20565,"dynasty":250,"author":4830,"museum":2658,"description":6815,"tags":20566,"thumbUrl":20567,"material":1411,"size":6822,"collection":217,"collections":20568,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},223315,"fa-jie-yuan-liu-tu-juan-9-ding-guan-peng-223315","法界源流图卷-9",[23,7,24,28,27,173,61,7958,2803,9619,29,254,255,196,6219,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddbcbc20c8caa936bf7c1992dcad6c5.jpg",[],{"id":20570,"slug":20571,"title":20572,"dynasty":250,"author":4830,"museum":2658,"description":6815,"tags":20573,"thumbUrl":20577,"material":1411,"size":6822,"collection":217,"collections":20578,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},223311,"fa-jie-yuan-liu-tu-juan-5-ding-guan-peng-223311","法界源流图卷-5",[23,28,27,7,173,174,61,5612,175,34,64,2213,20574,2803,7958,20575,610,1613,20576,117],"佛造像","护法神","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1ab9da00eefabea7e3c33830c3033f.jpg",[],{"id":20580,"slug":20581,"title":20582,"dynasty":250,"author":20435,"museum":568,"description":20583,"tags":20584,"thumbUrl":20586,"material":40,"size":20587,"collection":217,"collections":20588,"showCount":669,"zanCount":1106,"manualWeight":48,"mainColor":128},223278,"jiu-ri-xing-an-wen-yan-tu-ye-fang-lin-223278","九日行庵文燕图","图绘马氏兄弟在行庵会友雅集的情景。行庵在扬州天宁寺西隅，由马曰琯、马曰璐兄弟出资购买，画中的马氏兄弟及其他众人肖像神态各具，生动传神。字震初，工写照，清代画家。",[23,24,27,28,7,61,34,275,255,7292,7293,69,213,20585],"文人聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d6478ad0ffff033a22b32c4f9f801c.jpg","31.7＊201cm",[],{"id":20590,"slug":20591,"title":20592,"dynasty":54,"author":110,"museum":380,"description":20593,"tags":20594,"thumbUrl":20595,"material":20596,"size":20597,"collection":217,"collections":20598,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},222606,"qian-ren-shi-ye-you-shi-juan-shen-zhou-222606","千人石夜游诗卷","此卷系沈周画千人石夜游图卷尾沈石田与杨循吉写诗相和而书写录入的诗文。展现了沈周诗书画三绝的吴门才子本色。 沈周的书法起步于家传，初学赵孟頫；四十岁左右起，泛学诸家，而对宋四家用力最勤；至晚年更倾心学黄庭坚。喜用狼毫挥书，线条锋利铦锐，结构跌宕开阖，中宫收紧而四维开张，所谓“长撇大捺”，遒劲奇崛，也是明代的书法名家。",[23,120,119,7,114,193,921,404,29,922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35860016e1c8c78552c7fadc8481f4c.jpg","长卷，纸本，墨书","纵30.1厘米，横420厘米",[],{"id":20600,"slug":20601,"title":20167,"dynasty":54,"author":7606,"museum":1934,"description":20602,"tags":20603,"thumbUrl":20604,"material":20605,"size":20606,"collection":217,"collections":20607,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},222316,"zi-shu-you-bao-shan-shi-shou-juan-wang-chong-222316","卷前钤有“且喜斋书画印”朱文长方印一枚。此书作于嘉靖三年甲申（1524年），时年王宠整三十岁。此时，他的书法尚处于兼采众长、变化融通的阶段，用笔尖锐果猛，线条圆润遒劲，字体大多欹侧且较后期书作为长。",[23,119,120,7,25,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca7c4ddd9ab15661853407e5710232b.jpg","砑花笺","横382厘米，纵29厘米",[],{"id":20609,"slug":20610,"title":20611,"dynasty":133,"author":12591,"museum":380,"description":20612,"tags":20613,"thumbUrl":20614,"material":20615,"size":20616,"collection":217,"collections":20617,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},221845,"zhu-xi-cao-tang-ji-ti-juan-yang-wei-zhen-221845","竹西草堂记题卷","主要内容是以二三子争辩引出“竹西”之号的来历，抒发其对隐逸之士的推崇。书法清虚灵动，隽逸潇洒，与其晚年豪迈不羁的风格大相异趣。",[23,154,24,25,7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F068fc65dfbf8bd77079c5f4423984e87.jpg","纸本，墨迹","27.5×169.1cm",[],{"id":20619,"slug":20620,"title":12333,"dynasty":133,"author":4953,"museum":227,"description":20621,"tags":20622,"thumbUrl":20623,"material":9446,"size":20624,"collection":217,"collections":20625,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},221718,"shi-liu-luo-han-tu-juan-yan-hui-221718","在画法上，能作细致的工笔描绘，但大多喜作水墨粗笔，用笔劲健豪放。笔法粗犷，有梁楷遗法，以水墨画居多。颜辉的作品流传日本较多，对日本室町时代的绘画有较大影响。亦工山水，得北宋李成、郭熙法。所作人物，造型奇特，性格突出。笔法粗厚，钩勒粗细咸宜，起伏有致，渲染精到，以水墨烘晕，使画面衬托出阴暗凹凸，富立体感，有“笔法奇绝，八面生意”之称，这是一种前无古人之创新画法，柳贯赞之为“收揽奇怪一笔摸”，与梁楷、法常一脉相承。所画铁拐李目光咄咄逼人，形貌粗陋却一身正气，反映出仇视当权者之强烈情绪。亦善画猿，曾作《百猿图》，时人戴良释解其画意为褒扬“猿之仁也”。",[23,154,24,25,7,173,27,61,275,254,298,4337,1009,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddac756f2f89593d787704e92b86bde9.jpg","25x256",[],{"id":20627,"slug":20628,"title":20629,"dynasty":18,"author":20630,"museum":20,"description":20631,"tags":20632,"thumbUrl":20633,"material":40,"size":20634,"collection":217,"collections":20635,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},221683,"kong-dong-wen-dao-tu-quan-juan-yang-shi-chang-221683","崆峒问道图全卷","杨世昌","绘轩辕黄帝访仙人广成子于陕西崆峒山，询问治身成仙术之传奇故事。画中一石榻铺兽皮，一长髯仙人斜坐榻上睨目倾听，右下跪一朱衣王者，执笏陈辞，诚恳严肃。杨世昌，金代道士，善画人物、山水。",[23,24,25,7,114,120,537,119,115,764,193,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a0cfaddf2cb41c45042705e95729b8a.jpg","纵28.2厘米，横49.5厘米",[],{"id":20637,"slug":20638,"title":20639,"dynasty":168,"author":430,"museum":227,"description":20640,"tags":20641,"thumbUrl":20642,"material":217,"size":217,"collection":543,"collections":20643,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":128},221125,"can-pian-yi-ming-221125","残篇","这卷残本行书抄录唐人题咏，纸面虽经岁月侵蚀，斑驳剥落，墨色却依旧清润秀雅。笔意舒展灵动，结体宽和舒展，带着唐代民间行书独有的随性腴润。诗文排布错落有序，日常抄写的松弛质感，融着唐人特有的风雅意趣。残损的纸痕如时光镌刻的印记，让千年笔墨的温度与岁月沉郁交织，既留存了唐音诗韵的文献价值，也尽显唐代民间书法的审美意趣，是跨越时光的风雅遗珍。",[23,119,7,537,120,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0187b7e9d07e357884451acccd4e421a.jpg",[543],{"id":20645,"slug":20646,"title":20647,"dynasty":250,"author":11155,"museum":8087,"description":20648,"tags":20649,"thumbUrl":20650,"material":11159,"size":20651,"collection":217,"collections":20652,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":217},220729,"xun-qin-tu-6-huang-xiang-jian-220729","寻亲图6","这卷行书题跋笔致清劲秀雅，结体舒展灵动，墨色匀净温润，自带隽逸书卷气。\n\n诸家题诗唱和感佩，将西南关山万重中寻亲的孤绝赤诚凝于笔端。山海阻绝，乱世行路难的艰危，与孝子不改其志的笃诚，都被文人们诉诸笔墨，把敬慕叹惋熔铸在尺素之间。笔墨与文辞相合，让书法的审美意趣与孝德的人文内核相映生辉，成为寄寓深情的纸上碑铭。",[24,25,7,120,193,27,61,29,654,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01816beb46ac3981337d2150a276a7e5.jpg","31.5 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第七卷绢本","法眼圆伊","这幅绘卷诗画合璧，河川乡野铺展为鲜活舞台，左侧楼阁雅集、河滨行旅络绎，右侧町外农舍间，田垄劳作、涉水救难的日常图景一一铺陈，尽显俗世百态。\n\n古雅沉郁的绢本底色上，朴拙生动的线条勾勒出鲜活的世相烟火气，中段的和歌文书串联起浮生情爱与幽微思绪，将市井悲欢、乡野闲情与文学意趣交织，让画面叙事与文字共情融为一体，带着旧物的岁月温度，静静诉说着中古日常的细腻况味。",[23,140,7,27,28,61,29,31,36,69,90,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726c0e520b1bd318e1fa83179658cdaf.jpg",[],{"id":20901,"slug":20902,"title":20903,"dynasty":54,"author":7586,"museum":227,"description":20904,"tags":20905,"thumbUrl":20906,"material":7862,"size":20907,"collection":217,"collections":20908,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","蓝瑛（1585-1664），字田叔，号蜨叟，又号东郭老农，晚号石头陀、山公、万篆阿主者、西湖研民，钱塘（今浙江杭州）人，所居榜额曰：“城曲茅堂”。工书擅画，长于山水、花鸟、梅竹，尤以山水著名。其山水初从黄公望入门，遍摹元代诸家笔法，后上窥晋、唐、两宋，俱得古人精蕴。中年自立门庭，涉猎既多，眼界宏远，故落笔纵横奇古。晚年渐趋苍劲疏宕，气象崚嶒，虽力追古法，但能融会贯通，自成风范。其绘画对明末清初绘画影响甚远，被后人称为“武林派”，画史亦称之为“后浙派”。\n此图为蓝瑛先生摹黄公望《晴岚暖翠》所作，上绘峰峦迭翠，银链飞瀑，峭石嵯峨，云雾弥漫。中绘水榭楼台，依山傍水，苍浑郁茂，清泉蜿流，临窗对语，悠然其间。下绘湖水空明，临渚茅亭，古木苍郁，清趣秀逸。纵观此幅，构图奇伟，落笔纵横，顿挫有致。其境高雅飘逸，其意苍劲疏秀。宋元文人之风，悠然可见其中。亦见其运笔得大痴神韵，勾勒浅绛，又参自法，清简秀润，乃为田叔之佳构也。\n一峰老人即元代画家黄公望。黄公望（1269-1354），元代画家。本姓陆，名坚，江浙行省常熟县人。后过继永嘉府（今浙江温州市）平阳县（今划归苍南县）黄氏为子，居虞山（今宜山）小山，因改姓黄，名公望，字子久，号一峰、大痴道人。中年当过中台察院椽吏，后皈依全真教，在江浙一带卖卜。擅画山水，师法董源、巨然，兼修李成法，得赵孟頫指授。所作水墨画笔力老到，简淡深厚。又于水墨之上略施淡赭，世称“浅绛山水”。晚年以草籀笔意入画，气韵雄秀苍茫，与吴镇、倪瓒、王蒙合称“元四家”。擅书能诗，撰有《写山水诀》，为山水画创作经验之谈。存世作品有《富春山居图》、《九峰雪霁图》、《丹崖玉树图》《天池石壁图》等。",[23,24,25,7,29,27,118,28,30,117,34,37,4003,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","161×42.9cm",[],{"id":20910,"slug":20911,"title":20912,"dynasty":250,"author":8148,"museum":227,"description":20913,"tags":20914,"thumbUrl":20915,"material":217,"size":217,"collection":217,"collections":20916,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},230962,"jie-jiao-tu-dong-bang-da-230962","解角图","此作以长卷铺展平远寒林之境，左处危崖飞泉，枯木虬曲苍劲，麋鹿或俯饮或闲游，野意悠然。中段洲渚错落，寒林与苍松交错排布，留白晕染烟波浩渺，空濛清寂。\n\n全作用色浅淡秀润，山石皴法简净雅致，林木勾勒细致入微，既得元人山水萧散简远之致，又暗含庙堂文雅气韵。将冬日郊野的清旷萧寒，与鹿群自在恬和之态相融，静穆淡远的林下雅趣跃然绢素，是兼具院体工稳与文人意韵的佳构。",[23,24,25,7,27,118,28,29,1123,1298,6219,117,31,4528,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d17b32f4f9101d80e94726c757afe45.jpg",[],{"id":20918,"slug":20919,"title":20920,"dynasty":250,"author":348,"museum":227,"description":20921,"tags":20922,"thumbUrl":20923,"material":217,"size":217,"collection":217,"collections":20924,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},230888,"hua-hui-tu-huang-shen-230888","花卉图","此作以书入画，笔墨淋漓放旷。起首牡丹以淡墨晕瓣、浓墨点苔，脱尽艳俗，尽显清妍雍容。转而绘荷与水仙，老辣纵逸的笔法勾花叶枯荣俯仰，以枯湿浓淡尽显花木生姿，删繁就简，形神兼得。\n\n通卷穿插狂草题诗，书法与绘事相融无间，笔势奇崛跌宕，笔墨风神互通，将诗书画印合一的文人意趣尽致挥洒，一扫拘谨匠气。纵横挥洒间，花木清雅与狂放文心浑然一体，处处皆是超逸不羁的意气，尽显疏野纵宕的大写意气度，把文人画的洒脱风骨寄寓于一花一叶之中。",[23,24,25,7,114,120,1892,119,193,209,277,278,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff735c9e73f19409ab108e9dd0254b44d.jpg",[],{"id":20926,"slug":20927,"title":20928,"dynasty":2618,"author":430,"museum":227,"description":20929,"tags":20930,"thumbUrl":20931,"material":1050,"size":1051,"collection":217,"collections":20932,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},230550,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-2-yi-ming-230550","明清古画动物山水粉本图卷-2","以淡设色铺陈林泉雅境，枯梅虬枝缀着寒花，古拙清癯。坡石间流泉蜿蜒，晕染出空山幽寂的氛围。两位高士策杖缓行，衣袂轻扬，神态悠然，似正寻幽揽胜。\n笔墨清劲秀逸，山石以淡墨皴擦，晕出空濛温润的山林气韵，草木敷色清雅，粉白梅花点活了冬末春初的清灵意趣。将林下高致融于山水小景，淡而有味，简中见雅，尽显文人寄情林泉、避世寻幽的隐逸意趣。",[23,24,7,27,114,28,118,29,61,1926,117,34,275,420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c4df883e88673fe6cdff89b7a09a8c.jpg",[],{"id":20934,"slug":20935,"title":20936,"dynasty":54,"author":430,"museum":227,"description":20937,"tags":20938,"thumbUrl":20939,"material":217,"size":217,"collection":217,"collections":20940,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":49},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",[23,24,7,27,28,59,61,62,34,2408,117,70,196,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729837735001f587a250ddbc621c9924.jpg",[],{"id":20942,"slug":20943,"title":20944,"dynasty":133,"author":430,"museum":151,"description":20945,"tags":20946,"thumbUrl":20947,"material":470,"size":217,"collection":217,"collections":20948,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":49},228199,"si-xiao-tu-juan-yi-ming-228199","四孝图卷","《四孝圖》描繪故事四則，以圖文相間的方式表達。第一則述王武子之妻割股作羹湯，治癒婆母寒疾；第二則述三國陸績因其母好食橘，乃於進謁袁術席間，懷橘以奉母；第三則述晉王祥為母病中思食鯉魚於冬月，而至江上卧冰求鯉；第四則述後漢曹娥之父溺斃江中不得屍靈，至娥投江，三日後方抱父屍出。是皆孝心感人之事蹟，卷末並附李居敬四孝圖序，論孝之精義。通幅人物，以勻稱之線條為主，細挺而有力。",[23,24,25,7,28,27,119,193,61,34,117,483,69,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43a9f92db263f1582800ca70cba44fa.jpg",[],{"id":20950,"slug":20951,"title":12134,"dynasty":18,"author":4507,"museum":227,"description":20952,"tags":20953,"thumbUrl":20954,"material":217,"size":217,"collection":217,"collections":20955,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},228169,"xi-cheng-tu-juan-qiao-zhong-chang-228169","这擘窠大字笔力雄强苍劲，中锋行笔尽显厚重质感，墨色枯润互见，焦墨的沉凝与飞白的疏朗交织，尽显老辣朴拙的笔意。“西”字端稳周正，收束内敛，“成”字欹侧跌宕，肆意开张，一动一静间暗合尚意的书法风神。\n\n将秋收的沉实喜悦寄于笔墨，寥寥两字气象浑穆，把丰年的安稳厚重藏于笔锋起落之间，尽显功底与文人笔下的质朴意趣。",[154,24,25,7,120,119,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c7089484860a26da93e367d54fd451.jpg",[],{"id":20957,"slug":20958,"title":20959,"dynasty":18,"author":430,"museum":151,"description":20960,"tags":20961,"thumbUrl":20962,"material":470,"size":217,"collection":217,"collections":20963,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":49},227915,"jing-bian-tu-yi-ming-227915","经变图","经变画是用画像来解释某部佛经的思想内容。经变画，即经变，亦称变或变相，佛画种类之一，广言之，凡依据佛经绘制之画，皆可称为“变”。敦煌经变画则通常指将某一部甚至某几部有关佛经之主要内容组织成首尾完整、主次分明的大画。敦煌经变内容丰富，形式多样，除了佛经内容外，大量的社会生活内容在经变画中得到生动的体现。许多经变画技巧高超，堪称艺术珍品。\n经变在南朝时即已出现，据唐张彦远《历代名画记》，南朝宋袁倩画有“维摩诘变”，梁时儒童画有“宝积经变”。莫高窟有经变三十三种，持续时间长的有西方净土变、东方药师变、弥勒经变、法华经变、维摩诘经变，数量最多的是东方药师变",[23,24,25,7,173,59,27,61,62,63,196,511,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eabb8213f047d2339b24ab44d915d50.jpg",[],{"id":20965,"slug":20966,"title":20967,"dynasty":18,"author":4972,"museum":227,"description":20968,"tags":20969,"thumbUrl":20970,"material":217,"size":217,"collection":217,"collections":20971,"showCount":724,"zanCount":1106,"manualWeight":48,"mainColor":128},227709,"xie-shen-lao-jun-bie-hao-shi-shi-tu-juan-wang-li-yong-227709","写神老君别号事实图卷","《寫神老君別號事實圖》相傳爲南宋王利用所作，現藏於美國納爾遜美術館。絹本，設色。 南宋進士王利用，字賓王，今四川綿陽人，善於畫山水人物，其書法也是一絕，宋高宗尤其喜歡其書法，愛屋及烏自然也對其畫作頗爲讚賞，但就後人評述，其畫作藝術價值略遜於書法。\n\n王利用入仕之後，成爲了一名宮廷畫師，其畫作多爲宋代院體畫，其中最具代表的就是這幅《寫神老君別號事實圖》。\n\n作爲中國傳統宗教，道教的文化頗爲深入人心，尤其是在宋代這樣一個文化大發展的時代，道教的發展也到達了巔峯。關於道教創始人老子的傳說也非常繁多，本作就講述了老子的前世今生。以三皇時代開始，上三皇時爲玄中法師，下三皇時爲金闕帝君……直到周文王時文邑先生爲止，共10個別稱。",[23,24,25,7,28,27,61,173,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5de22a118e47aaca2e25a2be1379de.jpg",[],{"id":20973,"slug":20974,"title":20975,"dynasty":18,"author":861,"museum":227,"description":20976,"tags":20977,"thumbUrl":20978,"material":217,"size":217,"collection":217,"collections":20979,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":49},227502,"xin-sui-zhan-qing-ren-lai-de-shu-tie-he-juan-su-shi-227502","新岁展庆.人来得书帖合卷","《新岁展庆、人来得书帖》合卷，北宋，苏轼书，纸本，行书，前帖纵30.2厘米，横48.8厘米，后帖纵29.5厘米，横45.1厘米。\n《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[23,119,120,7,193,1229,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233edbd97200e5b0efe464964aa1c7a3.jpg",[],{"id":20981,"slug":20982,"title":20983,"dynasty":18,"author":19399,"museum":227,"description":19400,"tags":20984,"thumbUrl":20985,"material":1050,"size":1051,"collection":217,"collections":20986,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},225292,"jin-gang-bo-re-jing-kai-ti-can-juan-hong-fa-da-shi-kong-hai-225292","金刚般若経开题残巻",[23,25,7,119,540,120,1602,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f5c9eb7296272356e65989911badcc.jpg",[],{"id":20988,"slug":20989,"title":20990,"dynasty":250,"author":7393,"museum":227,"description":20991,"tags":20992,"thumbUrl":20993,"material":217,"size":217,"collection":217,"collections":20994,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},224568,"yang-liu-mu-gui-tu-xiao-chen-224568","杨柳暮归图","淡墨晕染开朦胧远山，烟霭裹挟着晚春暖意漫过江岸。近岸老柳虬枝舒展，嫩叶青翠点染其间，苍柔兼具，生机暗蕴。板桥之上，耕牛驮着暮色缓步而归，村舍隐在烟树间，晕出恬然的乡野烟火气。\n画师以秀雅笔触勾勒物态，淡彩轻敷晕出水墨交融的空濛氛围，将暮归的悠然诗意藏在烟霭晕染里，题跋与画作相映，更添文人意趣。整幅画定格江南春暮的松弛恬静，铺展出中式文人眷恋的田园闲澹之美，将晚归的温柔烟火揉进湿润暮色里，叫人沉醉在这份乡野安宁中。",[23,24,25,7,27,29,230,63,91,119,193,28,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda02a8cf79f03f01ab82707564b4930.jpg",[],{"id":20996,"slug":20997,"title":17099,"dynasty":250,"author":12470,"museum":227,"description":20998,"tags":20999,"thumbUrl":21000,"material":217,"size":217,"collection":217,"collections":21001,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},224386,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-224386","此作为娄东派仿古山水精品，师法黄子久笔意，以长卷铺展丘壑，山峦层叠萦回，林舍洲渚错落排布，兼具深远、平远之致，尽显江南山水的萧散淡远。\n用笔以干笔枯墨反复皴擦，间以淡墨晕染，笔墨苍浑厚润，元气内蕴，既恪守子久浅绛山水的简淡天真，又融入自身沉郁苍秀的笔法。画家经年经营此卷，于简淡中藏深秀，朴拙内含妍密，草木华滋，气象浑穆，尽显清初正统山水画追摹元人、讲求笔墨理气的创作旨趣，将黄公望平淡萧散的山水意韵，化为自身苍厚浑沦的笔墨境界。",[23,24,25,7,114,118,29,405,34,35,116,420,63,468,38,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff59f30a03d2837ac808debeb392d61.jpg",[],{"id":21003,"slug":21004,"title":21005,"dynasty":168,"author":430,"museum":227,"description":21006,"tags":21007,"thumbUrl":21008,"material":217,"size":217,"collection":217,"collections":21009,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},223599,"jie-shi-diao-you-lan-yi-ming-223599","碣石调•幽兰","这是存世最古的琴曲谱本，以工整秀雅的小楷誊录，通篇排满细密的减字谱。泛黄纸页晕开淡旧墨色，岁月痕迹爬满卷端，却未曾湮没笔底沉静温雅的唐人书法气度。\n\n笔锋凝练端稳，将古曲韵律藏在笔墨方寸间，它既是精妙的书法小品，更是承载千年雅乐的珍贵遗存，让后人得以触摸中古琴音的风雅脉络，墨色虽有晕散斑驳，却依旧清晰留存着千年前的琴音密码，尽显古卷的厚重底蕴。",[23,119,537,7,540,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3389e51e1f3889b30701c9ff2a3005fa.jpg",[],{"id":21011,"slug":21012,"title":21013,"dynasty":18,"author":430,"museum":227,"description":21014,"tags":21015,"thumbUrl":21016,"material":442,"size":217,"collection":543,"collections":21017,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},223371,"lan-ting-ba-zhu-di-er-mi-ti-shi-ben-yi-ming-223371","兰亭八柱第二米题诗本","《米芾诗题本》旧传为唐代褚遂良所摹，因卷前项元汴标题“褚摹王羲之兰亭帖”而被简称为“褚摹兰亭”，但这种说法未必正确。有人认为该卷是北宋摹本。清代卞永誉在题跋中肯定此卷是临本而非摹本，但仍认为出自褚遂良手笔。",[23,25,7,120,193,119,60],"https:\u002F\u002Foss.chuangq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[1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,24,25,7,28,27,173,61,1009,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33462f506791dea193935fc09761881f.jpg","26.5x70.9",[],{"id":21028,"slug":21029,"title":21030,"dynasty":250,"author":4830,"museum":2658,"description":6815,"tags":21031,"thumbUrl":21033,"material":1411,"size":6822,"collection":217,"collections":21034,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},223307,"fa-jie-yuan-liu-tu-juan-12-ding-guan-peng-223307","法界源流图卷-12",[23,24,7,27,28,173,61,175,193,119,1613,21032,156,1060],"宝幢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83a4c1cdf24d4bae36e8d4954c5d790.jpg",[],{"id":21036,"slug":21037,"title":21038,"dynasty":54,"author":7606,"museum":227,"description":7608,"tags":21039,"thumbUrl":21040,"material":217,"size":217,"collection":217,"collections":21041,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},222317,"li-tai-bai-shi-juan-wang-chong-222317","李太白诗卷",[23,119,7,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64a35eca0b0bf3d85fc8155527e42dc.jpg",[],{"id":21043,"slug":21044,"title":21045,"dynasty":54,"author":495,"museum":227,"description":21046,"tags":21047,"thumbUrl":21048,"material":2109,"size":11628,"collection":217,"collections":21049,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":49},222005,"li-chun-jin-he-tie-you-ming-zi-zuo-shi-juan-wen-zheng-ming-222005","立春进贺贴又名自作诗卷","释文：\n立春进贺。\n王殿千官拜冕旒，紫衣京兆在前头。四时盛德初临木，先日严寒已送牛。气转苍龙当法驾，风回明庶动宸游。圣王和令思行庆，次第颁恩下九州。恭候大驾还自南郊。圣主回銮肃百灵，紫云团盖翼苍精。属车剑履星辰丽，先驾旂常日月明。十里春风传警跸，万方和气协韶韺。白头欣睹朝元盛，愿续思文颂太平。\n元旦朝贺。\n仙音缥缈协和鸾，天上春回白玉栏。日出鸡人徐唱卯，雪消风伯为驱寒。万方玉帛看王会，一岁仪文重履端。满日升平题不得，白头惭愧直金銮。内直有感。天上楼台白玉堂，白头来作秘书郎。退朝每傍花枝入，■直遥闻刻漏长。铃索萧闲青琐静，词头烂熳紫泥香。野人不识瀛洲乐，清梦依然在故乡。\n款识：徵明。",[23,7,1229,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e40eadee9a0e5078b69cea7f950dff.jpg",[],{"id":21051,"slug":21052,"title":21053,"dynasty":18,"author":21054,"museum":20,"description":21055,"tags":21056,"thumbUrl":21057,"material":824,"size":21058,"collection":44,"collections":21059,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},221497,"mu-niu-tu-juan-mao-yi-221497","牧牛图卷","毛益","牧牛图卷描绘烟柳平丘、牧童牧牛之生动情景，造型准确，用笔简率，款署“毛益画”三字，似为后添款。",[23,4315,24,25,7,114,28,119,91,61,29,34,6599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc508d5f86d0d8ce62bf271bbf921ecf.jpg","纵26.2厘米 横73厘米",[44],{"id":21061,"slug":21062,"title":21063,"dynasty":18,"author":2005,"museum":380,"description":21064,"tags":21065,"thumbUrl":21066,"material":40,"size":21067,"collection":217,"collections":21068,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":49},221454,"lu-song-san-pian-ma-he-zhi-221454","鲁颂三篇","《鲁颂三篇》分别为《閟宫》、《駉》和《有駜》，缺少《鲁颂》中的第四篇《泮水》，《駉》中呈现出在青山绿水中众多马匹；《有駜》描绘的是鲁公和群臣宴会饮酒的场景；《閟宫》描绘鲁公建成宏伟庙宇的壮观景像。旧传赵构书，马和之画。",[23,154,24,25,7,174,59,61,62,90,1009,29,34,116,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c93d532e107749e9c2ec1d277d48845.jpg","25.5X297.3cm",[],{"id":21070,"slug":21071,"title":21072,"dynasty":133,"author":21073,"museum":8087,"description":21074,"tags":21075,"thumbUrl":21076,"material":9358,"size":21077,"collection":217,"collections":21078,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":217},220659,"wu-lin-sheng-ji-bai-ting-220659","武林胜集","白珽","《武林胜集》诗卷为元人白珽、张楧、邓文原、有在、仇远、张坰、鲜于枢、俞伯奇等于至元二十四年（1287）十二月二日杭州雅聚时之作，兼有诗歌与书法之妙。据卷前白珽序文所记，是日适逢大雪，众人借此而聚，拆北宋盛次仲「飞入园林总是春」句为韵，各赋五言诗。除张坰外，共得七首而录，遂有此卷。其引首有明人篆书「武林胜集」四字，「武林」旧指杭州。是篇序文及诸人诗作，于清人鲍廷博、鲍士恭父子所刊刻的白珽《湛渊遗稿》中有辑录，却将「武林胜集」误作「武陵胜集」。\n\n白珽，字廷玉，号湛渊；仇远，字仁近，号山村。二人由宋入元后长隐不仕，又因同籍钱塘（今浙江杭州），并以诗文闻名，人称「仇白」。 《书史会要》称白珽「德望清重，书学米元章」、仇远「好古博雅，楷书学欧」。此诗卷上，二人书迹正契此评。除「仇白」外，是次雅集中的邓文原与鲜于枢更是元代与赵孟俯齐名的书法大家。鲜于枢，字伯机，号困学民、虎林隐吏等，渔阳（今天津蓟县）人，官至太常寺典簿，工诗擅画精鉴，楷、草书尤为称绝，中岁居西溪而与杭州艺文圈中人物交酬频多。邓文原，字善之，人谓素履先生，绵州（今四川绵阳）人，父徙钱塘，自少即负学名，诗文、书画兼擅，章草成就最受赞誉，曾官国子监祭酒、翰林侍讲学士。张楧，字仲实，号菊存，为南宋「中兴四将」之一张俊五世孙、醇儒牟巘婿。因张俊五世祖由凤翔（今陕西凤翔）迁秦州成纪（今甘肃天水），故张楧有一方印为「西秦张楧」。巧合的是，卷中代仇远录诗的张坰亦是西秦人士，不知二人是否为同宗兄弟。至于有在和俞伯奇二人则殊乏史载，难以稽考。\n\n《武林胜集》诗卷汇集元代多位大家名手的诗文书法，其中如白珽、张瑛、有在等人的书迹传世罕见，弥足珍贵。此卷也校实了历来《四库全书》《元诗纪事》等对于此雅集记载的「武陵」之误。武陵位于湖南，于浙江的武林实有天壤之别。宋元易代，世局丕变，杭州作为两朝艺文活动中心仍是文人荟萃、艺事纷频。此诗卷也从另一角度，展现了其时杭州及寓杭文人、书家、遗民、官员风雅酬唱的一面。",[154,24,25,7,120,119,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ea8f609e0ce0a0cde73e21e1aa456.jpg","画心：22.2 × 170.05 厘米（8 3\u002F4 × 66 15\u002F16 英寸） 画心：22.2 × 279.3 厘米（8 3\u002F4 × 109 15\u002F16 英寸）",[],{"id":21080,"slug":21081,"title":21082,"dynasty":18,"author":21083,"museum":651,"description":21084,"tags":21085,"thumbUrl":21086,"material":78,"size":21087,"collection":124,"collections":21088,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":128},220085,"feng-nian-kao-mu-tu-ma-kui-220085","丰年考牧图","马逵","平野铺陈，林木错落间，百畜悠然信步，牧童嬉游往来，村舍田畴点缀远近，将乡野的恬然生机缓缓铺展。\n笔墨工致细腻，设色古雅柔和，群畜姿态神韵各异，或卧或驰、或饮或嬉，尽写真淳野趣，村人日常悠然自洽，宛若一卷鲜活的乡居牧歌长卷。\n它以全景构图承载古朴田家意趣，尽显雅致格调，带着千年前的烟火暖意，将丰年里的太平牧歌，永远定格在绢素之上。",[23,154,24,25,7,27,28,61,91,90,1009,34,3517,64,196,35,6599,5815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e2dd3e38e9ba50937357bec0d35a38.jpg","24×160",[124],{"id":21090,"slug":21091,"title":21092,"dynasty":168,"author":430,"museum":1239,"description":21093,"tags":21094,"thumbUrl":21095,"material":27,"size":217,"collection":217,"collections":21096,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":49},217902,"guan-yin-jing-bian-tu-juan-5-yi-ming-217902","观音经变图卷-5","画面以分栏形式铺展观音应化场景，莲台承托的法相姿态各异，或持物说法，或垂目含慈，旁侧侍者躬身侍立，神情恭谨。线条勾勒细腻灵动，衣纹流转如行云，既显衣物厚重质感，又藏盛唐绘画的飘逸气韵。矿物颜料晕染的色彩虽经岁月沉淀，朱红热烈与石绿沉静仍交织出庄严氛围。每幅小图皆为经义的视觉转译，将观音闻声救苦的慈悲精神凝于笔端，既承载宗教信仰的虔诚，也展现唐代艺术对神佛形象的精妙塑造，是信仰与美学交融的生动遗存。",[24,25,7,27,28,174,173,61,1242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332be14cde60f3f6fc5a2d24b60246e6.jpg",[],{"id":21098,"slug":21099,"title":21100,"dynasty":168,"author":430,"museum":1239,"description":21101,"tags":21102,"thumbUrl":21103,"material":27,"size":217,"collection":217,"collections":21104,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":49},217894,"guan-yin-jing-bian-tu-juan-12-yi-ming-217894","观音经变图卷-12","画面以观音法相为中心铺展，环伺的人物或躬身祈愿，或凝神静听，将经文里的救度场景娓娓道来。色彩虽经岁月沉淀，仍可见浓淡晕染的层次，衣袂线条婉转如流云，勾勒出盛唐的雍容气韵。右侧的亭台小筑与左侧的世俗身影相映，仿佛架起神圣与凡俗的桥梁。图文交织处，每一笔都凝注着对慈悲的诠释，每一处细节都藏着时代的匠心——既保留了宗教艺术的庄严，又融入了生活的温度，恰似一卷盛唐宗教情感与艺术审美交融的鲜活切片，让千年前的慈悲意涵在绢素上依旧流转生辉。",[24,25,7,173,27,59,61,62,2804],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128ee9a63697e5ab0fb2cfb5cf640fde.jpg",[],{"id":21106,"slug":21107,"title":21108,"dynasty":168,"author":430,"museum":1239,"description":21109,"tags":21110,"thumbUrl":21111,"material":27,"size":217,"collection":217,"collections":21112,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":49},217889,"guan-yin-jing-bian-tu-juan-16-yi-ming-217889","观音经变图卷-16","墨线勾勒的轮廓里藏着盛唐的鲜活气息：莲座旁菩萨衣纹流转如流云，武士铠甲凝着冷硬的光，凡间人物动态生动如昨。从庄严法相到烟火百态，画面以自然过渡串联经义与生活，残褪的色彩仍窥见当年浓艳。线条刚柔相济，既守宗教肃穆，又赋人物鲜活神情，将佛经救度场景化为可视图景。每一处细节都在诉说经变画的叙事张力，融神圣与人间烟火于一体，尽显唐代艺术的雄浑与灵动韵味。",[24,25,7,173,27,28,61,90,540,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cedfd4683dc2f1a959174ec81db40cc.jpg",[],{"id":21114,"slug":21115,"title":21116,"dynasty":168,"author":430,"museum":1239,"description":21117,"tags":21118,"thumbUrl":21119,"material":1244,"size":217,"collection":217,"collections":21120,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":49},217265,"jiang-mo-bian-dun-huang-tu-juan-21-yi-ming-217265","降魔变·敦煌图卷-21","绢素斑驳间，神魔对决的张力扑面而来。魔众的狂躁与佛陀的澄静形成强烈对照，线条如流云舒卷，勾勒出人物鲜活神态——魔兵狰狞、魔女妖冶，皆在佛陀慈悲目光下敛去锋芒。残存色彩虽淡却不减华韵，敷色层次隐现唐代壁画的绚丽底色。构图疏密有致，叙事性与艺术性交融，每一笔都承载降魔故事的庄严神圣。画面凝萃敦煌艺术的灵动意趣与唐代绘画的雄浑风骨，将宗教哲思化为可视盛宴，尽显中古艺术的精湛造诣与精神深度，是敦煌遗珍中一抹璀璨亮色。",[24,25,7,1242,173,27,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26496f80a3f4432fc100bf1fac24fe5c.jpg",[],{"id":21122,"slug":21123,"title":21124,"dynasty":13355,"author":5406,"museum":111,"description":21125,"tags":21126,"thumbUrl":21127,"material":217,"size":217,"collection":217,"collections":21128,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":21129},203321,"xiang-shan-jiu-lao-tu-juan-fu-bao-shi-203321","香山九老图卷","林间幽境里，数位长者围坐案前，或品茗论道，或凭栏低语，童子奉茶侍侧，案上瓶花、茶具雅致。笔墨洒脱灵动，人物衣纹线条劲挺，神态悠然；树木以泼墨皴擦，枝干苍劲，叶影婆娑；山石晕染自然，野趣横生。设色淡雅，水墨与线条相融，尽显文人雅集的闲逸之态，传递出林下风致的超脱与旷达。",[24,7,114,27,61,118,29,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa33d8cd8d030a03b79d224f2f59ec7c.jpg",[],"b59a7d",{"id":21131,"slug":21132,"title":21133,"dynasty":149,"author":430,"museum":111,"description":21134,"tags":21135,"thumbUrl":21136,"material":217,"size":217,"collection":217,"collections":21137,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":21138},202727,"xing-xiang-shi-nv-tu-juan-yi-ming-202727","星相仕女图卷","画面以仕女与星象元素交织，仕女发髻高挽，衣袂华丽，手持器物仪态雍容；右侧圆环环绕禽鸟，似为星官象征，奇幻而神秘。线条婉转流畅，设色古雅厚重，服饰纹饰细腻精巧，尽显五代绘画的精致韵致。佚名作者以细腻笔触，将仕女的温婉与星象的玄幻相融，传递出独特的时代审美与精神意涵，虽无署名却技艺精湛，堪称五代绘画的珍贵遗存。",[24,25,7,61,155,27,196,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1a8ed750846c4ccdad7288fc102472.jpg",[],"98714a",{"id":21140,"slug":21141,"title":6646,"dynasty":250,"author":21142,"museum":111,"description":21143,"tags":21144,"thumbUrl":21145,"material":217,"size":217,"collection":124,"collections":21146,"showCount":724,"zanCount":48,"manualWeight":48,"mainColor":21147},202245,"xi-hu-tu-juan-mo-er-sen-202245","莫尔森","长卷舒展，西湖景致徐徐铺陈。烟波轻笼的湖面之上，洲岛错落，亭台楼阁隐于葱茏林木间，或依岸筑居，或临水而建，尽显江南雅致。远处山峦层叠，皴法勾勒岩壑肌理，草木点缀生机；近处堤岸蜿蜒，树影婆娑，偶有孤舟泛波，添得几分闲适。设色淡雅清新，工笔细绘与写意晕染相融，既捕捉西湖山水的自然灵韵，又含人文栖居的温润气息，将湖光山色的宁静悠远凝于尺幅之间。",[24,7,29,27,116,62,115,28,118,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用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[23,24,154,25,7,114,209,119,1892,21265,21266,275,281],"墨梅","墨荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb9ce8c4fe4b6b1c1070f6ba3fdab7c.jpg",[],{"id":21270,"slug":21271,"title":21272,"dynasty":54,"author":55,"museum":227,"description":1503,"tags":21273,"thumbUrl":21274,"material":1050,"size":1051,"collection":217,"collections":21275,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},287402,"bei-hu-tu-shou-juan-chou-ying-287402","北湖图手卷",[23,24,7,25,29,27,28,119,1892,120,193,63,64,115,196,62,116,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668d4ab35bf9efef317abd774bd6b621.jpg",[],{"id":21277,"slug":21278,"title":21279,"dynasty":54,"author":495,"museum":227,"description":13872,"tags":21280,"thumbUrl":21281,"material":1050,"size":1051,"collection":217,"collections":21282,"showCount":805,"zanCount":1106,"manualWeight":48,"mainColor":128},287401,"gui-qu-lai-ci-shu-hua-he-juan-wen-zheng-ming-287401","归去来辞书画合卷",[23,154,24,25,7,114,120,276,275,283,117,18719,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607716fccbee74224664ef217aa869c2.jpg",[],{"id":21284,"slug":21285,"title":21286,"dynasty":250,"author":21287,"museum":227,"description":21288,"tags":21289,"thumbUrl":21290,"material":1050,"size":1051,"collection":217,"collections":21291,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},241302,"lin-huai-su-zi-xu-tie-juan-li-yu-wu-241302","临怀素自序帖卷","李禦侮","此作用笔纵逸奔放，追摹怀素狂草风神。线条瘦劲圆转，提按顿挫间尽显使转灵动，将狂草抒情性挥洒至极。布局上字势奇崛错落，大小、欹正、疏密随文势铺展，毫无滞涩之感。墨色枯湿浓淡交叠，枯笔飞白苍劲老辣，重墨处酣畅饱满。\n\n通篇气韵贯通如江河奔涌，既有怀素的颠逸之态，又暗含自家笔底筋骨，把草书肆意洒脱的意境诠释得淋漓尽致，尽显书写时的激越心绪，是极具表现力的临古佳制。",[25,119,7,60,1892,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07915226750c7616c8643d7517b5b9a.jpg",[],{"id":21293,"slug":21294,"title":21295,"dynasty":18,"author":21296,"museum":227,"description":21297,"tags":21298,"thumbUrl":21299,"material":1050,"size":1051,"collection":217,"collections":21300,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},241097,"wu-kuan-deng-ba-jia-ti-hou-chi-bi-fu-tu-ba-wei-can-juan-zhao-yan-241097","无款、等八家题后赤壁赋图跋尾残卷","赵岩","赵岩，原名赵霖，陈州宛丘（今河南淮阳县）人。后梁太祖朱温女婿，忠武军节度使赵犨次子。\n开平初年，授卫尉卿、驸马都尉，转天威军节度使。以勋戚自负，货赂公行，穷奢极欲。后梁灭亡后，为徐州贼温韬所杀。",[23,119,120,114,193,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b05d1f682443c5e4e4879e49df1085a.jpg",[],{"id":21302,"slug":21303,"title":21304,"dynasty":54,"author":21305,"museum":151,"description":21306,"tags":21307,"thumbUrl":21308,"material":21309,"size":21310,"collection":543,"collections":21311,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},241053,"shi-he-juan-wang-feng-yuan-241053","诗合卷","王逢元","[明]字子新，號吉山。欽佩子。擅海內書名，楷法鍾繇，草法王羲之父子。",[23,25,119,120,7,193,114,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79741274da4dca2dce551b419ee6efa6.jpg","紙本","29.7×30.8cm",[543],{"id":21313,"slug":21314,"title":19763,"dynasty":54,"author":21315,"museum":20,"description":21316,"tags":21317,"thumbUrl":21318,"material":2109,"size":21319,"collection":543,"collections":21320,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},240858,"shi-juan-wang-shi-zhen-240858","王世贞","释文：\n王山人自称十岳，先有二诗见寄，极国士之许，千里命驾，曾未淹日，欲游（留）金陵，长篇志别，拂衣北首，聊此抒赠：凤鸟摩青天，片羽飞东海。却坠七尺篱，鷃目荧然改。得子頷下珠，夜必吐光彩。孙醑骄欲鸣，青灯耿相待。不谓双垂杨，果系出剡舟。野夫虽称病，为汝强梳头。沉沉薜色夏，忽起商（双）飚秋。特达壮士縒，未许黄金酬。谓予九州水，当复有九州。禺儿志五岳，逝将十岳游。酒间叩沂边，泰岱曾入手。马迹重云颠，鸡声浴日后。狂扣玉女盆，中原敬培塿。自揽烟霞色，语语不离口。五岳天中外，子尚余其九。寒暑炼玉容，去日各非有。昔予读损益，亦复思名山。晚师维摩诘，旦夕棲衡关。纵横千界表，乃在弹指间。笑攀青莲花，归插玉女鬟。奚必策玄踝，役役劳神颜。我语虽大佳，听之了无答。杯酒散城烟，孤帆凌超忽。唯余留别句，掷地金石发。后夜倘见怀，长江弄秋月。余以（亦）止观法门，留仲房不得，仲房翻笑予恋恋庭户，不则谓予坐驰也。翼日倘更为仲房牵引，蹑一屐山水间，不又为仲房大笑也。天弢居士王世贞病中书。\n钤“王元美氏”、“天弢居士”印2方。\n此卷书法闲雅秀丽，古朴清新，运笔凝练，骨力内涵，方圆并济，豪放中见沉着，遒劲中见婉秀。明朱谋垔《书史会要续编》言：“世贞书学虽非当家，而议论翩翩，笔法古雅。”其结字、布局似出自赵孟頫书法，显示了较深厚的传统功力。",[23,25,119,7,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5250d5f49da55e3a27a14828f97fab.jpg","纵25.8厘米，横135厘米",[543],{"id":21322,"slug":21323,"title":21324,"dynasty":250,"author":18398,"museum":227,"description":21325,"tags":21326,"thumbUrl":21327,"material":1050,"size":1051,"collection":217,"collections":21328,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},240677,"jia-lian-shi-juan-liu-ru-shi-240677","嘉莲诗卷","柳如是（1618年～1664年），本名杨爱，字如是，又称河东君，因读宋朝辛弃疾《贺新郎》中：“我见青山多妩媚，料青山见我应如是”，故自号如是。浙江嘉兴人。与马湘兰、卞玉京、李香君、董小宛、顾横波、寇白门、陈圆圆同称“秦淮八艳”。后嫁有“学贯天人”、“当代文章伯”之称的明朝大才子钱谦益为侧室。明末清初女诗人。",[23,119,7,120,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ddec1fe22944a9f7fb0ef4e23c2227.jpg",[],{"id":21330,"slug":21331,"title":21332,"dynasty":54,"author":21333,"museum":227,"description":21334,"tags":21335,"thumbUrl":21336,"material":442,"size":217,"collection":543,"collections":21337,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},240508,"qi-jia-xing-shi-han-juan-xie-duo-240508","七家行诗翰卷","谢铎","謝鐸（1435年～1510年），字鳴治，號方山，又號方石，浙江温嶺桃溪（今温嶺市大溪鎮兆岙）人。明朝官員、文學家。\n天順八年（1464年）進士，入翰林院為庶吉士，次年授編修。成化三年（1467年），參修《英宗實錄》，成化九年（1473年）校勘《通鑑綱目》，後升侍講。時值邊警，上疏《論西北備邊事宜狀》，指陳邊防弊端，主張整飭邊務。成化十四年（1478年），父喪告假回鄉。弘治初，參修《憲宗實錄》。弘治三年（1490年），升南京國子祭酒。次年辭官回鄉，家居十年，先後有數十人舉薦。明孝宗命吏部遣人員至其家，起用為南京禮部右侍郎兼國子祭酒。七十二歲告老還鄉。謝鐸博通經史，文學造詣極深。卒贈禮部尚書，諡文肅。\n謝鐸博通經史，尤精理學，文學造詣極深。時詩壇盛行台閣體，堆砌辭藻，粉飾太平。謝鐸與李東陽等主張詩歌革新，詩宗杜甫，成為茶陵派代表詩人之一，寫有不少揭露現實、關心民生疾苦詩作。應台州知府陳相之邀，纂修《赤城新志》。著有《伊洛淵源續錄》、《尊鄉錄》、《赤城論諫錄》（與黃孔昭合編）、《桃溪淨稿》等。",[23,5431,120,7,119,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf75cf53868c880203f9cca320053528.jpg",[543],{"id":21339,"slug":21340,"title":21341,"dynasty":250,"author":10715,"museum":227,"description":21342,"tags":21343,"thumbUrl":21344,"material":1050,"size":1051,"collection":217,"collections":21345,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},240504,"wang-duo-e-mei-shan-ji-you-shi-juan-wang-duo-240504","王铎峨嵋山记游诗卷","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[23,119,120,1892,7,193,114,482,483,1071,6711,255,276,274,275,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeb42eaa858f60f4db13931247b16798.jpg",[],{"id":21347,"slug":21348,"title":21349,"dynasty":250,"author":19764,"museum":227,"description":21350,"tags":21351,"thumbUrl":21352,"material":1050,"size":1051,"collection":217,"collections":21353,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},240339,"ge-jia-shou-zha-juan-liu-yong-240339","各家手札卷","刘墉（1720~1804年 ），字崇如，号石庵，山东诸城 人，清代政治家、书法家，首席军机大臣刘统勋长子。\n乾隆十六年（1751年），考中进士，先后历任安徽学政、江苏学政、太原知府、冀宁道台、江宁知府、江西盐驿道、陕西按察使、内阁学士、湖南巡抚。乾隆四十七年（1782年）初调入京师后，历任都察院左都御史、工部尚书兼吏部尚书、吏部尚书兼兵部尚书、协办大学士兼吏部尚书。尚书房总师傅、管理国子监事务大臣等职。官至吏部尚书、体仁阁大学士、太子太保。刘墉以为官清廉著称，深得百姓信赖，早在任江宁知府时就获赞誉 “少时知江宁府，颇以清介持躬，名播海内，妇人女子无不服其品谊，至以包孝肃比之”，朝鲜使臣称赞。以奉公守法、清正廉洁闻名于世。",[119,120,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d98709abc63ef82e4e099321d618fc5.jpg",[],{"id":21355,"slug":21356,"title":21357,"dynasty":54,"author":430,"museum":227,"description":21358,"tags":21359,"thumbUrl":21361,"material":217,"size":217,"collection":543,"collections":21362,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":49},240174,"wu-kuan-li-yu-mu-dong-shi-jia-jing-shi-wu-nian-gao-ming-juan-yi-ming-240174","无款李愈母董氏嘉靖十五年诰命卷","此作为典型明代御制诰命，以标准馆阁体书就，笔致匀整方正，端秀雅正，尽显皇家文书的庄重威仪。文辞典丽雍容，叙写朝廷覃恩褒奖臣工母氏的荣宠，尽显封建恩荣规制。两侧钤盖的朱印浑朴方正，朱泥历久鲜亮，与墨色书法、古雅绢底相互映衬，整体气息肃穆端严，既为明代官方书法的范本，亦是探究彼时诰命制度、士林恩荣的珍贵实物遗存。",[5431,537,193,25,7,119,21360,3196],"诰命","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94da1059059a572addd614a7a9ea1a05.jpg",[543],{"id":21364,"slug":21365,"title":21366,"dynasty":250,"author":17186,"museum":20,"description":21367,"tags":21368,"thumbUrl":21369,"material":442,"size":217,"collection":543,"collections":21370,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},240064,"lin-ge-jia-shu-juan-wu-xi-zai-240064","临各家书卷","吴熙载（1799-1870），原名廷扬，字熙载，后以字行，改字让之，亦作攘之，号让翁、晚学居士、方竹丈人等。江苏仪征人。清代篆刻家、书法家。包世臣的入室弟子。善书画，尤精篆刻。少时即追摹秦汉印作，后直接取法邓石如，得其神髓，又综合自己的学识，发展完善了“邓派”篆刻艺术，在明清流派篆刻史上具有举足轻重的地位。\n吴昌硕评曰：“让翁平生固服膺完白，而于秦汉印玺探讨极深，故刀法圆转，无纤曼之气，气象骏迈，质而不滞。余尝语人：学完白不若取径于让翁。”\n吴煕载，原名廷飏，字煕载，后因避穆宗载淳讳更字让之，号晚学居士，江苏仪征人。他长期寓居扬州，以卖书画刻印为生，晚年落魄穷困，栖身寺庙借僧房鬻书，潦倒而终。吴煕载是包世臣的入室弟子。其行草学包世臣，篆隶及篆刻则师法邓石如。尤其是篆刻，不仅自成面目，而且进一步完善了邓派印风，后来学邓派印者，多从吴让之入手。吴煕载以篆书和隶书最为知名。其篆书点画舒展飘逸，结体瘦长疏朗，行笔稳健流畅。古朴虽不及邓石如，而灵动典雅似则过之，颇具妩媚优雅之趣，在晚清书坛享有很高的声誉。对后来的赵之谦、吴昌硕均有影响。",[23,119,120,60,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b7bf85b89a41fe36bf57b554a9fa39.jpg",[543],{"id":21372,"slug":21373,"title":21374,"dynasty":54,"author":8263,"museum":20,"description":8264,"tags":21375,"thumbUrl":21376,"material":217,"size":217,"collection":543,"collections":21377,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},240031,"shu-shi-juan-mo-shi-long-240031","书诗卷",[23,119,120,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75343ed660bed2800471ba4bf595fabc.jpg",[543],{"id":21379,"slug":21380,"title":21381,"dynasty":250,"author":21382,"museum":20,"description":21383,"tags":21384,"thumbUrl":21385,"material":217,"size":217,"collection":543,"collections":21386,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},239980,"cha-si-ji-lin-sheng-jiao-xu-juan-cha-si-ji-239980","查嗣基临圣教序卷","查嗣基","此临作笔势洞精，苍森古逸，卷后有查士标、沈珩题跋。",[23,119,60,120,7,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37149cefa48a657291b99d79c59f9f1a.jpg",[543],{"id":21388,"slug":21389,"title":21390,"dynasty":54,"author":2680,"museum":227,"description":15728,"tags":21391,"thumbUrl":21392,"material":217,"size":217,"collection":543,"collections":21393,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},239906,"mu-dan-fu-juan-zhu-yun-ming-239906","牡丹赋卷",[23,25,119,7,1892,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3614c1bd736af934ea47c0ff771b03.jpg",[543],{"id":21395,"slug":21396,"title":21397,"dynasty":54,"author":21398,"museum":20,"description":21399,"tags":21400,"thumbUrl":21401,"material":442,"size":21402,"collection":543,"collections":21403,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},239745,"shuang-he-rui-wu-fu-juan-wang-fu-zhi-239745","双鹤瑞舞赋卷","王夫之","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家” ，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。 著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[23,154,24,25,7,119,120,1892,442,626,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ae9484dcac62cbb54f3fcc4496a85.jpg","23.6×297.5厘米",[543],{"id":21405,"slug":21406,"title":17432,"dynasty":18,"author":6074,"museum":227,"description":21407,"tags":21408,"thumbUrl":21409,"material":217,"size":217,"collection":217,"collections":21410,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},239662,"zi-shu-shi-juan-lin-bu-239662","这件行书诗卷清劲瘦硬，萧散淡远，恰如其主梅妻鹤子的隐士襟怀。用笔瘦挺而具弹性，提按顿挫间尽显灵动，牵丝映带自然圆融，字势错落顾盼生情。宽绰行距铺展出从容疏朗的章法，褪去尘俗烟火气，满卷皆是林下清风。\n\n诗文与笔墨互为表里，将湖山行吟、赏梅观鹤的幽隐心境藏在每一处笔锋辗转间，把孤高疏淡的隐士意趣融于笔底，是宋尚意书法的绝佳注脚，书文俱佳，尽显宋代文人清雅脱俗的精神底色。",[23,154,24,25,119,7,120,114,193,274,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26372b075a6a47c8f0af2b3403e1bb9e.jpg",[],{"id":21412,"slug":21413,"title":21414,"dynasty":133,"author":534,"museum":151,"description":21415,"tags":21416,"thumbUrl":21418,"material":442,"size":21419,"collection":543,"collections":21420,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},239635,"zhao-yong-shang-zhong-feng-zha-juan-zhao-meng-fu-239635","赵雍上中峰札卷","管道昇心信佛法，是虔诚的佛教徒，拜中峰和尚为师．小札中更尊中峰和尚為“父师”，而自称女弟子：此尺牘无纪年，文中有“年时得以中首座来都”句，可知管道昇时在京都。管氏於至元二十六年（1289)与赵孟頫伉俪儷之合后，又於至大三年（1310）十月随赵孟頫应召离吴兴赴京，很有可能，此尺牘是管夫人赴京不久所书，约五十岁左右。句中“以中”为天目山僧，在天目山出任中峰和尚之首座，常代替中峰和尚外出联络，处理佛门事务，与赵孟頫、管道昇颇多交往。\n此尺牍书风与赵孟頫颇為相近，而运笔结字间时露才女特有的性情。世传管夫人书作“寸縑片纸，人争购之，后学為之模范”",[23,119,120,7,442,539,21417,193,11887],"书信","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0782f49a77fc0d17c04e62e7e00cab13.jpg","31.7×72.9cm",[543],{"id":21422,"slug":21423,"title":21424,"dynasty":54,"author":430,"museum":227,"description":21425,"tags":21426,"thumbUrl":21427,"material":1050,"size":1051,"collection":217,"collections":21428,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},239491,"ji-zhu-luo-han-du-hai-tu-juan-yi-ming-239491","寂住罗汉渡海图卷","以清隽白描铺展长卷，起首古松下众贤聚晤，神态悠然。继而浩渺烟波之中，诸仙或乘异兽、或踏云涛渡海，人物形神各异，或安坐凝神，或驭物踏浪，线条挺秀灵动，将仙逸风骨尽显。苍崖虬松点缀云海之间，云水皴法婉转流动，晕染出沧溟浩渺之态，把渡海的超凡奇谲铺陈开来。整体笔墨空灵雅致，将宗教的庄严与文人意趣相融，笔韵悠长，把群贤渡海的逍遥悠远意境刻画得淋漓尽致。",[23,24,174,7,173,61,7958,483,1071,254,117,2213,1070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08e19ff1f56ccc278fabc7830a42577.jpg",[],{"id":21430,"slug":21431,"title":21432,"dynasty":250,"author":5024,"museum":227,"description":6543,"tags":21433,"thumbUrl":21434,"material":1050,"size":1051,"collection":217,"collections":21435,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},239343,"ci-shu-yan-tu-juan-yu-zhi-ding-239343","赐书砚图卷",[23,24,25,7,27,28,119,120,3666,1973,9001,297,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06466295cda541530e4420d01e3a3796.jpg",[],{"id":21437,"slug":21438,"title":21439,"dynasty":250,"author":21440,"museum":227,"description":21441,"tags":21442,"thumbUrl":21443,"material":217,"size":217,"collection":217,"collections":21444,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},239313,"mo-mei-juan-zhu-zhe-239313","墨梅卷","祝喆","此作以书意入画，枯梅老干如狂草走笔，锋棱毕现，焦墨勾勒枝桠苍劲如铁，淡墨晕染花萼，繁蕊密枝错落纵横，将寒梅凌霜不屈的姿容尽皆铺展。长卷之中题跋与绘事相融，笔墨文心共生，以毫端倾泻胸中丘壑，将文人狷介疏狂的襟怀与冬梅孤高清雅的品格合二为一。不见娇柔妍态，唯有清癯风骨，观之如临冬林雪径，暗香随卷浮动，尽显文人画以画寄情、书画合一的逸趣，满纸皆是林下幽人淡泊孤傲的气度。",[23,24,25,7,114,274,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59a446b3ad367d29ecbb2ffc79e0d64.jpg",[],{"id":21446,"slug":21447,"title":21448,"dynasty":18,"author":430,"museum":227,"description":21449,"tags":21450,"thumbUrl":21451,"material":1050,"size":1051,"collection":217,"collections":21452,"showCount":805,"zanCount":1106,"manualWeight":48,"mainColor":49},238122,"hua-hui-si-duan-tu-juan-yi-ming-238122","花卉四段图卷","四段花木各显风姿：首段梅枝老干虬曲，冷白小花疏落绽于枝梢，清寒疏朗，尽现孤洁傲骨。芙蓉一段柔枝舒展，粉艳花团轻缀其间，碧叶晕染出鲜活肌理，秾丽又带着温柔生机。素花柔枝一则，莹白花朵配温润绿叶，明媚恬淡如春日浅光。末段小花攒聚枝上，粉瓣娇俏灵动，带着融融春意。\n\n全卷以没骨法绘就，纯以色泽晕染成型，清隽柔和的色彩间，将四时花木的各自风骨与舒展柔婉尽数绘出，藏着雅致审美，淡色轻晕里晕开静谧生趣。",[23,154,24,25,7,28,27,209,274,279,1923,194,1948,909,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0728e825826d5c3185aac75a84ab3440.jpg",[],{"id":21454,"slug":21455,"title":21456,"dynasty":54,"author":495,"museum":20,"description":21457,"tags":21458,"thumbUrl":21459,"material":40,"size":21460,"collection":217,"collections":21461,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":185},234234,"chui-hong-song-bie-tu-wen-zheng-ming-234234","垂虹送别图","此图卷首有王谷祥篆书引首：“垂虹送别。”画右起为吴江东门城垣、门楼，门下即垂虹桥，经文氏艺术剪裁，桥身只画三孔，桥上有一人，桥左坡底有二人，作话别状。坡左有楼宇一座，望之水天一色，客船扬帆，画左右上皆平林漠漠，远山如黛。左下款：“徵明”。卷后有文氏自题诗一首：“三载松陵重抚绥，忽随征诣向彤墀。一时目际明良会，百里方怀父母慈。岁歉具忧民乏食，政成还免众流簃。垂虹桥下棠千树，画属君侯去后思。”诗中谈到“三载松陵重抚绥”，可见，松陵垂虹桥向为送别之地。画中垂虹桥虽非对景实写，而送别之情，溢于笔墨之中。",[23,24,25,7,114,27,120,119,29,34,63,64,115,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8463e897713ca46c5ae853a46c5af9ca.jpg","纵29厘米，横109厘米",[],{"id":21463,"slug":21464,"title":21465,"dynasty":250,"author":21466,"museum":227,"description":21467,"tags":21468,"thumbUrl":21469,"material":217,"size":217,"collection":217,"collections":21470,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},234218,"gu-shan-tan-mei-juan-fei-dan-xu-234218","孤山探梅卷","费丹旭","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[23,24,25,7,114,27,28,120,537,119,29,274,116,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3be1175cb06f441b1110bd428095b.jpg",[],{"id":21472,"slug":21473,"title":21474,"dynasty":54,"author":495,"museum":20,"description":21475,"tags":21476,"thumbUrl":21477,"material":1411,"size":21478,"collection":217,"collections":21479,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},234156,"san-you-tu-wen-zheng-ming-234156","三友图","此手卷画兰、菊、竹三段，各有文氏亲笔题咏。用笔写意，简率之中见生动秀逸之致，墨色清润淡雅，显示了诗、书、画结合的笔墨境界。中国传统文化以拟人化的手法，通过褒扬兰、菊、竹的自然属性而歌颂或表彰文人的道德品质，体现了中国花卉画的特殊功能。\n壬寅为明嘉靖二十一年（1542年），文徵明时年73岁。",[23,24,25,7,114,120,119,2161,272,275,282,283,338,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51a77fcfc66d27d311c294bfae0f646.jpg","纵26.1厘米，横475.5厘米",[],{"id":21481,"slug":21482,"title":7437,"dynasty":54,"author":10407,"museum":20,"description":21483,"tags":21484,"thumbUrl":21485,"material":1411,"size":217,"collection":217,"collections":21486,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},234142,"yun-bai-shan-qing-tu-juan-ding-yun-peng-234142","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”\n传世作品有《待朝图》轴，图录于《中国绘画史图录》下册；《伏虎尊者图》轴，现藏安徽省博物馆；《白马驭经图》轴，藏台北故宫博物院；《洗象图》轴，藏中国美术馆；罗浮花月图〉轴及《漉酒图》轴，藏上海博物馆；《龙王拜观音图》卷，藏中国美术馆；《溪山烟霭图》卷藏南京博物院；《丛山樵径图》轴，藏天津艺术博物馆；《达摩图》轴，藏沈阳故宫博物院；《煮茶图》轴，藏无锡市博物馆；《六祖像图》轴，藏荣宝斋。",[23,24,7,114,29,118,30,37,34,63,64,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fe8ffb55ad3c48f2bb14ff4bd9d273.jpg",[],{"id":21488,"slug":21489,"title":21490,"dynasty":54,"author":15745,"museum":20,"description":21491,"tags":21492,"thumbUrl":21493,"material":442,"size":217,"collection":217,"collections":21494,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},234125,"gu-mu-ming-jiu-tu-juan-yao-shou-234125","古木鸣鸠图卷","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[23,24,25,7,114,120,119,193,209,5994,196,1857,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93404907185c0eca0bfabab4c0d12d59.jpg",[],{"id":21496,"slug":21497,"title":8583,"dynasty":54,"author":10715,"museum":111,"description":21498,"tags":21499,"thumbUrl":21501,"material":824,"size":21502,"collection":217,"collections":21503,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},233678,"hua-hui-juan-wang-duo-233678","本幅墨笔，前隔水伊念曾题答，本幅有张囗、戴明说观款，后纸叶恭绰题记。钤“曾藏嵩山草堂”，“墨卿”，“慎得”等藏印。\n王铎（1592—1652年），字觉斯，号嵩樵、烟潭渔叟、痴仙道人等，孟津（今洛阳孟津县）人。明天启二年（1622年）进士，累官礼部尚书、东阁大学士。工诗文，能绘画。书法师钟繇、二王、颜真卿、米芾，尤得力于《淳化阁帖》，既浸淫于古法又有所创新。其书诸体悉备，最擅行、草书，笔法纵逸流畅，风格雄健险峻，是清初书法大家。刻有《拟山园帖》、《琅华馆帖》。《清史稿》有传。",[24,25,7,114,174,28,119,209,281,278,555,3676,117,7015,908,21500,404],"叶草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cbd58569f7990ba918a2a7dda226ed8.jpg","纵24.9厘米，横116厘米",[],{"id":21505,"slug":21506,"title":21507,"dynasty":2618,"author":430,"museum":227,"description":21508,"tags":21509,"thumbUrl":21510,"material":1050,"size":1051,"collection":217,"collections":21511,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},231632,"lian-cang-shi-dai-ma-yi-cao-zhi-hua-juan-yi-ming-231632","镰仓时代 马医草纸画卷","此绘卷图文共生，一半是工笔晕染的本草写生，叶脉舒展、敷色清润，将药草形貌细腻还原；另一半以古雅铁线描勾勒和风古俗场景，人物衣袂翩跹，殿宇车马拙朴雅致，尽得古意。\n\n题跋与绘境交织，将本草物语与民俗轶事相融，既有博物图鉴的写实谨严，又带着古绘卷独有的雅致松弛。泛黄纸页晕开岁月的温度，清雅朴拙之间，尽显东洋中古绘卷的悠然意韵。",[25,7,27,61,90,1550,69,119,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682563a8668f46d15365053274079789.jpg",[],{"id":21513,"slug":21514,"title":21515,"dynasty":2618,"author":21516,"museum":227,"description":21517,"tags":21518,"thumbUrl":21519,"material":1050,"size":1051,"collection":217,"collections":21520,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},231626,"he-tu-xia-hui-he-ge-juan-ben-a-mi-guang-yue-231626","鹤图下绘和歌卷","本阿弥光悦","此作以长卷铺陈，群鹤错落满卷，水墨淡笔晕染出仙鹤清癯灵动的身姿，或振翅唳空，或梳羽伫立，百态悠然。浅褐旧痕晕开在素纸之上，晕染出经年沉淀的温润质感。\n\n书法与绘鹤交织共生，笔意清简疏朗，将和歌风雅与绘鹤的幽玄禅意相融，舒展悠长的尺幅里，藏着侘寂闲雅的古典意趣，淡墨轻色勾勒出清寂出尘的东方意境，尽显雅致悠远的和风之美。",[23,154,24,25,7,114,120,196,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271140e49cbac0d36129fe323eb65f23.jpg",[],{"id":21522,"slug":21523,"title":21524,"dynasty":2618,"author":430,"museum":227,"description":21525,"tags":21526,"thumbUrl":21527,"material":1050,"size":1051,"collection":217,"collections":21528,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":49},230793,"miao-fa-lian-hua-jing-yi-ming-230793","妙法蓮華經","通篇以精严小楷书就，笔力沉厚匀净，结体方正端稳，字字排布齐整却不失灵动，乌亮墨色与暖黄底色相映，尽显庄雅肃穆。\n\n整卷气息绵密平和，字字恪守法度，兼具北碑朴拙与唐楷端严，将写经的恭谨虔诚融于笔锋起落之间。经文排布疏朗得当，行气贯通流畅，无一笔懈怠，尽显书写者的敬畏之心。笔墨晕染沉静禅意，是信仰与书法美学的精妙融合，带着跨越时光的沉静力量。",[537,540,1973,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febbadd7ac214392964c116753232f81f.jpg",[],{"id":21530,"slug":21531,"title":21532,"dynasty":2618,"author":430,"museum":227,"description":21533,"tags":21534,"thumbUrl":21536,"material":1050,"size":1051,"collection":217,"collections":21537,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},230553,"ming-qing-fen-ben-guai-qi-niao-shou-tu-juan-yi-ming-230553","明清粉本 怪奇鸟兽图卷","此卷以淡墨轻彩绘就一众神异灵禽怪兽，将飞禽躯体与奇诡异象相融，或人面鸟身，或虎躯多头。翎羽晕染细腻写实，异兽造型怪诞幽奇，把志怪传说中的精怪具象呈现。\n每只异兽旁题书小字，图文呼应，似在低声诉说古朴妖异的怪谈物语。泛黄的纸本晕开岁月旧痕，设色调和古拙，带着幽玄氛围感，写实绘法与奇幻构想交织，勾勒出浪漫诡谲的异世百图景，尽显古雅怪诞的独特意趣。",[23,24,25,7,27,28,1009,524,4337,404,21535,5249],"飞禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fecc5cc915716ebd972e929bfeddb0d.jpg",[],{"id":21539,"slug":21540,"title":21541,"dynasty":250,"author":18379,"museum":227,"description":21542,"tags":21543,"thumbUrl":21544,"material":1050,"size":1051,"collection":217,"collections":21545,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":49},228970,"bai-liang-ti-shi-xu-juan-yin-zhen-228970","柏梁体诗序卷","清世宗爱新觉罗·胤禛（1678年12月13日—1735年10月8日），清朝第五位君主（1722年—1735年在位），定都北京后第三位皇帝。年号雍正。康熙帝第四子，母为孝恭仁皇后（即德妃乌雅氏），生于北京紫禁城永和宫。",[23,25,119,120,7,193,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6821a141beec3eef192ac7697a955e9.jpg",[],{"id":21547,"slug":21548,"title":21549,"dynasty":54,"author":430,"museum":227,"description":21550,"tags":21551,"thumbUrl":21552,"material":217,"size":217,"collection":217,"collections":21553,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},228818,"tao-qian-yi-shi-tu-yi-ming-228818","陶潜轶事图","此作为白描人物长卷，以清劲秀逸的铁线描勾勒群像，线条匀净流畅，将魏晋风神凝于笔端。\n\n画卷分数个片段铺展：首处宾主晤谈情态融融，继而策杖行游，衣袂飘然尽显出尘之姿，而后临案酌酒、凭榻闲憩，朴雅的酒坛、案几衬出林下幽居的疏淡日常，末段仆从备物，细致描摹隐逸生活的闲雅细节。各个人物神态鲜活，长者的温旷、童子的灵动跃然纸上，无敷色却形神兼备，以极简笔墨刻画出冲淡隐逸之趣，尽显六朝名士安贫乐道、放达自然的林下风流。",[23,24,7,174,61,158,1798,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5bbdf635468df936358a4518d62b6cc.jpg",[],{"id":21555,"slug":21556,"title":21557,"dynasty":54,"author":430,"museum":227,"description":21558,"tags":21559,"thumbUrl":21560,"material":217,"size":217,"collection":217,"collections":21561,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":49},228806,"hu-jia-shi-ba-pai-tu-yi-ming-228806","胡笳十八拍图","长卷以文绘合璧铺陈离愁，清雅古拙的笔致勾勒出乱世行旅的沧桑。一侧行书墨色沉凝，诉尽别乡归汉的哀戚心事；一侧铺展城郭乡野、车马仪仗，人物衣袂舒展间带着羁旅的凄惶，队列的肃穆衬出归程的沉重。每一段场景都晕开沉郁旧韵，将半生流离的家国之悲具象化，把泣血诗意揉进绢本烟尘，织就一曲带着泪痕的乱世离歌。",[23,24,25,7,27,28,61,90,94,35,640,4139,29,34,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc832ea82b5e9aaa888f3517bdfe2c08d.jpg",[],{"id":21563,"slug":21564,"title":21565,"dynasty":54,"author":7606,"museum":227,"description":21566,"tags":21567,"thumbUrl":21568,"material":1050,"size":1051,"collection":217,"collections":21569,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},228341,"ya-yi-shan-ren-shi-han-wang-chong-228341","雅宜山人诗翰","王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。",[23,25,119,120,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7785461ab08e2c5afbbba31ed4f636.jpg",[],{"id":21571,"slug":21572,"title":21573,"dynasty":133,"author":10736,"museum":227,"description":21574,"tags":21575,"thumbUrl":21576,"material":217,"size":217,"collection":217,"collections":21577,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},228259,"ti-ni-zan-xiang-juan-zhang-yu-228259","题倪瓒像卷","画面右侧，倪瓒安坐榻上，面容清癯沉静，尽显林下风致。侍从侍立左右，案头清供文玩错落，屏风山水淡远空疏，晕染出幽寂脱俗的隐士居停氛围。\n\n卷后多段题跋，诸家书法风格各异，诗句咏叹倪瓒生平品格，书画合璧，将其孤高清介的文人风骨具象呈现。整卷清雅萧散，尽显元代文人崇尚的隐逸雅趣，以肖像配题咏的形式，定格了倪瓒的精神气韵，是元人诗画交融的佳作。",[23,24,25,7,174,114,27,61,29,34,193,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6266ca5922eabd9fc66a7133b8ca469.jpg",[],{"id":21579,"slug":21580,"title":21581,"dynasty":133,"author":430,"museum":227,"description":21582,"tags":21583,"thumbUrl":21584,"material":217,"size":217,"collection":217,"collections":21585,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":49},228186,"ren-wu-tu-juan-yi-ming-228186","人物图卷","此作用色古雅沉朴，线条圆劲清隽，以日常梳洗闲憩入画，将文人闲居意趣尽显。画面左侧侍者躬身展巾，主家赤足踞坐，正倾水盥手，神态松弛自适，把松弛慵懒的日常情态刻画入微。右侧两位侍从或持巾侍立、或捧具待命，人物排布错落有致，动静相宜。\n\n整作不着过多布景，以素净留白衬托前景人物，衣褶晕染贴合躯体动态，尽显以形写神的笔墨妙处。没有繁复刻画，却凭借细腻的生活化描摹，传递出古雅悠然的闲居氛围，是一幅兼具烟火意趣与古典气韵的人物画佳作。",[23,154,24,25,7,28,27,61,156,298,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5381a994fb57f53b3c691b27916e64eb.jpg",[],{"id":21587,"slug":21588,"title":21589,"dynasty":133,"author":430,"museum":227,"description":21590,"tags":21591,"thumbUrl":21592,"material":217,"size":217,"collection":217,"collections":21593,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},228085,"jin-que-xuan-yuan-tai-shang-lao-jun-ba-shi-yi-hua-tu-juan-yi-ming-228085","金阙玄元太上老君八十一化图卷","这是一幅图文合璧的经卷长幅，开篇版画场面宏阔，帝尊环于仪仗之中，人物排布错落有致，殿宇规制、衣袂褶皱皆刻画入微，尽显刊刻版画的精湛水准，将崇道仪典的庄重威严尽数铺展。\n\n后半段以端稳方正的楷书镌录御序经文，笔力劲挺舒展，排布齐整肃穆，将崇道之心融于刀笔之间。图文呼应，让宗教肃穆与世俗礼制浑然相融，是释道文化与皇权威仪结合的典型载体，尽显刻绘工艺的深厚造诣与时代奉道风尚。",[23,7,174,173,61,62,29,119,511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e5c89f7636ca90a970e9abed49bb16.jpg",[],{"id":21595,"slug":21596,"title":21597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阿毗达磨俱舍论卷二十第五之二","阿毗达磨俱舍论之略称。世亲作。唐玄奘译。三十卷。阿毗为对。达磨为法,俱舍为藏。六足发智婆沙等萨婆多部之诸论,名为对法论藏",[23,540,119,7,537,173,1973,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d5742ae82d5ea9c5ccfd3245df9d43.jpg",[],{"id":21627,"slug":21628,"title":21629,"dynasty":168,"author":430,"museum":227,"description":21630,"tags":21631,"thumbUrl":21632,"material":217,"size":217,"collection":217,"collections":21633,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":185},227215,"shu-xia-ren-wu-tu-juan-yi-ming-227215","树下人物图卷","《树下人物图》是唐代佚名创作的纸本设色画，新疆吐鲁番阿斯塔那古墓出土。现藏日本东京国立博物馆。\n\n此幅人物画保存完整，绘制在一块长方形的绢上。画面的背景是郊外的草地，有一棵枝繁叶茂的树，树叶是绿色，树干是土黄色。树下可见两身妇女立姿形象。左侧之人，面向右方，左手衣袖被身旁之人握持，其右手曲臂上举正揪住罩在头上的黑色头衣。此人身穿土红色长袍，腰系带，脚穿黑靴。画面右侧之人，面向右方，两手握住左侧之人的左袖。她身着蓝色长袍，腰系带，脚穿黑靴。从画面看，此二人似为主仆关系。",[23,154,24,25,7,28,27,61,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F160f39ddeaeb222d5d6049efe9969bd0.jpg",[],{"id":21635,"slug":21636,"title":21637,"dynasty":250,"author":12470,"museum":227,"description":21638,"tags":21639,"thumbUrl":21642,"material":217,"size":217,"collection":217,"collections":21643,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},224398,"xia-shan-xin-ji-tu-juan-wang-yuan-qi-224398","夏山新霁图卷","此作用笔苍浑老辣，以高远之势立主峰于画面中央，层岩皴擦间兼具披麻皴的松灵与解索皴的遒劲，将夏山的浑厚肌理尽数铺展。留白处晕染汀洲水泽，虚实相映里，尽显新霁后的空润明净。\n\n林木穿插错落，点叶苍劲灵动，或浓或淡的墨色晕染出晴日照彻后的鲜润翠色，林麓间的村居隐于茂树之下，添了几分悠然野趣。整体气息秀润沉雄，既有元人山水的萧散松灵，又自具醇厚静穆的意蕴，将初晴夏山的空明雅致融于笔墨开合之间。",[24,7,763,114,118,889,11541,117,605,12701,21640,20780,21641,9087],"汀洲","雨后初晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601a1fd4574bcc15ec15daea92f0dd66.jpg",[],{"id":21645,"slug":21646,"title":21647,"dynasty":250,"author":12470,"museum":227,"description":21648,"tags":21649,"thumbUrl":21654,"material":217,"size":217,"collection":217,"collections":21655,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},224393,"jiang-shang-chui-lun-tu-quan-juan-wang-yuan-qi-224393","江上垂纶图全卷","此作用笔苍浑松秀，以干笔皴擦间施浓墨提点，糅合元人山水意趣。长卷铺展江南水村平湖远岫，层岩叠嶂间村居隐现，汀渚渔舟萧然静泊，尽显江乡幽寂淡远的秋暮之致。构图开合起伏，元气淋漓，将胸中丘壑化作纸面清旷之景。卷后题跋与画境呼应，诗画交融，尽显文人山水画的简淡高逸，沉雄苍润的笔墨尽显正统山水的文心雅韵。",[23,24,7,763,2161,27,118,21650,405,12701,609,14667,2560,21651,21652,21653,119,193,194],"平湖","秋暮","幽寂淡远","清旷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0bd684daf1f7232a7c873baeffea3a7.jpg",[],{"id":21657,"slug":21658,"title":21659,"dynasty":250,"author":8696,"museum":227,"description":21660,"tags":21661,"thumbUrl":21662,"material":1050,"size":1051,"collection":217,"collections":21663,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},224174,"gan-li-tu-quan-juan-hua-yan-224174","敢荔图全卷","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[23,24,25,7,27,61,29,254,119,120,664,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e347c76a16901f1b2b37187d2892d85.jpg",[],{"id":21665,"slug":21666,"title":21667,"dynasty":133,"author":430,"museum":151,"description":21668,"tags":21669,"thumbUrl":21670,"material":21671,"size":21672,"collection":217,"collections":21673,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":49},223588,"hua-yuan-ming-gui-qu-lai-ci-yi-ming-223588","画渊明归去来辞","画中陶渊明策杖归来，有两位僕人随行，一人携带古琴，一人背负著酒罈，前方则是种植有五株柳树的家园，象徵他「五柳先生」的自号。此幅旧传为赵孟頫，不过以衣纹用笔，可能是出自元代其他追随李公麟风格的画家笔下。",[23,24,174,7,61,230,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2b984b69e1a4206610cd399581893c.jpg","绢本，浅没色","27x72.5cm",[],{"id":21675,"slug":21676,"title":21677,"dynasty":250,"author":430,"museum":227,"description":21678,"tags":21679,"thumbUrl":21693,"material":217,"size":217,"collection":217,"collections":21694,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},223489,"ming-shi-san-ling-tu-yi-ming-223489","明十三陵图","《明十三陵手绘图(珍藏版)》中的明十三陵位于北京市昌平区，是明朝13位皇帝的陵墓群，并葬有23个皇后和1个贵妃。它是中国现存规模最大、帝后陵寝最多的皇陵建筑群。明十三陵于永乐七年（1409年）开始营建，至崇祯十七年（1644年）明朝灭亡建成。陵区三面环山，中间是盆地，南接北京平原，入口左右有两座山——龙山和卧虎山。十三座陵墓分布在东、北、西三面，各以一座山峰为背景，规模大小不一，形制却基本相同，主要建筑依次为陵门、棱恩门、裬恩殿、棂星门、石五供、明楼和宝城。宝城下面为地下宫殿。2003年，联合国教科文组织世界遗产委员会将明十三陵和南京明孝陵列入《世界遗产名录》，作为“明、清皇家陵寝”的附属项目。",[23,24,7,28,27,59,29,62,21680,34,21681,21682,21683,117,74,21684,21685,610,21686,21687,21688,405,38,21689,21690,21691,21692],"陵墓","石碑","牌坊","宫殿建筑","拱桥","松柏","神道","石象生","门楼","古建筑群","石牌坊","殿堂","碑亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123aa13e4f3c2f815d482dd3e89104ba.jpg",[],{"id":21696,"slug":21697,"title":21698,"dynasty":18,"author":430,"museum":20,"description":21699,"tags":21700,"thumbUrl":21701,"material":40,"size":3557,"collection":217,"collections":21702,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":49},223419,"kong-men-di-zi-xiang-juan-yi-ming-223419","孔门弟子像卷","此画是唐代杰出画家阎立本最大最长最佳的一幅巨作，是画家传世的六件作品之一，后在近代被日本军火商买走，并被列为国宝。最后在中贸圣佳拍卖公司购得，迎回国内，曾经引起过轰动。此画最终被首都博物馆以超低价提前收购。\n《孔子弟子像》全图采取平列式构图，无背景，绘孔子弟子立像五十九人，无名款。墨笔勾勒，着色，人物形象各异，须眉生动。\n包首题签“阎立本画孔子弟子像”，引首乾隆御题“杏坛遗范”，卷上有“顺治三年(1646)七月初二钦赐大学士臣宋权恭记”长方印、清宫收藏鉴赏印玺和清高宗弘历御笔题字。后幅有乾隆二十二年(1757年)户部尚书蒋溥题跋、乾隆丁未(1787年)大臣王杰、曹文埴、彭元瑞、董诰共同审定，董诰书写的题跋。鉴藏宝玺有乾隆八玺等，收藏印有“顺治三年七月初二日钦赐大学士臣宋权恭记”、“商丘金石书画印”、“宋权私印”、“经公”等。卷后拖尾有蒋溥题跋、董诰书写的其与王杰、曹文埴、彭元瑞的合跋，文字内容、钤盖印章与《石渠宝笈续编》著录文字完全相同。\n考证画后跋语，可以大致勾勒出《孔子弟子像》在清代的流传过程。清初顺治皇帝将此件画作钦赐给大学士宋权，一百余年后乾隆时期，宋氏后人将此作转鬻他所，蒋溥购得后，将其进献给了乾隆皇帝，复归内府收藏，并于《石渠宝笈续编》中加以著录。 至于这件作品是如何从清内府流传出去，溥仪在《我的前半生》中回忆，宣统八年十一月十四日，将名为《阎立本画孔子弟子像一卷》赏给了自己的师傅梁鼎芬。",[23,154,24,25,7,27,28,61,156,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34aaeae7bdfbdd0d6197e46cf919b0e.jpg",[],{"id":21704,"slug":21705,"title":21706,"dynasty":54,"author":430,"museum":227,"description":21707,"tags":21708,"thumbUrl":21709,"material":442,"size":21710,"collection":217,"collections":21711,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},223403,"chui-hong-qiu-se-tu-yi-ming-223403","垂虹秋色图","此作用淡墨晕染出浩渺平湖，轻舟逐波缓行，汀渚之上嘉木葱茏，板桥村舍隐于烟树间，远山如黛逶迤连绵，将江南清秋的萧疏淡远尽数铺展，笔墨清润秀雅，尽显平淡天真的文人山水意趣。\n卷中题笔相生，擘窠大字雄劲苍古，行楷题跋秀逸雅致，将垂虹秋景的诗意与文人赏景的雅怀相融，实景山水与题咏情思交织，把江天寥廓的清秋意韵凝于尺幅，尽显书画合璧的文人雅韵。",[23,24,25,7,114,120,29,63,64,115,116,34,4003,4645,193,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa448dc5f9cb1836eab9d07f9b11fabf7.jpg","24.4x122.6",[],{"id":21713,"slug":21714,"title":21715,"dynasty":168,"author":21716,"museum":227,"description":21717,"tags":21718,"thumbUrl":21720,"material":442,"size":1050,"collection":217,"collections":21721,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},223387,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-di-si-3-bai-ju-yi-223387","古抄残卷《白氏文集》第三巻第四3","白居易","白居易（772年－846年），字乐天，号香山居士，又号醉吟先生，祖籍山西太原，到其曾祖父时迁居下邽，生于河南新郑。 是唐代伟大的现实主义诗人，唐代三大诗人之一。白居易与元稹共同倡导新乐府运动，世称“元白”，与刘禹锡并称“刘白”。\n白居易的诗歌题材广泛，形式多样，语言平易通俗，有“诗魔”和“诗王”之称。官至翰林学士、左赞善大夫。公元846年，白居易在洛阳逝世，葬于香山。有《白氏长庆集》传世，代表诗作有《长恨歌》《卖炭翁》《琵琶行》等。\n1988年，日本中国文化显彰会为白园捐立石碑，以纪念白居易，碑文用中、日两种文字书写。1995年，4个日本人于此上书“樱献”。\n\n生平:\n唐代宗大历七年（772年）正月，白居易出生于河南新郑的一个“世敦儒业”的中小官僚家庭。白居易出生之后不久，家乡便发生了战争。藩镇李正己割据河南十余州，战火烧得民不聊生。白居易二岁时，任巩县令的祖父卒于长安，紧接他的祖母又病故。白居易的父亲白季庚先由宋州司户参军授徐州彭城县县令（780年），一年后因白季庚与徐州刺史李洧坚守徐州有功，升任徐州别驾，为躲避徐州战乱，他把家居送往宿州符离安居。白居易得以在宿州符离度过了童年时光。 而白居易聪颖过人，读书十分刻苦，读得口都生出了疮，手都磨出了茧，年纪轻轻的，头发全都白了。\n806年，白居易罢校书郎。同年四月试才识兼茂明于体用科，及第，授盩庢县（今西安周至县）尉。807年，任进士考官、集贤校理，授翰林学士。808年任左拾遗，迎娶杨虞卿从妹为妻。810年改任京兆府户部参军，811年母亲陈氏去世，离职丁忧，归下邽。814年回长安，授太子左赞善大夫。\n任左拾遗时，白居易认为自己受到喜好文学的皇帝赏识提拔，故希望以尽言官之职责报答知遇之恩，因此频繁上书言事，并写大量的反应社会现实的诗歌，希望以此补察时政，乃至于当面指出皇帝的错误。白居易上书言事多获接纳，然而他言事的直接，曾令唐宪宗感到不快而向李绛抱怨：“白居易小子，是朕拔擢致名位，而无礼于朕，朕实难奈。”李绛认为这是白居易的一片忠心，而劝谏宪宗广开言路。\n815年，宰相武元衡遇刺身亡，白居易上表主张严缉凶手，被认为是越职言事。其后白居易又被诽谤：母亲看花而坠井去世，白居易却著有“赏花”及“新井”诗，有害名教。遂以此为理由贬为江州（今江西九江）司马。818年，白居易的弟弟白行简至江州与白居易相聚。当白居易被任命为忠州刺史时，白行简也一同与兄长溯江而上。途中与元稹相遇于黄牛峡，三人相游之处被称为三游洞。在忠州任职的时间，白居易在忠州城东的山坡上种花，并命名此地为“东坡”。同年冬，被任命为忠州（今重庆市忠县）刺史，819年到任。820年夏，被召回长安，任尚书司门员外郎。\n白居易的母亲虽因看花坠井去世，然而白居易早有许多咏花之作，而依宋代的纪录，新井诗作于元和元年左右（新井诗今已失传），可见此事不能构成罪名。他被贬谪的主因，很可能与他写讽谕作品而得罪当权者有关。贬谪江州是白居易一生的转折点：在此之前他以“兼济”为志，希望能做对国家人民有益的贡献；至此之后他的行事渐渐转向“独善其身”，虽仍有关怀人民的心，表现出的行动却已无过去的火花了。然而白居易在江州虽不得志，大体上仍能恬然自处，曾在庐山香炉峰北建草堂，并与当地的僧人交游。\n820年冬，转任主客郎中、知制诰。821年，加朝散大夫，始正式著五品绯色朝服，（绯色即朱色，为五品以上官员所用的服色）。转上柱国，又转中书舍人。822年，白居易上书论当时河北的军事，不被采用，于是请求到外地任职，7月被任命为杭州刺史，10月到任。任内有修筑西湖堤防、疏浚六井等政绩。824年5月，任太子左庶子分司东都，秋天至洛阳，在洛阳履道里购宅。825年，被任命为苏州刺史，5月到任。826年因病去职，后与刘禹锡相伴游览于扬州、楚州一带。\n在杭州刺史任内，见杭州有六口古井因年久失修，便主持疏浚六井，以解决杭州人饮水问题。又见西湖淤塞农田干旱，因此修堤蓄积湖水，以利灌溉，舒缓旱灾所造成的危害，并作《钱塘湖石记》，将治理湖水的政策、方式与注意事项，刻石置于湖边，供后人知晓，对后来杭州的治理湖水有很大的影响。离任前，白居易将一笔官俸留在州库之中作为基金，以供后来治理杭州的官员公务上的周转，事后再补回原数。当这笔基金一直运作到黄巢之乱时，当黄巢抵达杭州，文书多焚烧散失，这笔基金才不知去向。\n西湖有白堤，两岸栽种有杨柳，后世误传这即是白居易所修筑的堤，而称之为白公堤。事实上这道“白堤”在白居易来杭州之前已存在，当时称为“白沙堤”，且见于白居易的诗作之中。\n当白居易在杭州时，元稹亦从宰相转任浙东观察使，浙东、杭州相去并非太远，因而二人之间有许多往还的赠答诗篇。当白居易任满离开杭州时，元稹要求白居易交出全部的作品，编成《白氏长庆集》五十卷。\n在苏州刺史任内，白居易为了便利苏州水陆交通，开凿了一条长七里西起虎丘东至阊门的山塘河，山塘河河北修建道路，叫“七里山塘”，简称“山塘街”。\n827年，白居易至长安任秘书监，配紫金鱼袋，换穿紫色朝服（三品以上官员所用的服色）。828年，转任刑部侍郎，封晋阳县男。829年春，因病改授与太子宾客分司，回洛阳履道里。830年12月，任河南尹。831年七月元稹去世。832年，为元稹撰写墓志铭，元家给白居易润笔的六七十万钱，白居易将全数布施于洛阳香山寺。833年，因病免河南尹，再任太子宾客分司。835年，被任命为同州刺史，辞不赴任，后改任命为太子少傅分司东都，封冯翊县侯，仍留在洛阳。839年10月得风疾。841年，罢太子少傅，停俸。842年，以刑部尚书致仕，领取半俸。\n晚年白居易的生活，大多是以“闲适”的生活反应自己“穷则独善其身”的人生哲学。而844年，73岁的白居易出钱开挖龙门一带阻碍舟行的石滩，事成后作诗《开龙门八节石滩诗二首并序》留念，诗中仍反映出他“达则兼济天下”的人生观。\n晚年的白居易大多在洛阳的履道里第度过，与刘禹锡唱和，时常游历于龙门一带。作《池上篇》、《醉吟先生传》自况。845年，白居易74岁，尚在履道里第举行“七老会”，与会者有胡杲、吉皎、郑据、刘真、卢贞、张浑与白居易；同年夏，以七老合僧如满、李元爽，画成“九老图”。白居易晚年笃信佛教，号香山居士，为僧如满之弟子。\n武宗会昌六年（846年）八月十四日（9月8日），白居易去世于洛阳，享年75岁，赠尚书右仆射，谥号“文”，葬于洛阳香山。白居易去世后，唐宣宗李忱写诗悼念他说：“缀玉联珠六十年，谁教冥路作诗仙？浮云不系名居易，造化无为字乐天。童子解吟《长恨》曲，胡儿能唱《琵琶》篇。文章已满行人耳，一度思卿一怆然。”著有《白氏长庆集》，共有七十一卷。",[23,119,120,1973,7,21719,6048,539,442],"手抄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfae861faca812473d745bd85ae7ef52.jpg",[],{"id":21723,"slug":21724,"title":21725,"dynasty":18,"author":430,"museum":20,"description":21726,"tags":21727,"thumbUrl":21728,"material":384,"size":21729,"collection":217,"collections":21730,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":49},223370,"ba-xiang-tu-yi-ming-223370","八相图","这幅《八相图》并未出现于古代书画文献著录中，在其他文集中也不曾记载。民国时期故宫博物院珂罗版《故宫书画集》中亦无收录。二十世纪六十年代，文化部文物局成立中国古代书画鉴定组对全国各大博物馆藏画进行鉴定、编录，其成果《中国古代书画图目》中影印了此幅《八相图》，并在卷末附有基本信息。二十一世纪初编纂的《故宫博物院藏文物珍品大系》中有余辉主编的《晋唐两宋绘画·人物风俗》，其中再次收录了此卷，并附有相关介绍信息，释读出题跋，在此基础上辨别出八位名相，并对画作的特点作了简单概括。近年浙江大学、浙江文物局承担编纂的《宋画全集》再次收录了该幅作品的高清图版，并附有图版说明，但基本为《晋唐两宋绘画·人物风俗》中的内容。\n该幅作品所描绘的“八相”，《晋唐两宋绘画·人物风俗》中识读为周公旦、张良、魏徵、狄仁杰、郭子仪、韩琦、司马光和周必大。学界对此并未提出疑义，笔者先前也基本认定该作所画为此八相。许浩然《一幅南宋绍兴年间的秦桧画像—故宫博物院藏〈八相图卷〉考辨》一文，首次提出了第八位名相为秦桧的观点，并作了相关考辨。\n对这样一幅名款残损、图章全无、又乏古代文献著录的作品，目前仅有基本识读和一篇研究性论文。而该作还有许多疑问尚未解决，如画作名称、画作的作者、创作年代等。本文不揣冒昧，对这几个问题以初步考证。\n虽然《晋唐两宋绘画·人物风俗》已经有对画作题跋的释读，但个别识读有错误，对八相的识别也并未给以推导过程。故本文重新抄录，加以句读，再作分析。现将画作中文字内容从右至左分为十个部分，依次标注为一至十。\n第一部分文字不可辨识。画作自右向左打开，画心部分起首四字由上而下书写。前两字残损超过三分之二，后两字虽存右半部分，但与左边之间有重新装补的痕迹，虽然裂痕形状勉强和左边吻合，但不可辨识，汉字中并无此二字。与周边对照，右半部分绢片明显为他处所有。推测或是画商牟利，将他处残片置于此处;亦或为当时重新装裱的失误。\n第二部分文字内容为：“文王之子，武王之弟;下视成王，叔父之贵;师表万民，吐握待士;思兼三王，经制毕备;群叔汹汹，流言纷至;天威彰显，闻望无愧;盛德元勋，下蟠上际;式图丹青，昭□(示?)□(后)□(世);若揭日月，诏彼稚昧。”\n文字描述的主人公是 “文王之子、武王之弟、成王之叔”，为西周时期的周公旦，记录他握发吐哺求贤若渴、创立典章制度、摄政并平定叛乱、威德远布四方人的事迹。绘此画作的目的是向四方昭示他的德行并起到示范作用。该部分内容第四行的最后三字处有残缺。经查找，其残损部分仍保留在画作上，只是被错误地装补到了第一部分文字处。\n第三部分文字内容为：“巨飚扇海洪波翻，指鹿为马无腆颜;泗上亭长起应天，子房杖策来自韩;圯上老人书一编，佐汉兴王无后艰;客有为□(我)□(橈)楚权，请借前箸输忠谈;南宫偶语事寝阑，即日劝驾西都关;羽翼已成储嗣安，愿与赤松求神仙;高名万世长铿鍧，再拜清风何所言;望之俨然即之温，奇伟魁梧焉足论。”\n根据史书记载，可知本部分文字描述称赞的主人公是汉留候张良。写秦朝末年张良来自韩国，借助圯上老人黄石公所赠《太公兵法》，辅佐刘邦起事。这里选取了他的几个事迹：反驳郦食其的策略、建议奖赏有功之臣、劝服刘邦移驾长安、帮助吕后和太子孝惠巩固地位、功成名就后隐退等。赞扬他的万世高名，虽为妇人之貌，却远胜奇伟魁梧的大丈夫。本部分文字第三行倒数二、三字有残损，但是根据史书记载可补足，模糊二字分别是“我”“橈(桡)”。\n第四部分文字内容为：“自期稷卨，致君尧舜;愿为良臣，展尽底蕴;正观之治，几于成康;外户不闭，行不赍粮;想其堂堂鹗立，犯颜进谏;虽逢帝怒，神色不变;信乎百世之下，论世尚友;雄姿凛凛，传于不朽。”\n这部分文字称颂的是贞观时期的名臣魏徵。谈及魏徵如稷卨这样的名臣，“贞观之治”堪比“成康之治”，记录在魏徵治理之下有夜不闭户而远行时又不必携带粮食的淳朴世风，以及他堂堂正正犯颜进谏的诤臣风范，这些皆传于不朽。\n第五部分文字内容为：“宇宙雰雺兮孰与清，日月薄蚀兮孰与明，清而明之兮，命世之英;大厦将欹兮，其谁支;神器将坠兮，又谁举之;支而举之兮，命世之奇英;与奇兮惟梁公，为子孝兮为臣忠;北斗以南兮，人谁与同;取日虞渊兮，洗光咸池;授五龙兮，夹以飞蒙;耻济谋兮，功盖一时;貌图丹绘兮，如玉如金;风度温然兮，贻后人;十袭之藏兮，爰丕显于斯辰。”\n翻检史书，我们会发现这里面描述的国之栋梁、忠臣孝子、忍辱负重规劝武则天将庐陵王李显立为太子使政权又回到唐代宗室手中的一代英豪是“梁公”狄仁杰，描绘梁国公之画像，目的是将他的风采传递后人，这样的图载值得珍藏。\n第六部分文字内容为：“唐德中否，群兇肆起;尚父鹰扬，于彼朔方;克复两京，三河肃清;整我六师，大振威灵;单骑见虏，压以至诚;忠贯日月，德通神明;二十四考，中书政成;式图貌像，仰止仪形;英姿粹蕴，凛凛如冰;维昔方虎，中兴周室;诗人歌之，二雅纪德;再造唐祚，汾阳允武;用垂颂声，以绍厥绪。”\n被封为朔方节度使收复长安、洛阳两京，平定河东、河西、河南叛军，单骑免胄见回纥，为中书令期间主持官吏的考绩二十四次而被尊为“尚父”的是唐朝的郭子仪。绘画者希望能够像当年纪念中兴周朝的方叔、召虎一样，给郭子仪“式图貌相”，让后人赞颂他，并完成他未竟的事业。\n这一部分的文字残缺甚多，根据内容判断所描绘的主人公颇有难度。而判断这段文字所描述的主人公，主要是依照第十部分的文字内容。通过排除法，可得知这段文字所颂赞的是韩琦。史书记载，韩琦任官期间敢于诤言谠议;严肃的外貌却给人温和的感觉，如玉如水;家中藏书颇丰，所写文章品格不凡。\n第八部分文字内容为：“于皇上帝，降祚炎宋;爰锡真儒，郁为时楝;真儒伊河，时维司马;如柱如石，克建大厦;退居西洛，十有五年;著书立言，成名自天;既相君实，欢声洋溢;农安于田，妇安于室;复我良法，式循祖宗;进良退奸，坐致融融;四方仰止，图像克肖;饮食必祝，家至户到;食采温国，著名凌烟;元勋巨德，英图莫传。”\n这一赞文描述的是北宋司马光。北宋时期的良才为伊河之地的司马光，进为栋梁之才，退则著书立说，再次拜相时又一次辅佐君王造就了繁荣安定的景象。因此，理应为司马光传图写照，受到后人尊重。\n第九部分文字内容为：“太师公相画像赞。天之苍苍，其命灼然;将兴太平，必生真贤。堂堂益公，起江之东;受天间气，出建大功;节义凛然，归秉国均;建万世策，交欢宝邻;长乐正位，清朝偃共;四时协和，万邦咸宁;道大不器，德全难名;高勋巍巍，日月并明;皇帝神圣，师臣赞襄;多历年所，相得益章;图形凌烟，褒赞有光;其永相予，雍容庙堂;风采德威，外传四方;真汉相矣，岂惟王啇;南山之高，岩岩其石;民怀姬公，师保之德;千载具瞻，与山无极。”\n根据文字内容，这描述的是太师公相画像，他被封为益国公，其功勋可比日月，且与皇帝交往融洽，品德风采足可与山川一样长久影响后人。先前识读者根据文字内容的第一行“太师公相画像赞”及第三行“堂堂益公”确定此主人公是同为益国公、太师的周必大。在许浩然的文章中，他提出此主人公是秦桧而非周必大的四点理由：第一，“起江之东”与周必大原出河南郑州管城的籍贯不符;第二，周必大卒后赠太师，而非“太师公相”;第三，在宋代身任宰相、官太师、封益国公，同时又为江东之人者仅有秦桧;第四，“节义凛然，归秉国均;建万世策，交欢宝邻”是言其被俘金国，后回南宋担任宰相并主张议和等经历。\n基本来说，许浩然之文考辨的是有道理的，只是第一点中提到的“起江之东”，也与周必大有关系，周必大出生于江东长洲(今苏州)。学者们之所以会混淆周必大与秦桧，是因二者信息比较接近，在相貌上又无确切描绘。故宫博物院南熏殿旧藏周必大像与该画作中的秦桧像或可作一对比，周必大面相仁厚，秦桧似显城府。",[23,154,24,25,7,174,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae42577c6a1c131396fab8d2cb999a6c.jpg","纵36.5厘米，横246.2厘米",[],{"id":21732,"slug":21733,"title":21734,"dynasty":250,"author":4830,"museum":2658,"description":18623,"tags":21735,"thumbUrl":21736,"material":1411,"size":18626,"collection":217,"collections":21737,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},223319,"fa-jie-yuan-liu-tu-jing-pian-2-ding-guan-peng-223319","法界源流图镜片-2",[23,24,154,25,7,27,28,173,6818,61,14833,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5310045c3d9528f01b0ec6d6d1291e6.jpg",[],{"id":21739,"slug":21740,"title":21741,"dynasty":250,"author":4830,"museum":2658,"description":6815,"tags":21742,"thumbUrl":21744,"material":1411,"size":6822,"collection":217,"collections":21745,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},223308,"fa-jie-yuan-liu-tu-juan-2-ding-guan-peng-223308","法界源流图卷-2",[23,24,25,7,28,27,173,61,511,175,1613,3086,19080,11714,21743,4139,3488,7378],"宝幡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6dd816747b646199e5026a31a8f45bc.jpg",[],{"id":21747,"slug":21748,"title":21749,"dynasty":54,"author":10715,"museum":1514,"description":10717,"tags":21750,"thumbUrl":21751,"material":442,"size":217,"collection":217,"collections":21752,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":49},222540,"bian-jing-nan-lou-shi-juan-wang-duo-222540","忭京南楼诗卷",[23,119,120,1892,7,114,193,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b990a58a50b4c2546f3fdf93fe77d11.jpg",[],{"id":21754,"slug":21755,"title":21756,"dynasty":54,"author":10715,"museum":3782,"description":21757,"tags":21758,"thumbUrl":21759,"material":442,"size":21760,"collection":217,"collections":21761,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":128},222532,"ku-lan-fu-hua-tu-ba-juan-wang-duo-222532","枯兰复花图跋卷","释文：\n已丑五月夜。同观画。梁眉居。黄于石。张坦公。张天调。薛行坞。傅梦祯。刘瀛洲。宋牧仲。宋赤城。主人玄平号雨恭。时同饮三槐下。王铎。\n已丑夏五月廿二日。闻雨恭先生阁下盎中建兰于既萎后倏发一茎三花。予骇焉。萎而花。此中有道。其发兰之为其所以发皇者。果兰之为耶。兰。花卉中抱德者也。孤秀幽藏。异乎炫。无人清湛。异乎佝。不斗艳于鼠姑将离。异乎争。映景乘旺。萼蕤跗联。乃于萎荄勃然生灵光奇馞。於戏。兰亦受命者。气垕理苞。即司百物者。不能閟。况天况墬况人况兰。凡后日千叶万萼。雨先生为国家发无穷光华。流馨千禩。为王者笃材。不与凡卉伍。吾于斯。率尔席上即写兰卷。又纪其三花之像。钟万哗盛与古咎箄。鸠方絜馥臻茂。开一代之昌运。必得一代异人。兰何能为政哉。噫。公之所以楙昭前路迓所以发皇者。佗他日吾以此卷券之矣。西洛王铎跋并画。吋及燃炬在蔬圃中。",[23,154,24,25,7,120,1892,119,193,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7702460746d4760892dcf81172f816a5.jpg","32.6X1035.5cm",[],{"id":21763,"slug":21764,"title":21765,"dynasty":54,"author":495,"museum":227,"description":15562,"tags":21766,"thumbUrl":21767,"material":21309,"size":21768,"collection":543,"collections":21769,"showCount":805,"zanCount":48,"manualWeight":48,"mainColor":49},222015,"xing-cao-kou-hao-shi-shou-juan-wen-zheng-ming-22201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琼山发天秀，珠泉表地灵。柔荑吐丹葩，乔林标绛英。酌醴吸冲和，汲涧漱甘清。石门开洞门，木龙走岩扃。清飚一时至，四座浮幽馨。阆风何必远，世尘空自冥。从游当有期，淹留讵无成。左手撷紫芝，右手采黄精。振衣陟崇冈，遐观散神情。长啸烟雾里，满空鸾鹤声。吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。前诗似更有二句，然老昏忘之矣。\n末段录自作诗《寄题杜尊师白云庵琼秀亭》二首，署款：“吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。”钤印亦同前。书于元延祐六年（1319年），作者时年66岁。\n赵孟頫喜与释道人物游，执弟子礼师事者，则为僧人中峰明本与道士南谷真人。南谷名杜道坚，曾住持杭州宗阳宫等道观。本卷前二段即为南谷而书；末段则系南谷殁后为其弟子袁安道而书，亦寓纪念南谷之意，是研究赵氏生平交谊的重要资料。以书法论，三段皆精心用意之作。首段奔放跌宕，二段妍润隽逸，末段遒健苍古，堪称赵氏中、晚年行书的代表作品。卷前有元人乔宇篆书引首；尾纸有元陈旅、张雨、杜本、揭傒斯、张翥等12人及明项元汴所作题识。卷中钤有明项元汴，清李肇亨、梁清标及乾隆、嘉庆、宣统内府章。",[23,154,24,25,7,119,120,114,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89b0144482e38292a3052899d495ae76.jpg","首段纵31.1厘米，横101.5厘米，二段纵31.1厘米，横100.2厘米。三段纵29.9厘米，横103厘米",[543],{"id":22086,"slug":22087,"title":22088,"dynasty":133,"author":22089,"museum":20,"description":22090,"tags":22091,"thumbUrl":22092,"material":442,"size":22093,"collection":543,"collections":22094,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":185},239626,"an-he-tie-duan-tian-you-239626","安和帖","段天祐","释文：\n天佑顿首书奉起善贤契友执事：小林回，领书，承近候安和为喜。贱疾回杭又两发矣。二月上旬后又苦痎疟，寒暑交战，狼狈不可言。此岂俗谚所谓横赛者耶。书籍许以宽限，甚感。张子昭近来杭，解后陈思复书铺内所假书，亦曾亲与之言，明当并起善者同纳矣。师夔画帧不敢有忘，已嘱其人平昔厚善者，俟其至，即从求之。臈糟谨奉一坛，泥头上有题识。香楠木欲作少器皿，截开作正白色者不可用，烦更为物色。如沉香颜色者，价钱比前买者加贵无伤。因官窑季子良有行，灯下草草奉此。春寒祈善爱。不具。天佑顿首再拜。\n此帖钤有项元汴、安岐、何子彰、谭敬、完颜景贤、赵叔彦等人鉴藏印记。《墨缘汇观》、《三虞堂书画目》著录。\n这是段天祐写给好友起善的书信，内容谈及自己的诸多病况、归还起善等人书籍、为起善向师夔求画、请起善为自己物色木料等等。信里涉及起善、张子昭、师夔等人。\n此帖从米芾书风中取法，又具有元人特有的精致与平和。",[119,120,7,539,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdd0117ba7b423af562fc88c8d4a99c.jpg","纵27.3厘米，横54.5厘米",[543],{"id":22096,"slug":22097,"title":22098,"dynasty":54,"author":22099,"museum":20,"description":22100,"tags":22101,"thumbUrl":22102,"material":15097,"size":22103,"collection":543,"collections":22104,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},239612,"qian-zi-bi-yin-zha-juan-zhang-jun-239612","遣子毕姻札卷","张骏","释文：\n北京遣第三子云鹤还松江毕姻，与唐亲家书。维时野梅呈腊，宫柳回春，共谂晋国郡尊太亲家，阖闳宝聚前。天锡鸿庥，日臻燕祉。乐丘园而遯迹，藉诗酒以陶情。一别星标，五更岁籥，遥切一门婘爱，不胜千里之驰思。丹凤楼头，载笔叨依于日下，黄龙浦口，飞帆未得向江南。暑递往而寒递来，霎然过眼，男将婚而女将嫁，寔尔劳心。且小儿缪习夷书，滥赝冠带。而令爱素闲红女绣，宜施衿鞶言。念唐子方以来，世系绵绵乎瓜瓞；张公瑾而下，家声秩秩乎冠缨。幸谐二姓之天缘，获缔百年之星眷。珠冠结凤，少陪奠鹰之仪，尺素衔鱼，将遂乘龙之愿。计高明之雅度，礼虽薄而无嫌， 惟远大之后图，来期速而无缓，或符至愿，敢负深恩，岂草木之无知，当琼瑶之有报。麾留是望，鉴念不宣。又礼书一通，物状刑楮，陈之荪不赘，清河郡眷生张骏拜手。昼绣堂书。\n款下印“绿屋人仙”、“金紫清华”，引首印“世经科第”。鉴藏印钤“嘉兴唐翰题子冰书画记”、“德大审定”、“罗振玉印”等诸方。\n卷后有唐翰题、罗振玉题跋两则。\n此书是张骏致唐姓“亲家”的一封礼书，內容是让其子回松江（今上海）完婚，并送去了彩礼。\n张骏的书法时以狂草体著称，以他狂怪奔放的草书风格而论，此书则显得拘谨刻板得多。其书笔法精润，笔画起落轻重分明，使转灵便，呈现出圆润妍美、劲健潇洒的风韵。",[23,25,119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36a4b5d65ccdac03ac2dfafd831cf29.jpg","纵24厘米，横230厘米",[543],{"id":22106,"slug":22107,"title":22108,"dynasty":133,"author":534,"museum":20,"description":22109,"tags":22110,"thumbUrl":22111,"material":442,"size":217,"collection":543,"collections":22112,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},239593,"zhi-ji-zong-yuan-er-zha-juan-zhao-meng-fu-239593","致季宗源二札卷","赵孟頫，中国元代天才文学艺术家。他是宋朝王孙，自幼英机敏识，勤奋好学，青中年时代便在经史、文学、书画、金石、音乐诸方面取得极高成就，是著名的“吴兴八俊”之首。入元后，他被荐入朝，备受荣宠，仕至翰林学士承旨，荣禄大夫，富贵显赫，但对书法、绘画的研究与实践则从未暇怠，终于开生面，登高峰，力纠南宋晚期书坛画苑的积习，开启了一代新风，其影响之深广，同代诸大家无一可与比肩。\n赵孟頫的书法与他的绘画一样，不仅诸体兼擅，真、草、隶、篆都取得极高成就。特别是他的楷、行，更是力追晋唐，妙集众长，融通贯化，自成其潇洒隽美，朗润清华，既有古意又具今貌的“赵书”风韵。鲜于枢称“子昂篆、隶、真、行、颠草为当代第一”，应该是言出由衷的。\n赵氏书法流传不少，一是因为求索甚众书写勤快，一是历来受到珍视，得到妥善的保存。不过，他的书迹如今已大多归之于世界各大博物馆了，民间绝少留存。今春现身中国嘉德的赵书《致宗元总管札》便是近二十年来拍卖市场难得一见的赵孟頫手墨。",[23,119,25,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640a960cf1ed87720690f810e9c26c25.jpg",[543],{"id":22114,"slug":22115,"title":11028,"dynasty":54,"author":3999,"museum":227,"description":16560,"tags":22116,"thumbUrl":22117,"material":217,"size":217,"collection":217,"collections":22118,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},234222,"shan-shui-juan-sun-zhi-234222",[23,24,25,7,29,114,27,118,405,34,31,66,35,610,3874,1298,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":22120,"slug":22121,"title":11028,"dynasty":250,"author":22122,"museum":227,"description":22123,"tags":22124,"thumbUrl":22125,"material":217,"size":217,"collection":217,"collections":22126,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},234217,"shan-shui-juan-weng-song-nian-234217","翁嵩年","翁嵩年（1647至1728），字康饴，号萝轩，钱塘（今杭州）人。康熙二十七年（一六八八）进士，仕为广东提学。以枯笔作林峦峯岫，气质古雅疏拙，画家习气，毫发不能犯其笔端。曾得青玉版十三行，旋进之内府。",[23,24,25,7,114,118,29,34,117,35,31,690,692,641,3166,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e42ea5c559a1dba39efffa7bc3a5d.jpg",[],{"id":22128,"slug":22129,"title":22130,"dynasty":250,"author":3062,"museum":20,"description":22131,"tags":22132,"thumbUrl":22133,"material":1411,"size":22134,"collection":217,"collections":22135,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},234180,"dong-ting-she-yue-juan-wang-hui-234180","洞庭赊月卷","对于唐寅，虽然王翚多有临仿，但效果并不尽如人意。唐寅创造的极富线条感的皴法，是以长披麻皴兼以长斧劈皴为主，逐渐摆脱斧劈皴的侧锋用笔，并延长它们，加上线条性，挺劲中含柔和，且皴法简练，中锋与侧锋兼施，我们且称之为“长条斧劈皴”。反观王翚笔下的唐寅，用笔迅疾，冗笔过多；用墨水分较大，使得线条重叠涣漫，有时会形成线条堆叠出的墨块。线条跳跃、挑剔，出锋尖锐、刻露，线条做出尖锐的转折，而唐寅的转角是和缓舒缓的，呈现优雅从容的圆弧状。这些特征使得王翚临仿唐寅风格的画作在一定程度上显得粗野与鲁莽，失去了文雅与含蓄。如创作于康熙十一年壬子（1672）的《云溪高逸图》卷（故宫博物院藏）、创作于康熙十七年戊午（1678）的《仿唐寅洞庭赊月图》卷（故宫博物院藏）、创作于康熙二十二年癸亥（1683）的《写唐解元诗意山水图》轴（南京博物院藏）等，画面中皴法草率，处处冗笔，纵然是结构复杂，但对于笔墨使用度的掌控不如唐寅，细节的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[23,24,25,7,114,27,29,118,120,119,115,196,64,34,2993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":22137,"slug":22138,"title":22139,"dynasty":54,"author":22140,"museum":20,"description":22141,"tags":22142,"thumbUrl":22143,"material":1411,"size":217,"collection":217,"collections":22144,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},234147,"xie-sheng-shu-hua-juan-wang-gu-xiang-234147","写生书画卷","王谷祥","王榖祥 （1501-1568），字禄之，号酉室，长洲（今江苏苏州）人。嘉靖八年（一五二九）进士，官吏部员外郎。善写生，渲染有法度，意致独到，即一枝一叶，亦有生色。为士林所重。中年绝不肯落笔，凡人间所传者，皆赝本也。书仿晋人，不坠羲之献之之风，篆籀八体及摹印，并臻妙品。卒年六十八。",[23,24,25,7,114,1818,120,193,274,277,278,194,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea5c2be707b2e0f8af30540e90fe00f.jpg",[],{"id":22146,"slug":22147,"title":22148,"dynasty":54,"author":20309,"museum":20,"description":22149,"tags":22150,"thumbUrl":22151,"material":442,"size":217,"collection":217,"collections":22152,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[23,24,25,7,120,27,28,114,29,62,63,64,116,275,254,35,119,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":22154,"slug":22155,"title":22156,"dynasty":54,"author":1030,"museum":20,"description":22157,"tags":22158,"thumbUrl":22159,"material":3865,"size":22160,"collection":217,"collections":22161,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},233708,"yi-an-tu-juan-tang-yin-233708","毅庵图卷","此以别号图为题材。图中描绘了松竹清幽、蕉石雅洁的庭院，茅屋中，一高士欹坐执麈，作遐观之状。笔墨苍润挺秀，设色清雅明丽。此高士乃文徵明三十年前砚友朱秉忠，别号毅庵，秉志高洁，为人清简，是一位优游林泉、笃爱诗书的隐士。",[24,25,7,114,27,120,119,118,29,61,34,1857,35,338,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7603e5376692e6fa453279e5f734de65.jpg","纵30.7厘米 横112.8厘米",[],{"id":22163,"slug":22164,"title":22165,"dynasty":54,"author":2292,"museum":56,"description":22166,"tags":22167,"thumbUrl":22168,"material":442,"size":22169,"collection":217,"collections":22170,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},232775,"han-guan-zi-qi-tu-juan-zhang-hong-232775","函关紫气图卷","这是一幅牧童放牛图，小牧童们或坐于牛背上，或用劲拽缰绳，或与牛打闹，童趣十足。画面上牛的形态各不相同，或抵角打闹，或卧于一起，或母子情深。",[23,24,25,7,114,91,61,196,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1e79cb5d7e9232f9f8d67a1a85b087.jpg","27.3x441.3厘米",[],{"id":22172,"slug":22173,"title":22174,"dynasty":133,"author":534,"museum":56,"description":22175,"tags":22176,"thumbUrl":22177,"material":442,"size":22178,"collection":217,"collections":22179,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},232592,"you-jun-si-shi-ba-zhao-meng-fu-232592","《右军四事》跋","赵孟頫的书法，成就最高的是楷书和行书。传世的楷书名作有《胆巴碑》、《湖州妙严寺记》、《仇锷碑》等；小楷有《汲黯传》等；行书作品不少，如《洛神赋卷》、《赤壁二赋帖》、《定武兰亭十三跋》等。\n他作品最主要的特点，无论楷书还是行书，都很工整，四平八稳。温和、典雅是他书法的主要特色。虽然他对晋人书法下过很深的工夫，但晋人书法中精妙的用笔，在他的作品中几乎没有体现；或者说，他将晋人笔法的精微之处大大加以简化了。尽管如此，他的作品总是洋溢着一种高贵、典雅的气息。这完全是他深厚的学问、修养所致。\n此帖为赵孟頫行书《右军四事》卷，纸本，24.4×117cm，美国大都会博物馆藏。他主张遵从古法，认为书法应用笔为上，所以勤摹古人，探究笔法。赵孟頫的书法深受东晋书法家王羲之的影响，《右军四事》卷可以看出赵孟頫对王羲之的虔诚。",[154,24,25,7,120,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe692d3c2e529a9ae742f8b2f7109e4b0.jpg","24.4×117cm",[],{"id":22181,"slug":22182,"title":22183,"dynasty":2618,"author":430,"museum":227,"description":22184,"tags":22185,"thumbUrl":22186,"material":1050,"size":1051,"collection":217,"collections":22187,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},231806,"jie-tou-sheng-huo-tu-juan-yi-ming-231806","街头生活图卷","以淡彩白描铺展巷陌日常，左首杂耍游街攒动着喧嚷人群，戏班造势的热闹冲破纸面；巷中邻里凭窗探看、闲人围坐笑谈，稚童穿梭打闹，揉碎了松弛烟火；右侧挑水赶路、呼喝结伴，把生计日常绘得鲜活温热。\n线条轻简灵动，不着浓墨重彩，却将町市浮生的鲜活尽数藏在笔底，仿佛能听见沿街的吆喝嬉闹，将平凡市井里的喧嚷温情一一铺陈开来。",[23,24,25,7,174,27,61,62,34,6296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb776da5756a918b54e1b1d020923c8a3.jpg",[],{"id":22189,"slug":22190,"title":22191,"dynasty":2618,"author":22192,"museum":227,"description":22193,"tags":22194,"thumbUrl":22195,"material":1050,"size":1051,"collection":217,"collections":22196,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},231788,"wu-jia-zhuang-shu-zhe-yong-zhi-tu-hui-juan-1-yi-shi-zhen-zhang-231788","武家装束着用之图绘卷-1","伊势贞丈","江户中期武家故实研究家。江户人。幼名万助，通称平藏，号安斋。其祖仕室町幕府政所，兼御所奉行，掌管将军殿中礼仪，代代世袭。室町幕府灭亡后，随之衰败。至德川三代将军家光时，其四代祖贞衡出仕，以伊势派礼法家被器重。10岁时继家业，为“御小姓番组入”。对中世以来以武家为中心的典章、制度、礼法、服饰、器具等的研究，堪称权威。1784年(天明四年)任“小普请入”，随后又成为中坊金藏的统辖。对神道也颇有研究。著述主要有《贞丈杂记》、《安斋丛书》等。",[7,27,28,61,156,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336bdcbefb2c0fde422ae8792e4be1f1.jpg",[],{"id":22198,"slug":22199,"title":22200,"dynasty":2618,"author":430,"museum":227,"description":22201,"tags":22202,"thumbUrl":22203,"material":217,"size":217,"collection":217,"collections":22204,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},231770,"wang-gu-feng-su-hua-hui-juan-yi-yi-ming-231770","往古风俗画绘卷一","以淡彩平涂兼白描勾勒，铺展古时闾里全景。黛瓦白墙的院落层叠排布，庭间花木点缀，晕染出雅致生机。巷陌庭院间人物错落，或闲坐晤谈，或操持杂务，将日常烟火一一铺陈。画作线条清隽柔和，无繁复晕染，却把民居形制与鲜活世情相融，如一卷凝固的旧时生活切片，将平淡鲜活的市井日常定格绢素，尽显古雅世俗意趣，让观者得以窥见往昔巷弄里的安稳烟火与脉脉温情。",[23,810,7,28,27,59,61,62,70,34,209,35,1847],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac420d80bd8013ec8e31c27bcee4a3d.jpg",[],{"id":22206,"slug":22207,"title":22208,"dynasty":250,"author":22209,"museum":4758,"description":22210,"tags":22211,"thumbUrl":22213,"material":442,"size":22214,"collection":217,"collections":22215,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},231589,"yang-niao-you-ju-tu-chen-zhen-yue-231589","阳鸟攸居图","陈震岳","此卷用水墨画各姿态鸿雁近百只，笔墨娴熟，造型生动，媲美边颐公。阳鸟即“随阳之鸟,即鸿雁之属”。\n陈震岳，字峻生，又字静斋，福建晋江人。善诗文、书画，所画芦雁尤佳。常于江天暮景，观雁之飞鸣起伏，而得其神妙。",[23,24,25,7,114,28,196,275,985,22212,2398,34,4002,154],"湿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1686057e9b26e44ff14f72b02d489fbf.jpg","26x498厘米",[],{"id":22217,"slug":22218,"title":22219,"dynasty":2618,"author":430,"museum":227,"description":22220,"tags":22221,"thumbUrl":22222,"material":1050,"size":1051,"collection":217,"collections":22223,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":6686},230810,"liu-shi-can-juan-yi-ming-230810","刘氏残卷","此卷小行书简净松灵，结体萧散天然，暗合晋唐书风的清隽散淡。纸页斑驳泅渍，残损之间更添古旧沧桑，却无损笔墨间的林下清韵。\n书者落笔毫无雕琢匠气，顺着笔势自然游走，将玄学语录写得简远疏放。字里行间浸着旧世文人的隐逸襟怀，仿佛可见执笔人展卷挥毫时，神游物外的澹泊情态，随性之中藏着沉静的风雅意趣。",[25,7,119,120,193,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d4e32fb79a9047442fc592223fd7c8.jpg",[],{"id":22225,"slug":22226,"title":22227,"dynasty":2618,"author":430,"museum":227,"description":22228,"tags":22229,"thumbUrl":22230,"material":1050,"size":1051,"collection":217,"collections":22231,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":446},230789,"fu-ben-hang-ji-jing-juan-di-shi-jiu-ling-zi-shang-bu-yi-ming-230789","佛本行集经卷第十九令字上部","此卷写经墨色沉凝匀净，古绢底色愈发衬出笔墨的温润朴拙。整体字形方正端稳，排布齐整肃穆，尽显写经体的法度与虔诚。起收笔利落圆融，笔画舒展克制，不见张扬却自带着沉静的力量。\n书写者以恭谨之心抄录经文，字字排布如列阵般齐整，笔意始终平和内敛，将宗教文本的庄肃融于笔底，带着中古写本特有的静穆古雅气质，静静诉说着书写之时的敬畏与安然，尽显传统写经书法的匀净之美。",[173,7,537,540,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722b701de4b520d9521c96ebd965c05e.jpg",[],{"id":22233,"slug":22234,"title":22235,"dynasty":2618,"author":430,"museum":227,"description":22236,"tags":22237,"thumbUrl":22238,"material":1050,"size":1051,"collection":217,"collections":22239,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},230549,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-1-yi-ming-230549","明清古画动物山水粉本图卷-1","此作以淡设色写就，竹枝蜿蜒横斜，两只绶带鸟栖于枝头，翎羽晕染细腻，尾羽舒展飘逸，姿态悠然自得。左侧浅绿晕染牡丹与湖石，花叶柔润秀雅，清润雅致。\n全作用笔清劲秀逸，线条勾勒简练精准，设色浅淡明净，无浓艳堆砌之意，尽显平和娴静的文人意趣。简淡笔墨间晕染出花木禽鸟的灵动生机，带着写生的鲜活意致，尽显传统花鸟的幽隽雅致之美。",[23,24,27,28,7,209,1857,278,524,456,281,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e497c2669ce7f84f921f5e8bdcf52d4.jpg",[],{"id":22241,"slug":22242,"title":22243,"dynasty":2618,"author":430,"museum":227,"description":22244,"tags":22245,"thumbUrl":22247,"material":217,"size":217,"collection":217,"collections":22248,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},230532,"di-yu-hui-juan-tang-zhou-an-zheng-2-nian-yuan-hua-yi-ming-230532","地狱绘卷.棠洲安政2年原画","此卷仅存残幅，以精巧挂饰为视觉重心。细劲的墨线勾勒出构件棱角与垂绦柔态，淡彩晕染收敛克制，将金属的冷锐与织物的轻垂质感对照得恰到好处。朱红小印落于素净底色之上，留白处似隐去了幽冥叙事，只留这一件器物，静穆之中暗合独有的幽玄冷意，让观者自能揣度彼岸世界的森然氛围，极简画面承载着对幽冥意象的隐晦描摹，清冷雅致间暗藏着传统绘卷的肃穆底色。",[7,25,173,174,27,61,22246],"地狱场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c8cdc42dba50db62002dbda806f404.jpg",[],{"id":22250,"slug":22251,"title":22252,"dynasty":250,"author":430,"museum":227,"description":22253,"tags":22254,"thumbUrl":22255,"material":217,"size":217,"collection":217,"collections":22256,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},230339,"luo-han-du-hai-tu-yi-ming-230339","罗汉渡海图","开篇海门轻启，仙娥探身，沧澜翻涌成涡，细密灵动的线条将水势浩渺汹涌尽显。罗汉们或乘龙踏浪，或引虎随行，奇妖异仆持械护法，红芒隐于周身，诡谲间不失神圣气象。\n\n后半段峰崖叠翠，古松虬劲，众罗汉缓行林间，或驻足对谈，或盥手小憩，神态悠然松弛。全卷工笔设色雅致清润，人物形貌各异，毛发衣褶分毫毕现，山海之景虚实相生，将渡海登岸的奇幻禅意晕染开来，叙事性与观赏性兼具，尽显仙佛绘卷的古典意趣。",[23,24,27,28,7,173,61,29,511,4337,1009,37,34,117,8952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff86155df94a6033f55373ac4bdebf0ed.jpg",[],{"id":22258,"slug":22259,"title":22260,"dynasty":250,"author":22261,"museum":227,"description":22262,"tags":22263,"thumbUrl":22264,"material":1050,"size":1051,"collection":217,"collections":22265,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},230101,"zheng-xi-tu-hua-xin-guo-chao-zuo-230101","征西图（画芯）","郭朝祚","郭朝祚，号硕斋，生卒年月待考。",[23,24,25,7,27,28,29,61,90,4139,405,31,11323,3488,3163,468,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20e6b15f1e24c8782fd41f118467348.jpg",[],{"id":22267,"slug":22268,"title":22269,"dynasty":54,"author":19020,"museum":227,"description":19021,"tags":22270,"thumbUrl":22271,"material":217,"size":217,"collection":217,"collections":22272,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},228919,"peng-lai-xian-yi-tu-leng-qian-228919","蓬莱仙弈图",[23,24,25,7,27,28,664,120,29,62,61,34,116,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8255e9747b858ce33ea55f9a372f599.jpg",[],{"id":22274,"slug":22275,"title":22276,"dynasty":54,"author":2680,"museum":227,"description":22277,"tags":22278,"thumbUrl":22279,"material":217,"size":217,"collection":217,"collections":22280,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},228399,"chi-bi-sheng-you-tu-juan-zhu-yun-ming-228399","赤壁胜游图卷","开卷是平远江景，淡墨晕染汀渚林峦，茅庐隐于烟霭疏树之间，清寂萧散，暗合夜游的幽旷意韵。后段行书铺陈全篇，开篇浓墨榜书造势，笔力沉厚雄奇，随后行笔渐趋舒展灵动，提按藏枯涩润秀之变，行气绵密贯通，将泛舟叩舷、酾酒临江的旷达心境，藏于笔锋流转之中。\n\n书画合璧，文辞、笔墨与画意融为一体，把夜游赤壁的浩渺襟怀，化作纸上烟岚与笔底波澜，尽显萧散狂逸的文人意趣，是书画互衬的精妙之作。",[23,24,25,7,114,120,119,29,115,34,193,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3b52125cd618b3e7941437626cd79b.jpg",[],{"id":22282,"slug":22283,"title":22284,"dynasty":54,"author":22285,"museum":227,"description":22286,"tags":22287,"thumbUrl":22288,"material":217,"size":217,"collection":217,"collections":22289,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},228396,"hua-niu-tu-juan-zhang-jun-du-228396","画牛图卷","张君度","此卷以水墨晕染群牛，情态鲜活灵动。或抵角相搏、野性尽显，或信步缓行、憨态可掬，或卧地慵憩、悠然自得，搭配随性牵引的牧童，将乡野牧歌的闲逸日常铺陈开来。\n\n笔墨极简却形神兼备，淡墨晕出蓬松皮毛，浓墨勾勒犄角蹄足，寥寥数笔便将水牛的厚重朴拙尽显。题跋书法与绘事相映，诗画合璧，文心与画趣交融。构图疏密张弛有度，从群聚到散走过渡自然，将田园间的悠然意韵缓缓铺展，尽显文人写意的抒情特质，是兼具写生传神与寄兴抒怀的佳作。",[23,24,25,7,114,28,91,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F456e6af9b7a3092979091028a8aeb964.jpg",[],{"id":22291,"slug":22292,"title":22293,"dynasty":54,"author":10715,"museum":151,"description":22294,"tags":22295,"thumbUrl":22296,"material":470,"size":19996,"collection":217,"collections":22297,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},228339,"zeng-zheng-gong-du-shi-wang-duo-228339","赠郑公度诗","金山顶鸿飞阁。秋山晚更青，垂老探玄冥。 漠漠朝多雨，苍苍夜降灵。 菊醑无客醉，萧韵与猿听。 辗转怀萧爽，银河展幔亭。 告大次寒阳山趣 懒人山是与，长夏触心光。 已见碧桃实，空思紫草芳。 辑书蛇性善，抚轸鹤音凉。 劝汝勤鞅掌，白头养石房。 上烟欲行 何道能留汝，生涯正未穷。 围城榆鼓稻，花风叶雨戎。 漕自江淮转，人才邹鲁通。 片帆安可问，海气远天空。 阳山郊 浞浞寻香岫，傍傍过水门。 江帆（安何）所事，村柳自无喧。 客况空高埠，莺音似故园。 不闻何处去，悦悟在岩根。 石惠召自浒墅入大石山。登象鼻诸峰。 牢落江湖客，偏将梵服寻。 苟非同采药，不易有幽心。 蔚荟消诸霭，琴书閟一岑。 足音无亦好，蚓食保芳林。 崇祯皇帝十六载，寓孟庄山志园灯下，书狂作数首，公度郑词丈正之。 孟津王铎年五十二岁笔",[23,119,1892,120,7,114,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e866cd7553ecb789aa57fe9c56edd66.jpg",[],{"id":22299,"slug":22300,"title":22301,"dynasty":18,"author":22302,"museum":227,"description":22303,"tags":22304,"thumbUrl":22305,"material":1050,"size":1051,"collection":217,"collections":22306,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},227940,"shi-liu-ying-zhen-tu-quan-juan-fan-long-227940","十六应真图全卷","梵隆","描绘的正是十六位罗汉在传法和生活的情景。应真是佛教中的罗汉，十六应真均是释迦牟尼的弟子，佛经上说他们常驻人间，受供养又为世人谋福音。画面上的十六位罗汉形态逼真，各具神采，他们有的经禅祐坐，有的净发挑耳，憨态可掬的笑容，怡然自得的神态，整幅画面宁静祥和，特别是罗汉自在超然的气质神韵跃然纸上。",[23,24,7,174,28,173,61,1298,117,4712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd10268ecf905a9121bc8da42041b337.jpg",[],{"id":22308,"slug":22309,"title":7392,"dynasty":250,"author":7393,"museum":227,"description":22310,"tags":22311,"thumbUrl":22313,"material":217,"size":217,"collection":217,"collections":22314,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},224567,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-224567","此作追摹古法，以苍劲斧劈皴勾勒首阳山巉岩硬石，尽显山峦枯寂荒寒。伯夷、叔齐席地对坐，衣纹圆劲凝练，神色沉郁而坚毅，将先贤守节不屈的志节暗藏于眉眼身形间。\n整卷气息沉穆高古，设色浅淡克制，简淡笔墨里见朴拙苍厚。既恪守原作肃穆格调，又融入自身细腻摹写之功，将乱世君子的嶙峋风骨与山野清寂氛围相融，让观者于笔情墨韵间，触摸到千年不移的忠义襟怀。",[24,154,7,60,27,118,61,29,1357,22312],"忠义","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54554e3c6cce8aff03f2293277073082.jpg",[],{"id":22316,"slug":22317,"title":22318,"dynasty":250,"author":3062,"museum":227,"description":22319,"tags":22320,"thumbUrl":22321,"material":217,"size":217,"collection":217,"collections":22322,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[23,24,7,27,29,118,28,32,34,33,613,3874,1857,985,2274,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":22324,"slug":22325,"title":22326,"dynasty":18,"author":430,"museum":227,"description":22327,"tags":22328,"thumbUrl":22329,"material":217,"size":217,"collection":217,"collections":22330,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},223659,"wen-chuan-tu-juan-yi-ming-223659","问喘图卷","此作用淡墨白描写就，右侧古木虬劲苍郁，浓墨点簇枝叶，衬出林间幽寂。画面左侧水畔空濛悠远，平沙浅滩愈发衬出乡野静穆。\n\n画中士人抬手问询，田夫敛袖作揖应答，神态恳切自然，身后侍童恭立持扇，氛围悠然庄重。耕牛垂首缓行，身姿朴拙生动，将典故融于乡野实景。\n\n构图疏密相宜，淡墨晕染水色空濛，简练线条精准勾勒人物神情与物态，设色简淡素雅，尽显清雅意趣，暗含体恤民生的古韵深意，平淡画面间尽显含蓄悠远的古典风雅。",[23,24,7,174,27,193,61,91,254,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae80987d2d826d7b80a5a3b01b261be.jpg",[],{"id":22332,"slug":22333,"title":22334,"dynasty":250,"author":430,"museum":56,"description":22335,"tags":22336,"thumbUrl":22337,"material":22338,"size":22339,"collection":217,"collections":22340,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},223486,"wu-kuan-lian-she-yi-ming-223486","无款莲社","画白莲群聚的白莲，白莲群庐山俗地净莲，是佛教末年山东林寺僧人慧远修士所建。 以慧远为首的“十八圣”，有两个界面，专职人员，有同伙，学佛修行。",[24,25,7,174,173,61,29,63,64,34,117,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdbbe4bdab61cf202a84f218f71d1300.jpg","絹本、設色","35x849cm",[],{"id":22342,"slug":22343,"title":22344,"dynasty":168,"author":21716,"museum":227,"description":21717,"tags":22345,"thumbUrl":22346,"material":442,"size":1050,"collection":217,"collections":22347,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},223389,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-di-si-5-bai-ju-yi-223389","古抄残卷《白氏文集》第三巻第四5",[23,6048,119,7,537,1973,540,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19dced12f884905a25a266f1e0403bdf.jpg",[],{"id":22349,"slug":22350,"title":22351,"dynasty":250,"author":4830,"museum":2658,"description":6815,"tags":22352,"thumbUrl":22354,"material":1411,"size":6822,"collection":217,"collections":22355,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},223314,"fa-jie-yuan-liu-tu-juan-8-ding-guan-peng-223314","法界源流图卷-8",[23,24,25,7,173,28,27,61,1298,1857,117,34,175,22353,213],"兽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79abe8c8eb4e0f02acfd507fe752e49e.jpg",[],{"id":22357,"slug":22358,"title":22359,"dynasty":250,"author":4830,"museum":2658,"description":6815,"tags":22360,"thumbUrl":22362,"material":1411,"size":6822,"collection":217,"collections":22363,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},223312,"fa-jie-yuan-liu-tu-juan-6-ding-guan-peng-223312","法界源流图卷-6",[23,24,25,7,28,27,173,61,116,1298,6221,5612,2804,22361,175,7958,2803,9619,7378,1505],"宝盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a35438080080731a3c195243346db2.jpg",[],{"id":22365,"slug":22366,"title":22367,"dynasty":54,"author":10715,"museum":1934,"description":22368,"tags":22369,"thumbUrl":22374,"material":442,"size":22375,"collection":217,"collections":22376,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},222535,"zi-shu-shi-hu-wu-shou-juan-wang-duo-222535","自书石湖五首卷","释文：石湖 物心流水会，草外即平皋。怀土佳兵厌，占云挟雨高。学狂希羽客，引笑佐溪毛。幽影皆为象，前滩响莫涛。瓜州大慈庵夏望 吾择慈庵寂，焚香起正心。杖因江稻植，山在寺门寻。楚越中区抱，金焦大壑深。紫天开素气，鸦路意阴阴。 贺九山村已遇枇杷熟，频过碌石园。远柯兼瀑影，古凸自柴门。骨傲仍多性，兰衰尚有根。昌阳飞半腹，石穴共寒温。 问牧斋拂水山崖 欲履虞山迳，还赊六尺筇。思君偕寤语，似共万溪松。桂酒留华榭，天门落古镛。可知头尽皓，更得扰玄龙。 丙戌五月朔，王铎书。",[23,119,120,7,114,193,29,9039,8099,12171,22370,196,420,22371,22372,3823,2143,922,22373],"兰草","石穴","柴门","诗歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb46539435de274822f16f672ccbf5c3.jpg","27X253cm",[],{"id":22378,"slug":22379,"title":22380,"dynasty":54,"author":2680,"museum":1934,"description":22381,"tags":22382,"thumbUrl":22383,"material":120,"size":22384,"collection":217,"collections":22385,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":185},222483,"shu-gui-tian-fu-zhu-yun-ming-222483","书归田赋","本册因无年款，故鉴赏者据其书风未臻晚年豪放不拘之境界，多定为祝允明中年之作，应可信。本册行书一段，风格中蕴涵了苏、黄、米、赵，尤其以赵子昂的影响为最多，但又不是全仿，意在通过赵氏而上追晋、唐意趣；草书一段，仍是规矩有度，而未放任挥洒。两段用纸相同，应为同一时期所书。从某种意义上说，本册应该是祝允明尝试着将宋、元意趣融入晋、唐法度时期的作品。就书法风格而论，与他正德五年（1510年）所书的《等诗卷》(珍藏美国普林斯顿大学美术馆)等较为相近.因此,它们应该中祝允明50岁前后尚未入仕时期的作品,可视为祝允明中年时期的书法精品.",[23,119,120,7,442,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374037d1a0c29dd6b0ec54a9a592160b.jpg","纵22.0 厘米横102.5 厘米",[],{"id":22387,"slug":22388,"title":22389,"dynasty":54,"author":1030,"museum":227,"description":22390,"tags":22391,"thumbUrl":22392,"material":442,"size":22393,"collection":217,"collections":22394,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},222349,"man-xing-mo-ji-quan-juan-tang-yin-222349","漫兴墨迹全卷","唐寅不仅善诗文，尤善丹表，山水、人物、仕女、花鸟、竹木无不精工，可以说其书的名为画名所掩。他所以能取得如此成就，与他所处环境有关，苏州多收藏家、裱画店，为他提供了观摩学习机会，他又与当时的名画家周臣、沈石田、王鏊、文徵明等人交往，在这种浓郁的文化氛围中再加上他的聪敏才智，造就了一代画家在艺术上的成功。唐寅变精于书法，其书上溯亚唐，尤得益于赵孟用笔之法，点画温润妍雅，结字微带欹侧之势，虽有薄弱之评，但字里行间，却洋溢着一种超轶的书卷之气，本册所载《唐寅温兴墨迹》是其为友人所书的自作温兴诗，通卷千余字一气呵成，用笔精到细腻，体势向右欹侧，富有生动姿态，如高雅之士，闲庭信步于阆苑林木之间，十分耐人寻味，卷后末署书写年月，但从其淡雅自然的笔调之中当为其晚年所书，唐寅传世真变甚少，除《落花诗册》外，《漫兴》便是其主要的代表作品，今影印出版，以飨广大书法爱好者。",[23,119,120,7,539,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7db8ea62f9571bed4949f49979c87fb.jpg","36.8x422厘米",[],{"id":22396,"slug":22397,"title":22398,"dynasty":54,"author":13685,"museum":5696,"description":22399,"tags":22400,"thumbUrl":22401,"material":8070,"size":22402,"collection":217,"collections":22403,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},221874,"ming-cheng-tang-zi-shu-shi-shi-zhang-juan-huang-dao-zhou-221874","明诚堂自书诗十章卷","历来书家都赞成“书如其人”的观点。在唐以前文人对人品美的概括是侧重于人的心灵自由，不太强调儒家的“忠、孝、节、义”，然而南宋以降，对人品美的概括则逐渐偏向对忠诚、气节等伦理方面，“失节”成为人品的最大污点。\n因而在评论其书时，也往往带有一些讥讽。这也是人们在评价明末清初的几位书家时，推崇倪元璐、黄道周、傅山，而对王铎则颇有微词的缘由。黄道周是明代最具创造力的书家之一，同时也是人品和书品完美结合的一位书家。黄道周是传统文人士大夫的代表，是儒家信条和道统标准的信奉者，一生忠孝、正直。正是他的这种精神，才造就了他的人格魅力，他的书法才会充满生命力和感染力。\n黄道周把忠孝当作是言行的准则，在他的一生中，把“忠孝”放在首位，入则言朝，出则守墓，在其二十多年的为官经历中，黄道周都保持了一个儒家传统卫道士的形象，对一些违背原则的事情据理力争，从不妥协，表现了其忠肝义胆的气节。",[23,119,7,120,54,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0385f62d31dadbc0e3c12e8f5121a4.jpg","纵30cm，横305cm",[],{"id":22405,"slug":22406,"title":22407,"dynasty":133,"author":22408,"museum":1514,"description":22409,"tags":22410,"thumbUrl":22411,"material":442,"size":22412,"collection":217,"collections":22413,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":128},221799,"yu-wu-yin-yuan-hui-shi-feng-zi-zhen-221799","与无隐元晦诗","冯子振","此为冯子振亲自挥毫赠与日本僧人无隐元晦的书迹，内容为冯子振的三首七言绝句。无隐元晦为日本丰前人，于延庆一年（西元1308年）渡元，在中峰明本处修行，于嘉历元年（西元1326年）返回日本，并成为京都建仁寺的住持。除了本件之外，尚有其他冯子振写与无隐元晦的书迹传世，由此可知冯子振十分重视无隐元晦。",[23,119,120,7,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae8503410725a0e02dafd7e29714ef6e.jpg","纵32.7cm 横102.4cm",[],{"id":22415,"slug":22416,"title":22417,"dynasty":54,"author":9148,"museum":8087,"description":22418,"tags":22419,"thumbUrl":22420,"material":16046,"size":22421,"collection":217,"collections":22422,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":217},220738,"cao-shu-han-jing-pian-zhang-rui-tu-220738","草书汉京篇","通篇行气贯注，笔墨雄健恣肆。字形多作方折之势，跳荡拗折，打破寻常草书的圆转柔媚，以硬峭笔锋斩截挥运，线条棱角分明，筋骨尽显。\n字间疏密错落，欹侧相生，通篇布满奇崛张力，字势牵引却断而不断，视觉冲击力极强。墨色枯润浓淡交替，重墨沉厚处力透纸背，枯笔飞白处萧散劲挺，将心绪寄于笔墨起伏，狂放奇逸脱尽尘俗，独开生面，尽显磅礴奇崛的书法风神。",[154,24,25,7,119,1892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9fc2cdd03420daa53ffe3aeedabd89.jpg","32.5 × 623.5厘米",[],{"id":22424,"slug":22425,"title":22426,"dynasty":133,"author":22427,"museum":8087,"description":22428,"tags":22429,"thumbUrl":22430,"material":22431,"size":22432,"collection":217,"collections":22433,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":217},220719,"xing-shu-shi-wen-he-juan-6-zhang-yu-yang-wei-zhen-wen-xin-220719","行書詩文合卷6","張雨, 楊維楨, 文信","此卷书法为张雨、杨维桢、文信三件书迹合卷，均曾经清代海山仙馆主人潘仕成收藏，并收刻于海山仙馆丛帖，此卷后附装的三张墨拓即从此出。其中张雨、杨维桢墨拓分别出自《海山仙馆藏真》卷七和卷九，文信墨拓则出自《海山仙馆藏真三刻》卷二。三幅书法合为一卷，盖自海山仙馆散出以后事。",[119,120,7,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3fe57a3eae7496e2d6dc9d222e01ec.jpg","水墨,紙本,手卷","30.5 × 77.5 厘米 30.5 × 53 厘米 30.5 × 44.5 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（1503年－1583年），字子升，号少湖，一号存斋，直隶松江府华亭县（今上海市松江区）人[1][2]，是明代政治家、文学家及思想家，官至内阁首辅、吏部尚书、建极殿大学士。\n徐阶自幼善于读书，少年时期结识阳明学江右学派门人聂豹。他十八岁时乡试中举，弱冠之年于殿试中为探花，受到杨廷和极高的赞赏。嘉靖早年张璁执掌朝廷时，徐阶直言反对张璁的提议，被贬出京城。当时嘉靖帝因此刻石说“徐阶小人，永不录用”，而徐阶在地方督学十数年后，在夏言的帮助下回到京城。徐阶回京后先主事国子监数年，在内结识杨继盛等谏臣，随后辗转六部之间。他先后主事礼部、吏部、翰林院等重要机构，在翰林院结识了后来的重臣张居正、高拱等学生。\n徐阶随后依靠其出众的青词入直无逸殿，冷静处理了危在旦夕的庚戌之变，期间以礼部尚书之职负责北京城防，拖延敌军，成功保护京城不被攻入。他又改革了吏部、礼部、太医院所存在的旧弊，提高了他们的办事效率。于嘉靖三十一年入阁后徐阶因严嵩独断朝政，隐忍多年，最终取代严嵩的首辅之位，尽反严嵩之政[3]，试图以“三语”政纲改良内阁的运作现状。嘉靖末，徐阶成功劝阻皇帝南幸承天府，叫停当地大兴土木；帝弥留之际，徐阶又劝其停服丹药，并将左右方士和相勾结的太监一体斩决。嘉靖驾崩后徐阶拟写了《嘉靖遗诏》和《隆庆登极诏》，在两张诏书下达后，朝野大臣都举手相贺，将此举和杨廷和所拟《嘉靖登极诏》被统称为正始正终第一政。但是，明人支大纶却批评徐阶说他只是依靠玄奇的青词入直，在任期间献媚讨好他人，没有做出任何政绩，只有到了隆庆时期才有所改善。\n嘉靖死后，由于早年辅佐穆宗有功，隆庆年间徐阶依旧担任首辅，他多次调和穆宗和外廷的矛盾，在两年中多次上疏阻止宦官（中官）获得更多的权力，于隆庆二年成功引退致仕。徐阶共入内阁十七年，元辅七年，从政长达四十余年，时人誉为“元臣”、“名相”。他不但足智多谋，本身度量、器识都是上品，受到冯梦龙等人的推崇；现代学者对其则多有争议，也有一些人对他持有肯定态度，如谭平先生认为徐阶对比与其学生张居正，更加沉稳也更少贪恋权位。\n徐阶在任内培养了张居正等后来居上的政治家，在任期间试图改变内阁在朝廷中的位置，对后期内阁制度做出很大影响；同时又试用新晋官员用他的方法教导宦官，试图依靠义理让他们不成为刘瑾等人的后继者，也可以借此改变宦官在朝廷的面貌和作用。另一方面，抗倭寇名将张经被冤杀，以及胡宗宪瘐死狱中，也都是徐阶所一手造就，甚至高拱与张居正日后不和，亦与除阶不无关系。。在徐阶致仕后，由于家中子弟作恶多端，徐阶被牵扯其中，多次与牢狱只有毫厘之差，甚至不得不致书好友求救，高拱等人同时又以旧案诘难徐阶。直到万历十一年，徐阶于华亭家中逝世，赠太师、谥文贞",[250,119,25,7,120,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2edcd8c185ef437e2fb3c3df1b6bfd6.jpg",[543],{"id":22723,"slug":22724,"title":22725,"dynasty":2618,"author":22726,"museum":227,"description":22727,"tags":22728,"thumbUrl":22729,"material":442,"size":217,"collection":543,"collections":22730,"showCount":699,"zanCount":48,"manualWeight":48,"mainColor":128},240998,"zhi-er-jia-shu-juan-song-ling-shen-240998","致儿家书卷","宋令申","通篇以行草挥就，笔墨朴拙率意，全无刻意雕琢的匠气。笔触随心绪流转，时而急促潦草，时而舒缓停驻，将万里念亲之情藏在点画细节之中。\n\n满卷皆是絮絮家常与谆谆叮嘱，文书相融，尺牍不再只是笔墨载体，更成为跨越山海的思念具象。字里行间浸透异乡亲人的牵挂，带着旧时光里最质朴的烟火温情，是执笔人日常心性与笔墨功底的自然流露，将私人的思亲心绪，化作可供共感的传世笔墨。",[23,119,7,120,1892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb270767dbd0b629547c5f2e9089da1c1.jpg",[543],{"id":22732,"slug":22733,"title":22734,"dynasty":54,"author":2680,"museum":20,"description":22735,"tags":22736,"thumbUrl":22737,"material":8070,"size":217,"collection":543,"collections":22738,"showCount":699,"zanCount":48,"manualWeight":48,"mainColor":185},240702,"wu-kuan-she-zhi-qu-juan-zhu-yun-ming-240702","无款射雉曲卷","祝允明(1460-1526)，字希哲，长洲人。允明生而枝指，故自号枝山，又号枝指生。五岁作径尺字，九岁能诗，稍长，博览群集，文章有奇气，当筵疾书，思若涌泉。尤工书法，名动海内。",[23,154,24,25,7,119,120,1892,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc30610b9a344def6651e5496722c2d9f.jpg",[543],{"id":22740,"slug":22741,"title":22742,"dynasty":250,"author":18801,"museum":20,"description":22743,"tags":22744,"thumbUrl":22745,"material":22746,"size":22747,"collection":543,"collections":22748,"showCount":699,"zanCount":48,"manualWeight":48,"mainColor":128},240063,"lin-da-ling-tie-juan-fu-shan-240063","临大令帖卷","释文：\n献之白。奉别告。承安和，庆慰。极冷。不审尊体复何如。献之比日如复小胜，因夜行忽复下。如欲作廗。今服药，尽温燥理。冀当可耳。然异极都不得，复小失和。卿恶亦不复得妄近生冷。体气顿至此，令人绝叹。行有佳酒便服。\n献之。承姑比日复小进退，其尔不得一极和，忧悚犹深。不审以服散，未必得力耳。比驎相闻。故云恶。悬怀。使君数得书也。\n愿余上下安和。知婢日夕疏慰意。育故羸。悬心。倪比健也。\n适奉永嘉去月十一日动静。故常患不宁。诸女无复消息。献之。\n八月十九日具疏。操之献之再拜。昨日诸愿悉达。奉奉告慰驰心。极冷。不审尊体复何如。操之创故不差。常恶。公故尔怏怏。献之昨来复下，如欲作廗。殊乏极。服石的丸，冀得力。谨白。不具。操之等再拜。\n嫂等承更恶，不审顷痊复不。必须散时。终得力耶。此药甚佳。想姊举体不能行履。服遂差。安西且无恙。府君属有和稀。久滞。行路同人，绝得此心。故当携其长幼诣。汝上下知彼骆驿。有书示。不足以慰吾意耶。冬间必欲至足下所居。承使君明练。不谓渐有胜也。君数集聚。然其大都可耳。吾止于月半间耶。\n献之等再拜。不审海盐诸舍，上下动静。比复常忧之。姊告无他事。崇虚刘道士鹅群并复归也。献之等当须向彼谢之。献之等再拜。\n甲辰初寒临为存翁词宗。真山。\n款署：“甲辰初寒临为存翁词宗。真山。”钤“傅山之印”白文印。\n此卷临王献之《安和帖》、《姑比日帖》、《愿余帖》、《适奉帖》、《昨日诸愿帖》、《嫂等帖》、《鹅群帖》诸帖，均见于《淳化阁帖》。卷后有邵松年跋，称此帖“随意挥洒，纯任自然，的是大令笔法”。书于康熙三年甲辰（1664年），傅山时年58岁。",[23,7,119,60,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3b5c19c9435926783098a1722640b2.jpg","绫本，草书","纵24.5厘米，横313 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，清顺治元年（1644）又投降清朝，历任吏科给事中、太常寺卿、大理寺卿、兵部侍郎、吏部右侍郎等职。富收藏，精鉴别书、画。著有《春明梦余录》《天府广记》《庚子消夏记》《九州山水考》《溯洄集》《研山斋集》等四十余种，多传于世。卒年八十五。其故宅即今后孙公园25号，寓号“研山堂”，内有“万卷楼”。入“贰臣传”。",[23,119,7,120,1892,193,114,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5519d9af27330914d2e823572b129f.jpg",[543],{"id":23477,"slug":23478,"title":19763,"dynasty":250,"author":23479,"museum":227,"description":23480,"tags":23481,"thumbUrl":23483,"material":1050,"size":1051,"collection":217,"collections":23484,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":49},240150,"shi-juan-yong-rong-240150","永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,24,25,7,120,119,193,114,27,28,118,482,483,6711,2153,404,116,196,2791,230,209,283,274,275,282,277,278,194,279,280,997,1820,64,23482,454,962,254],"镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bef9db8d13140b80a43b3a09f5f780.jpg",[],{"id":23486,"slug":23487,"title":23488,"dynasty":54,"author":2680,"museum":227,"description":23489,"tags":23490,"thumbUrl":23491,"material":442,"size":217,"collection":543,"collections":23492,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},240065,"gu-shi-shi-jiu-shou-juan-zhu-yun-ming-240065","古诗十九首卷","祝允明(1460-1526) 字希哲、晞喆。因右手多生一指，故自号支指生、枝指生、枝指山人、枝山、枝山居士、枝山樵人等。世称“祝京兆”。长洲(今江苏吴县)人，自幼就聪慧过人，五岁时能写一尺见方的大字，九岁会作诗，以后博览群书，诗文有奇气。弘治五年（1429）中举，以后便久试不第， 正德九年（1514），他被授为广东兴宁县知县，在岭南五年，后升任为应天(今南京)府通判，正德十四年（1519）年称病还乡。他的仕途与他的祖辈和儿子来说，都相差甚远，实际上他是一个不得意的文人。他和唐寅等人意气相投，玩世狂放。与唐寅、文徵明、徐祯卿并称为 “吴中四才子”。晚年，他喜独居作诗文，崇尚魏晋风流和禅宗，生活更加放浪形骸而不乐拘检，甚至玩世不恭，在吴门派中，他算最具有文人特质的一位。祝允明父为徐有贞女婿，自己又是李应祯之婿，祖父祝颢为进士，曾官至山西布政司右参政，相信在这样的环境里，他受到多方面的熏染。《明史.文苑传》称其“能诗文，尤工书法，名动海内。”他的楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追“二王”，其书《出师表》谨严浑朴。晚年，临写《黄庭经》不注重点画的形似，而结构疏密，转运遒逸，神韵益足。嘉靖末的书法家王樨登说：“古今临《黄庭经》者，不下十数家，然皆泥于点画形似钩环戈磔之间而已，......枝山公独能于矩绳约度中而具豪纵奔逸意气。”他的草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。人称：“枝山草书天下无，妙酒岂独雄三吴！” 清代朱和羹《临池心解》认为：“祝京兆大草深得右军神理，而时露伧气；小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。”代表作有《草书贾至大明宫早朝诗轴》，《箜篌引（即草书曹植诗手卷）》和《赤壁赋》等，流利洒脱，奔放不羁。《名山藏》说：“允明书出入晋魏，晚益奇纵，为国朝第一。",[23,154,24,25,7,114,193,119,1892,120,1229,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3a954db750c98792c82776e8c12da1.jpg",[543],{"id":23494,"slug":23495,"title":23496,"dynasty":54,"author":23497,"museum":20,"description":23498,"tags":23499,"thumbUrl":23501,"material":442,"size":23502,"collection":543,"collections":23503,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},240024,"xing-shu-lin-jie-jin-shi-juan-cai-yu-240024","行书临解缙诗卷","蔡羽","《临解缙诗》释文\n款署“嘉靖丙申”。丙申为明嘉靖十五年（1536年）。钤“九逵”印。\n《临解缙诗》书法深得王羲之笔意，尤其得力于《集王圣教序》和《兰亭序》。笔势遒逸俊美，流媚多姿，宛转得势，结字清秀。李日华《六研斋笔记》中云：“蔡林屋行押书，遒美有逸韵。”",[23,119,7,120,60,193,114,627,555,1409,1937,14084,23500,483,454,482,6711,1071,404],"浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf3bf5705f74db8508254a8b8f7366f.jpg","29×822.2cm",[543],{"id":23505,"slug":23506,"title":23507,"dynasty":54,"author":23508,"museum":227,"description":23509,"tags":23510,"thumbUrl":23511,"material":217,"size":217,"collection":543,"collections":23512,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},239890,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239890","明代名人，申时行等墨宝","杨一清","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美。",[119,120,7,114,25,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01fbbe7667dd57131d3c4f62400f5f7a.jpg",[543],{"id":23514,"slug":23515,"title":23516,"dynasty":54,"author":23517,"museum":227,"description":23518,"tags":23519,"thumbUrl":23520,"material":217,"size":217,"collection":543,"collections":23521,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":49},239885,"shou-xu-juan-wen-ti-ren-239885","寿序卷","温体仁","温体仁（1574年1月1日-1638年8月11日） ，字长卿，号员峤，浙江湖州府乌程县（今浙江省湖州市南浔区）人。明朝末年大臣，崇祯年间的内阁首辅之一。\n温体仁于万历二十六年（1598年）进士，选为庶吉士，万历年间历任翰林院编修、南京国子监司业、左谕德、左庶子、少詹事等职。天启年间升为礼部右侍郎兼翰林院侍读。崇祯初年升南京礼部尚书、礼部尚书，与周延儒联手阻止钱谦益入阁，并以“孤忠”“廉谨”的形象取得了崇祯帝的赏识与信任。崇祯三年（1630年）六月以礼部尚书兼东阁大学士，跻身内阁，成为次辅，两年半后累升至少傅兼太子太傅、吏部尚书、建极殿大学士。在此期间，他与首辅周延儒互相倾轧，并在崇祯六年（1633年）六月扳倒周延儒，自己取而代之，翌年晋升中极殿大学士，加少师。崇祯十年（1637年）六月因欲置钱谦益于死地而被崇祯帝怀疑“有党”，不得不辞职致仕。翌年病死于家中，享年六十六岁（虚岁）。崇祯帝追赠他为太傅，赐谥号“文忠”。\n温体仁为崇祯朝阁臣中居位最久者，辅政期间，明朝内忧外患的局势逐渐恶化。他几乎没有任何重要的建树与对策，而是一味排斥异己、迎合皇帝，尤其受到原东林党人士的憎恨。清修《明史》将他列入“奸臣传”。",[23,25,7,119,120,537,193,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae99c514dd9ba09f3b7efe1dc314d8ff.jpg",[543],{"id":23523,"slug":23524,"title":23525,"dynasty":133,"author":23526,"museum":227,"description":23527,"tags":23528,"thumbUrl":23529,"material":217,"size":217,"collection":217,"collections":23530,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},239672,"chun-hui-tang-ji-juan-ou-yang-xuan-239672","春晖堂记卷","欧阳玄","《春晖堂记》卷是元代欧阳玄创作的楷书书法作品。\n署款：“国史冀郡欧阳玄记”，款下钤“冀郡欧阳玄印”。\n鉴藏印有清安岐、乾隆内府、嘉庆内府、宣统内府诸印。\n卷后有元张翥、吴当、贡师道、程益四家题诗。\n《春晖堂记》是欧阳玄为王伯善的“奉亲之堂”所撰并书的记文。\n文中赞扬了王伯善对母亲的孝敬，同时又歌颂了王母的贤惠。\n从文中可知，此奉亲之堂名“春晖”,是当时的文人吴养浩据唐孟郊“谁言寸草心，报得三春晖”的诗意而起。\n此卷后面的诗跋咏颂的都是王伯善奉孝母亲之事，而不是对欧阳玄书法的评价。\n此书学苏轼，笔法浑厚稳健，刚劲流畅，笔画精到，起承转折分明，结体方扁，分间布白极其匀称，是欧阳玄合文章、书法为双美的代表作品。\n欧阳玄（？-157）字原功，号圭斋，浏阳人。\n祖籍江西。\n系欧阳修的族裔。\n清康熙年间修浏阳县志时因避康熙皇帝玄烨讳，改玄为元，所以又有欧阳元之称。\n115年（元延二年），取中进士第三名，为官4余年先后六入翰林，两为祭酒，两任主考，以史学成就最为突出，同时也以诗文闻名天下，因其学识渊博，文绩卓著，人称“一代宗师”。",[23,154,24,25,7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc486d24397cc66b8fc169a4d8a916a62.jpg",[],{"id":23532,"slug":23533,"title":23534,"dynasty":18,"author":430,"museum":227,"description":23535,"tags":23536,"thumbUrl":23537,"material":217,"size":217,"collection":217,"collections":23538,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":49},238129,"liang-shi-min-lu-ting-mi-xue-tu-juan-yi-ming-238129","梁师闵芦汀密雪图卷","以淡墨晕染铺就江天雪景，汀渚芦荻披雪偃卧，寒禽静栖其间，留白拓出江天寥廓空茫。笔意简淡清润，没有繁复皴擦，仅凭水墨晕染便勾勒出雪色裹覆下的冷寂江洲。\n清冷萧寒的氛围漫溢纸面，尽显潇湘冬雪的空濛澄澈，带着宋画独有的雅致静穆。观者仿若踏雪临江，看江天雪意萧索，望外寒沙半落潮，在这份冷逸幽澹的意境里，沉醉于冬日江渚的荒寂之美。",[154,24,25,7,28,114,27,29,985,21640,1185,115,196,193,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F016ed5eb355835f8e2c13be7da3c1a67.jpg",[],{"id":23540,"slug":23541,"title":23542,"dynasty":250,"author":23543,"museum":227,"description":23544,"tags":23545,"thumbUrl":23546,"material":696,"size":217,"collection":217,"collections":23547,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},234245,"chen-shu-hua-si-zi-jiang-de-juan-chen-shu-234245","陈书画四子讲德卷","陈书","陈书（1660–1736）是清代女画家。陈书出生于浙江省秀州（今嘉兴），以字“南楼”及号“上元弟子”、“南楼老人”著称。陈书被认为是清代第一位女画家，以及秀水画派的开创者。除了她本人的艺术成就外， 陈书的另一闻名之处是作为清代名臣钱陈群的母亲。在她丈夫早逝后，陈书独自抚养儿子长大。钱陈群在乾隆朝深得皇帝赏识，并将其母画作介绍予乾隆帝，因此陈书的画作相当一部分收入大内，现藏于北京故宫博物院和台北国立故宫博物院。陈书擅长人物、山水、花鸟。",[23,154,24,25,7,27,28,120,193,29,1298,116,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a83c11e883961e84fe7ffe9131110e1.jpg",[],{"id":23549,"slug":23550,"title":23551,"dynasty":54,"author":430,"museum":20,"description":23552,"tags":23553,"thumbUrl":23554,"material":23555,"size":23556,"collection":217,"collections":23557,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":49},234177,"ming-ren-bai-niu-tu-juan-yi-ming-234177","明人百牛图卷","此卷以平远视角铺展郊野水畔全景，群水牛或卧憩坡岸、或涉水抵角、或缓步悠游，百牛神态灵动无一处重样，尽显生趣。\n画师以水墨晕染区分皮毛虚实质感，浓墨点出牛角与眼眸，朴拙间不失细腻。坡岸枯木杂树以简劲笔法写出，浅淡墨色晕出水边苔草朦胧之态，晕染出江南郊野温润空寂的氛围感。\n画面疏密排布精妙，群牛错落铺陈繁而不乱，留白衬出郊野旷远意境，暗合宋式牧画的闲逸意趣，将田园牧歌的松弛诗意定格卷中，静中藏动，朴雅天真。",[23,24,7,114,28,91,254,255,486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704fa276913da6761043b6065ada12e0.jpg","绢本 ，设色","纵28.7cm，横377.5cm",[],{"id":23559,"slug":23560,"title":23561,"dynasty":54,"author":23403,"museum":227,"description":23562,"tags":23563,"thumbUrl":23565,"material":217,"size":217,"collection":217,"collections":23566,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},234165,"lin-mou-yi-shan-ze-za-shu-zhou-zhuang-juan-ma-yu-234165","临缪佚山泽杂树轴装卷","马愈， 明代书画家。字抑之，号华发仙人，人号 马清痴，嘉定（今属 上海市）人。其父 马轼曾以星占服务于军中，又是著名的院体画家。马愈于 明英宗天顺八年（1464年）中甲申科进士，后来官至刑部主事。马愈能诗，善书，工山水，登逸品。以诗文书画与江南士有广泛交游，著有 《马氏日抄》一卷。",[23,24,25,7,60,114,118,120,193,29,23564,117,64],"杂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd053d0aa504c020ce53dd9906b558821.jpg",[],{"id":23568,"slug":23569,"title":17241,"dynasty":54,"author":10715,"museum":380,"description":23570,"tags":23571,"thumbUrl":23572,"material":442,"size":23573,"collection":217,"collections":23574,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},232859,"san-tan-shi-juan-wang-duo-232859","释文：三潭。地灵深秘势峥嵘。倚石肃然旅魄惊。雷(声)响砰轰霖雨蓄。神共摩盪药苗荣。即观元气同开辟。岂与寒泉共死生。怪岛休将人境说。栖真玄灏有天声。予素未书隶。寓苏门始学汉体。恨年异壮。学之晚。虽然。羲之。高适五十可也。\n王铎 甲申春正月为顺後（无阝）亲丈书求教。",[119,120,7,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30053a0b6295f9524da88f105eacd750.jpg","27×158cm",[],{"id":23576,"slug":23577,"title":13946,"dynasty":133,"author":534,"museum":227,"description":9648,"tags":23578,"thumbUrl":23579,"material":1050,"size":1051,"collection":217,"collections":23580,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},232833,"bai-miao-luo-han-tu-juan-zhao-meng-fu-232833",[23,154,24,25,7,173,174,61,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985a756bb7fba498c697a86c800475dd.jpg",[],{"id":23582,"slug":23583,"title":23584,"dynasty":2618,"author":23585,"museum":227,"description":23586,"tags":23587,"thumbUrl":23591,"material":217,"size":217,"collection":217,"collections":23592,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},231827,"xiao-xian-he-ge-tu-juan-1-ku-tian-zheng-heng-231827","消闲和歌图卷-1","堀田正衡","这是一卷诗书画合璧的写意佳作，以淡赭素纸为底，大写意笔墨铺陈雅趣。浓淡干湿的墨色晕染出瑞兽、墨龙、折枝桃果、竹篮清供、幽草灵蛇与寒梅，笔意简劲纵逸，寥寥数笔便得物象神韵。日式和歌书法错落穿插于画幅之中，行笔舒展随性，与画作相映成趣。整体意境侘寂清雅，将文人消闲的幽远禅意融于笔墨之间，空灵疏朗，尽显随性自在的东方雅韵。",[23,24,25,7,114,27,174,120,193,272,5410,13988,23588,6221,1298,1926,962,4190,6254,511,4679,23589,61,337,1071,23590,1009],"盘子","猴子","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0668c72e7438d7eaf0064a20e69d82f.jpg",[],{"id":23594,"slug":23595,"title":23596,"dynasty":2618,"author":430,"museum":227,"description":23597,"tags":23598,"thumbUrl":23599,"material":1050,"size":1051,"collection":217,"collections":23600,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},231810,"kuang-seng-cao-zhi-tu-juan-yi-ming-231810","狂僧草纸图卷","以纯臻白描铺展长卷，铁线爽利洗练，不着一色却尽揽烟火躁动。从巷陌行伍到廊舍嬉闹，再转至烈焰惊惶，全景式铺陈出喧嚷乱象。屋宇架构以界画工整流利排布，衬出人物跳脱狂放。\n\n画中人物形神各异，或桀骜持械、恣肆狷狂，或仓惶奔逃、面露惊惶，将凡俗众生的情态一一铺陈。整卷叙事流畅自然，呼喝、惊呼仿佛随线条涌出，以极简笔墨勾勒出饱满鲜活的群像张力，尽显白描线条的叙事表现力与传神功力。",[23,24,25,7,174,59,61,62,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a599632024e0b5216cd04eb2ced3.jpg",[],{"id":23602,"slug":23603,"title":23604,"dynasty":2618,"author":430,"museum":227,"description":23605,"tags":23606,"thumbUrl":23607,"material":1050,"size":1051,"collection":217,"collections":23608,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},231776,"liu-qiu-feng-su-tu-juan-er-yi-ming-231776","琉球風俗图卷二","此作以工笔设色写实地铺展祭祀仪典。左侧俯瞰石砌祠宇墓垣，石纹朴拙厚重，匠人负具驻足，衬出场地的肃穆沉静。右侧仪仗队列绵长严整，旗幡舒卷，僧俗诸人衣冠有别，执事者持礼器、掌仪卫，依序徐行，将丧葬祭祀的仪轨细腻铺陈。\n\n设色淡雅克制，青、朱、褐诸色点缀素底，晕染出典仪的庄重氛围，笔致写实入微，将旧时琉球的民俗风貌凝于卷上，让湮没的礼制场景鲜活重现，是具象生动的民俗纪实佳作。",[23,24,25,7,28,27,61,69,4139,16198,34,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe2fd02bb4d8ab679342e0a3bbe2b7c.jpg",[],{"id":23610,"slug":23611,"title":23612,"dynasty":2618,"author":430,"museum":227,"description":23613,"tags":23614,"thumbUrl":23615,"material":217,"size":217,"collection":217,"collections":23616,"showCount":1037,"zanCount":1106,"manualWeight":48,"mainColor":128},231769,"xi-yang-jian-wen-tu-hui-2-shan-shui-xiang-gang-juan-yi-ming-231769","西洋见闻图绘-2-山水香港卷","此作为工写兼施的通景长卷，以淡赭花青晕染层叠峰峦，勾勒出山海相依的清润意境。画面右侧洋商埠地烟火稠密，公署高悬洋旗，尽显开埠后的异域风貌；海面之上中式艚船与西式夹板商船错落停泊，帆樯林立。\n\n整作将传统山水画的雅致笔墨，用于纪实描摹近代港埠盛景，既保留了传统山水的空蒙气韵，又细致还原了中西交汇的滨海日常，兼具审美价值与纪实史料意义，静然铺展出近代中外通商的鲜活图景。",[23,24,7,27,29,66,69,3874,9640,4139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb12ba86048fff4f09195dafa84d05d1.jpg",[],{"id":23618,"slug":23619,"title":23620,"dynasty":2618,"author":23621,"museum":227,"description":23622,"tags":23623,"thumbUrl":23624,"material":1050,"size":1051,"collection":217,"collections":23625,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},231744,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-er-fen-duan-gu-wen-chao-231744","江户时代 公余探胜图卷-二分段","谷文晁","谷文晁（1763～1841），日本江户时代的著名画家。曾广泛学习狩野派、圆山派、南画（水墨画）及西洋画法，并将各画种的表现手法相互借鉴，从而形成自己的风格。其曾为《集古十种》图录做插图，还曾游历各地画出大量风景写生画。弟子中有田能村竹田、渡边华山、谷文一、谷文二。",[23,24,25,7,27,29,468,34,1298,3004,3874,66,37,690,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f048beb44c9ac69d4eadd260d6c1a2c.jpg",[],{"id":23627,"slug":23628,"title":23629,"dynasty":2618,"author":23621,"museum":227,"description":23622,"tags":23630,"thumbUrl":23633,"material":1050,"size":1051,"collection":217,"collections":23634,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":128},231743,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-yi-fen-duan-gu-wen-chao-231743","江户时代 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公家列影图","藤原信实","淡墨清线勾勒出两列公家贵族，乌帽峨然，狩衣宽博舒展。人物姿态相近却神情微异，或垂目持简，或侧首敛容，笔致清劲秀雅，浅淡晕染衬出衣料的柔和质感，将旧族的矜贵端方缓缓铺展。\n\n长卷如徐徐展开的朝会剪影，队列带着仪式般的肃穆静雅，把贵族朝会的仪制风范凝在素纸之上。笔底藏着入微的观察，淡逸笔触间留存古雅和风，静穆中尽显旧时宫廷的规整气度，让千年前的朝堂群像鲜活如初。",[23,7,174,28,61,156,25,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35fdb5de6b2482a313e94254382da1c3.jpg",[],{"id":23654,"slug":23655,"title":23656,"dynasty":2618,"author":20426,"museum":227,"description":20427,"tags":23657,"thumbUrl":23658,"material":1050,"size":1051,"collection":217,"collections":23659,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":49},231630,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-shang-zhong-xia-shang-tu-zuo-guang-xin-231630","室町时代 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擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,154,24,25,7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45af0e2b190495cfb4d69b5a01f05ee.jpg",[],{"id":23720,"slug":23721,"title":23722,"dynasty":18,"author":430,"museum":227,"description":23723,"tags":23724,"thumbUrl":23725,"material":217,"size":217,"collection":217,"collections":23726,"showCount":1037,"zanCount":48,"manualWeight":48,"mainColor":2653},227574,"wei-mo-ji-jing-yi-ming-227574","维摩诘经","《维摩诘经变》根据《维摩诘经》而来，是很能反映中国文人阶层精神面貌的壁画。 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弘治十三年（1500年），陈献章病逝，终年72岁，谥号“文恭”。\n万历初年，从祀孔庙，著有《白沙子全集》。陈献章提出“学贵知疑”教育理论，强调“提出问题”之于学习与成长的重要意义，逐渐形岭南学派，倡导的白沙心学，打破程朱理学沉闷和僵化的模式，开启明代心学先河，成为宋明理学史上是一个承前启后、转变风气的关键人物，推崇倡导涵养心性、静养“端倪”之说，推动明代儒学实现了由理学向心学的转变，成为儒学发展史上的一个重要转折点。高扬“宇宙在我”的主体自我价值，突出个人在天地万物中的存在意义，对整个明代文人精神的取向产生了深刻影响。",[119,25,7,120,5431,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff043b0fe5d59c2e354cb465e0ecb0432.jpg",[],{"id":24222,"slug":24223,"title":24176,"dynasty":54,"author":24224,"museum":227,"description":24225,"tags":24226,"thumbUrl":24227,"material":1050,"size":1051,"collection":217,"collections":24228,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},241188,"shou-zha-ge-yi-long-241188","葛一龙","葛一龙. 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浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[54,120,119,7,274,482,1071,483,24235,454,193],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1e28fdcdfbbedc46c7f43d9be018d6.jpg",[543],{"id":24239,"slug":24240,"title":24241,"dynasty":54,"author":24242,"museum":227,"description":24243,"tags":24244,"thumbUrl":24245,"material":442,"size":217,"collection":543,"collections":24246,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},241082,"gu-lin-zhi-shi-ting-deng-shu-zha-juan-gu-lin-241082","顾璘至石亭等书札卷","顾璘","顾璘（1476年－1545年），字华玉，号东桥居士，世称“东桥先生”，长洲（今江苏省吴县）人，寓居上元（今江苏省南京市）。 [1] 明代政治家、文学家。\n顾璘于明孝宗弘治九年（1496年）登进士第，历任广平知县、开封知府、全州知州、台州知府、浙江布政使。期间参与平定刘六、刘七起义，政绩显著。嘉靖十六年（1537年）再度被启用为湖广巡抚，后升至工部尚书。嘉靖二十三年（1544年），以南京刑部尚书之职致仕归里，建成息园，时常与宾客置酒高会、诗文唱和。嘉靖二十四年（1545年）去世，享年七十岁。\n顾璘少有才名，以诗著称于时，与刘元瑞、徐祯卿并称“江东三才”，与陈沂、王韦、朱应登并称“金陵四大家”， [1] 顾璘亦是弘治十才子之一。著有《浮湘集》《山中集》《息园诗文稿》等。又曾评注杨士弘《唐音》。",[23,25,7,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b81495bbea7aed66ceb820bd011dfa2.jpg",[543],{"id":24248,"slug":24249,"title":24250,"dynasty":250,"author":24251,"museum":227,"description":24252,"tags":24253,"thumbUrl":24254,"material":442,"size":217,"collection":543,"collections":24255,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},241067,"lv-liu-liang-shi-juan-lv-liu-liang-241067","呂留良诗卷","呂留良","吕留良（1629—1683），明末清初杰出的学者、思想家、诗人和时文评论家、出版家。又名光轮，一作光纶，字庄生，一字用晦，号晚村，别号耻翁、南阳布衣、吕医山人等，暮年为僧，名耐可，字不昧，号何求老人。浙江崇德县（今浙江省桐乡市崇福镇）人。\n顺治十年应试为诸生，后隐居不出。康熙间拒应满清的鸿博之征，后削发为僧。死后，雍正十年被剖棺戮尸，子孙及门人等或戮尸，或斩首，或流徙为奴，罹难之酷烈，为清代文字狱之首。\n吕留良著述多毁，现存《吕晚村先生文集》《东庄诗存》。",[119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef5c772338fd427f0f598422ea971a9.jpg",[543],{"id":24257,"slug":24258,"title":24259,"dynasty":54,"author":23497,"museum":20,"description":23498,"tags":24260,"thumbUrl":24261,"material":442,"size":24262,"collection":543,"collections":24263,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},240987,"lin-jie-jin-shi-juan-cai-yu-240987","临解缙诗卷",[154,24,25,7,60,120,1892,119,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5159effe01a06bec1341cac211334d52.jpg","纵29厘米，横822.2厘米",[543],{"id":24265,"slug":24266,"title":24267,"dynasty":54,"author":24268,"museum":227,"description":24269,"tags":24270,"thumbUrl":24271,"material":1050,"size":1051,"collection":217,"collections":24272,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},240971,"lin-huai-su-zi-xu-juan-huang-cong-240971","临怀素自叙卷","黄琮","黄琮为宋朝官吏，字子方，莆田人（生卒不详）,唐校书郎黄璞的后裔，宋哲宗元符三年（1100年）中进士，授长溪县县尉，县尉主管社会治安。每次派员下乡巡查，他总是预先约束手下官吏，不得任意骚扰百姓。遇有重大巡查急务，他从不向地方百姓派款派夫，因此深得百姓敬重。",[23,119,1892,60,7,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21816f438bb9fedc54d6eb2696ac1166.jpg",[],{"id":24274,"slug":24275,"title":20805,"dynasty":133,"author":430,"museum":227,"description":24276,"tags":24277,"thumbUrl":24278,"material":1050,"size":1051,"collection":217,"collections":24279,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":49},240932,"wu-kuan-lin-huang-ting-jing-juan-yi-ming-240932","元初书法总的情况是崇尚复古。文宗天历初建奎章阁，专掌秘玩古物。元文宗常幸奎章阁欣赏法书名画，书法一度出现兴盛局面。赵孟頫，鲜于枢等名家，是这时期书法的代表。他们主张书画同法，注重结字的体态。但元代书坛纯是继承晋唐，没有自己风格，稍后于赵孟頫的康里巎巎还有些变化，奇崛独出于元代书坛。纵观元代书法，其成就大者还在真行草书方面。至于篆隶，虽有几位名家，但并不怎么出色。这种以真、行、草书为主流的书法，发展到了清代才得到改变。有元一代书风，仍沿宋习盛于帖学，宗唐宗晋，虽各有其妙，亦不能以一家之法立于书坛。",[119,60,537,7,25,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ea598e181e5f33c88722efa21b3f7c.jpg",[],{"id":24281,"slug":24282,"title":24283,"dynasty":54,"author":21262,"museum":227,"description":21263,"tags":24284,"thumbUrl":24285,"material":1050,"size":1051,"collection":217,"collections":24286,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},240924,"shu-shi-he-juan-ni-yuan-lu-240924","书诗合卷",[119,120,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd41c1f5cadd905d68619273d30ccdc.jpg",[],{"id":24288,"slug":24289,"title":24290,"dynasty":54,"author":430,"museum":227,"description":24291,"tags":24292,"thumbUrl":24293,"material":1050,"size":1051,"collection":217,"collections":24294,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},240910,"lu-yi-fen-xiang-lian-ju-juan-yi-ming-240910","陆釴焚香联句卷","开篇以擘窠大字落笔，墨色淋漓沉厚，笔力雄健苍浑，开张大气。后随行草长卷，笔锋灵动跳脱，笔墨枯湿浓淡富于层次变化，行气舒展连贯，将联句唱和的文思缓缓铺陈。\n\n通篇字里行间尽显文人雅集焚香清赏的幽远意趣，钤印朱红错落，与墨色相互映衬，古雅氛围愈浓，是兼具书法审美价值与文人雅致情怀的精品。",[24,25,7,120,193,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e6652642f379f32bd4b9b3488cf677.jpg",[],{"id":24296,"slug":24297,"title":23427,"dynasty":168,"author":430,"museum":227,"description":24298,"tags":24299,"thumbUrl":24300,"material":1050,"size":1051,"collection":217,"collections":24301,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},240802,"wu-kuan-xie-jing-can-juan-yi-ming-240802","此卷小楷气脉贯通，千余字排布齐整却灵动自然，尽显唐人写经典型韵致。结体以方整为基调，暗含欹侧之势，点画饱满圆融，起收笔带着淡淡篆隶古意，质朴雅致。\n\n朱笔校勘的痕迹错落其间，为古卷添上鲜活的人间烟火气，隐约可见抄经手虔敬沉潜的书写日常。泛黄的纸色衬着历久弥醇的墨色，字字安稳端严，既有宗教写经的恭谨肃穆，又不失文人小楷的舒展自在，是唐代民间书法造诣的极佳体现，亦是唐人日常书写的珍贵实物范本。",[23,119,540,537,7,626,627,173,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae2a504010c28d09d122872cc9a10cb2.jpg",[],{"id":24303,"slug":24304,"title":24305,"dynasty":250,"author":24306,"museum":227,"description":24307,"tags":24308,"thumbUrl":24309,"material":1050,"size":1051,"collection":217,"collections":24310,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},240630,"mei-hua-shi-juan-gu-ling-240630","梅花诗卷","顾苓","顾苓（1609~1682年后）字云美、一字员美，号塔影园客、荆蛮、浊斋居士，明遗民，篆刻取法文彭，有时誉，工隶书，取法《夏承碑》。",[23,7,25,119,120,664,114,193,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ff0561728ca116be32ed714cf08a94.jpg",[],{"id":24312,"slug":24313,"title":24314,"dynasty":54,"author":24315,"museum":227,"description":24316,"tags":24317,"thumbUrl":24318,"material":442,"size":217,"collection":543,"collections":24319,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":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。王宸中年的画，乾皴中尚有润泽之趣。到了晚年则枯而且秀 ，山石都在形似间。著有《绘林伐材》、《蓬心诗钞》，卒年七十八岁。与王玖、王愫、王昱合称小四王。",[23,24,25,7,114,118,120,119,29,115,34,24438,64,196],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde05bc6dbfab643b6def47925a554166.jpg",[],{"id":24442,"slug":24443,"title":24444,"dynasty":250,"author":22776,"museum":20,"description":24445,"tags":24446,"thumbUrl":24447,"material":24448,"size":24449,"collection":217,"collections":24450,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},234185,"xie-qin-fang-you-juan-huang-yi-234185","携琴访友卷","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[23,24,25,7,114,27,120,193,29,61,34,404,63,64,116,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4af429963430d611c94223cadd68049.jpg","纸本 ，墨笔","纵26.7cm，横90.1cm",[],{"id":24452,"slug":24453,"title":24454,"dynasty":54,"author":24455,"museum":227,"description":24456,"tags":24457,"thumbUrl":24458,"material":217,"size":217,"collection":217,"collections":24459,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},234170,"yun-guan-tu-juan-gao-ting-li-234170","云冠图卷","高廷礼","[明]（一三五o至一四二三）本宋尚书张镇后，出继高氏。初名棅，字彦恢，自号漫士（一作慢仕），福建长乐人。永乐（一四o三至一四二四）初自布衣召授翰林待诏，迁为典籍。博学能文，工书、画，世称三绝，为闽中十才子之一。书得汉隶法，画善山水。宗米芾、高克恭，笔力苍古，墨气秀润，自成一家。有木天清气集、啸台集。卒年七十四。《明史本传、明史艺文志、福建通志、板画记、明画录、无声诗史、名山藏、玉堂丛话、曝书亭集》",[23,24,25,7,114,120,118,29,64,115,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458c9f96c3727df079f353f9302c1955.jpg",[],{"id":24461,"slug":24462,"title":4654,"dynasty":54,"author":24463,"museum":227,"description":24464,"tags":24465,"thumbUrl":24466,"material":217,"size":217,"collection":217,"collections":24467,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},234166,"hua-niao-tu-juan-cao-pu-234166","曹镤","曹镤（？－？），字良金，直隶苏州府吴江县人，民籍，明朝政治人物。应天府乡试第一百二十二名举人。弘治六年（1493年）中式癸丑科二甲第四十一名进士.曾祖曹瑾；祖父曹𤩽；父曹珵，母李氏",[23,24,25,7,27,114,4484,193,120,209,196,524,7015,281,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F483c4b66e3025fed4af1d5d6c8ef3840.jpg",[],{"id":24469,"slug":24470,"title":24471,"dynasty":54,"author":430,"museum":227,"description":24472,"tags":24473,"thumbUrl":24474,"material":1050,"size":1051,"collection":217,"collections":24475,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},232685,"jia-pu-xiao-xiang-tu-juan-yi-ming-232685","家谱肖像图卷","以朱红世系红线串联全篇，将先祖肖像与谱牒题款融为一体。数位先祖肖像冠服严整，乌纱补服与儒巾常服各具风貌，面容刻画朴拙写实，眉眼间自带肃穆恭敬，尽显明代士绅端方仪态。\n\n古旧纸色晕染岁月痕迹，朱红脉络依旧醒目，细密题注排布有致，清晰梳理家族传承脉络。它既是肖像绘事遗存，也是宗法血脉的具象载体，融绘画技艺与宗族文化为一体，在斑驳古卷之中，晕开了一个家族敬宗追远的绵长情怀。",[23,24,25,7,27,28,61,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c51043de18245b2f92478cab57f26b.jpg",[],{"id":24477,"slug":24478,"title":24479,"dynasty":2618,"author":430,"museum":227,"description":24480,"tags":24481,"thumbUrl":24482,"material":1050,"size":1051,"collection":217,"collections":24483,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},231841,"gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-xia-bu-yi-ming-231841","古画花鸟山水人物粉本-人物卷下部","本卷四段各有章法，右侧武将以精工线描勾勒甲胄纹饰，华丽细致，威严尽显。中段渡海一景，晕染水波灵动逼真，舟中撑船人姿态写实自然，朴拙设色晕开沧溟意境。左二高僧以白描写就，衣褶圆转舒展，头光晕染柔和，尽显出尘安然气度，最左僧者神情静谧淡然。整体兼工带写，白描清雅简练，设色柔和古旧，精准捕捉不同身份人物特质，笔意松弛却神态各彰，尽显古雅的东瀛人物画韵味。",[23,24,25,7,174,27,61,115,3111,29,14710,18130,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9b18253a54221ac9ea9ae208a86fb0.jpg",[],{"id":24485,"slug":24486,"title":24487,"dynasty":2618,"author":24488,"museum":227,"description":24489,"tags":24490,"thumbUrl":24491,"material":1050,"size":1051,"collection":217,"collections":24492,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},231829,"jing-shang-xin-wan-juan-yi-teng-bo-wen-231829","井上馨宛卷","伊藤博文","伊藤博文伊藤（伊藤博文伊藤，1841年10月16 - 1909 10月26日）时，明治阶段日本的政治家[1] 。排名Kunto爵位在按照首位大订单的公爵。\n明治时代在4度到内阁制晚些时候推出的首相（第一代：1885年- 1888年，五代：1892年- 1896年- 7代：1898年，10代：1900年- 1901年），已知的作为。在第一次内阁时，他成为中心人物的起草工作中的明治宪法，并在时间的第二个机柜，他起草了中日和平条约。在四阶内阁中，通过创立创始人总统（在任1900 年至1903 年）组建了新政府rikken seiyūkai，并为政党政治铺平了道路。另一位主要的枢密院主席（任期1888 年-1889），主要的上议院主席府（任期1890年- 1891年），创始人韩国居住总（在办公室1905年- 1909年），参议院被服务等。\n讳是伊藤博文（伊藤博文，有时读为“ Hakubun ”）。他还称自己为“ Ochijuku Ryohirofumi ”。小名被改期到（补赛）后，吉田松荫从给定俊英顺俊介和（俊介），进一步Harusuke改名（俊介）。不。春嵘（Shunpo），常被称为Haruseoyake。所述小田原排屋的沧浪亭，因为它是在占有沧浪阁主人被称为（所以城堡丈夫）符号和密封也用作一个。",[23,25,119,7,120,1892,114,193,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d413e5167b26e90276d1e60627bbdfe.jpg",[],{"id":24494,"slug":24495,"title":24496,"dynasty":2618,"author":430,"museum":227,"description":24497,"tags":24498,"thumbUrl":24499,"material":1050,"size":1051,"collection":217,"collections":24500,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},231828,"yang-sheng-xun-shou-gao-quan-juan-yang-sheng-xun-shou-gao-quan-juan-yi-ming-231828","养生训手稿全卷-养生训手稿全卷","此作为行书长卷，开篇擘窠大字雄劲开张，笔力沉厚浑朴，颇有颜体宽博气象，后续小字行书舒展连贯，提按转折间筋骨尽显，墨色浓枯变幻自然，章法疏密错落，通篇一气呵成，韵致悠长。\n内容为养生之训，文辞意涵与笔墨意趣相融相衬，将修身静气的哲思寄寓于流动线条之中，缓急徐舒间藏内敛静气，既见书写者的笔底功力，也尽显其对养生之道的通透体悟，书卷气盎然，是兼备文学性与艺术性的书法佳制。",[23,119,120,7,19538,539,193,1973,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7152585e5aca7365e5983ebf24ba5cd.jpg",[],{"id":24502,"slug":24503,"title":24504,"dynasty":2618,"author":23585,"museum":227,"description":24505,"tags":24506,"thumbUrl":24507,"material":1050,"size":1051,"collection":217,"collections":24508,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},231809,"xiao-xian-he-ge-tu-juan-ku-tian-zheng-heng-231809","消闲和歌图卷","日本江户时代后期大名，下野国佐野藩2代藩主。初代藩主堀田正敦五子。1796年拜谒将军德川家齐，同年叙任从五位下左京亮，后改任摄津守。1832年父亲去世后继承家督。1834年就任奏者番。1836年就任若年寄。1843年升为从四位下。1854年去世，享年60岁，因长子正修早世，由正修之子正颂继承。",[23,24,25,7,114,27,119,120,1892,193,29,275,278,61,116,196,277,282,274,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a4761228232d6ada81f5879defb21.jpg",[],{"id":24510,"slug":24511,"title":24512,"dynasty":2618,"author":430,"museum":227,"description":24513,"tags":24514,"thumbUrl":24515,"material":1050,"size":1051,"collection":217,"collections":24516,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},231799,"ri-ben-jiang-hu-shi-qi-shou-juan-yi-ming-231799","日本江户时期手卷","此卷行书笔墨酣畅，通篇行气贯通，字势顾盼相生，提按转合间尽显书写时的随性快意。枯湿浓淡自然变幻，牵丝映带灵动飘逸，既恪守晋唐行书隽雅法度，又不失狂放舒展的写意意趣。\n整卷为题咏诗文，书者笔随文势起伏，抒情处笔意舒缓温雅，激昂处笔墨恣肆开张，将文辞情志与书法笔韵相融无间，笔墨间尽显文人的旷达襟怀。章法排布疏密有致，卷首卷尾印信点缀得宜，通篇浑然一体，尽显书者深厚功底与潇洒风骨，是一件极具抒情性的行书佳作。",[23,7,119,120,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe027a5552153bbfd251e3763006f6a8.jpg",[],{"id":24518,"slug":24519,"title":24520,"dynasty":2618,"author":24521,"museum":227,"description":24522,"tags":24523,"thumbUrl":24524,"material":1050,"size":1051,"collection":217,"collections":24525,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},231782,"zhu-ming-jia-shou-jian-shou-jian-duo-he-jie-yong-deng-231782","诸名家手简 手简","多贺芥勇等","这卷草书手简以笔墨为心音，行笔随性萧散，线条提按转折间尽显文人笔底风神。通篇布局错落随心，字距行间疏密相生，无刻意经营的匠气，带着日常尺牍书写的松弛畅意。枯湿浓淡的墨色交织，牵丝映带里藏着书写时连贯的思绪情绪，将尺素寸心化作纸上云烟。以笔为语，把日常叙寄的意绪融在每一处笔墨细节中，率真自在的书写状态，尽显文人信札书法的萧散雅趣，是将日常闲情化为笔墨意趣的动人之作。",[23,119,7,120,1892,24176,539,15711,7948],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690edad3d184081878b05d055e5ac915.jpg",[],{"id":24527,"slug":24528,"title":24529,"dynasty":2618,"author":430,"museum":227,"description":24530,"tags":24531,"thumbUrl":24532,"material":217,"size":217,"collection":217,"collections":24533,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},231775,"liu-qiu-feng-su-tu-juan-yi-yi-ming-231775","琉球風俗图卷一","这幅长卷定格了琉球迎神游行的热闹仪典。开篇旗手高擎仪仗，孩童引逗纹饰灵动的醒狮，热络开场。紧随其后的仙官、番使与乐役次第列队，人物服饰纹饰各异，或庄严肃穆，或俏皮鲜活，细节饱满。设色素雅明快，笔触质朴写实，带着民间绘画的鲜活意趣，完整还原了节庆游行的庄重与欢悦，将异域民俗的鲜活场面留存，兼具纪实性与民俗审美价值，尽显这场仪典的融融烟火气。",[23,27,28,7,61,1009,156,177,3034],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9934e7a653aeca7574b60898965053e.jpg",[],{"id":24535,"slug":24536,"title":24537,"dynasty":2618,"author":24538,"museum":227,"description":24539,"tags":24540,"thumbUrl":24541,"material":1050,"size":1051,"collection":217,"collections":24542,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":128},231757,"xiao-ye-jia-jiu-cang-yi-teng-gui-jie-231757","小野家旧藏","伊藤圭介","伊藤圭介（伊藤圭介，ToruKazu 3年1月27日（1803年2月18日） -明治1934（1901） 1月20日），在江户时期的结束，从明治时期的采药人-荷兰研究人，自然·医学博士。日本第一位理学博士。男爵。它也以创造“雄蕊”、“雌蕊”和“花粉”等词而闻名。尾张省名古屋市（现爱知县名古屋市）出生。名字是顺民和清民。角色是大子和圭介。不。锦窠。",[23,119,7,120,1892,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1195ff2293dc1dddc74712cb8907ad47.jpg",[],{"id":24544,"slug":24545,"title":24546,"dynasty":2618,"author":430,"museum":227,"description":24547,"tags":24548,"thumbUrl":24550,"material":1050,"size":1051,"collection":217,"collections":24551,"showCount":978,"zanCount":48,"manualWeight":48,"mainColor":49},231729,"jiang-hu-shi-qi-xiang-cun-gu-shi-hui-juan-shang-bu-yi-ming-231729","江户时期 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古大臣风。”",[23,119,7,120,537,10456,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec3f1718dd5edeb5bbe50c9bac7f687.jpg",[],{"id":25184,"slug":25185,"title":25186,"dynasty":250,"author":25187,"museum":227,"description":25188,"tags":25189,"thumbUrl":25190,"material":1050,"size":1051,"collection":217,"collections":25191,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},241471,"han-zhuan-yan-ge-juan-duan-mu-guo-hu-241471","汉砖研歌卷","端木国瑚","端木国瑚（1773年4月1日——1837年10月19日），字子彝、鹤田、井伯，晚号太鹤山人，浙江省青田县城太鹤山麓人。清代学者。\n7岁开始学《易经》。清嘉庆元年（1796），浙江学政阮元见国瑚的《画虎赋》，大加赞赏。邀赴杭州，就读于敷文书院。所作《定香亭赋》，清思古藻，似齐梁人手笔，一时艺林相与传诵，阮元赞不绝口，以诗相赠：“谁是齐梁作赋才，定香亭上碧莲开，括苍酒监秦淮海，招得青田白鹤来。”由此，国瑚被誉为“青田一鹤”。\n嘉庆三年，中举人。十三年，赴京会试不第，授为知县。国瑚潜心学业，呈请改任教职。道光十年（1830）宣宗皇帝改卜寿陵，国瑚以通堪舆之术，受宗室大臣举荐被召赴京，选定陵址后，任为县令，又奏请任教官。道光十三年，考取进士，仍以知县任用，再呈请注销，改任内阁中书，先后三辞县令。\n国瑚博通经史及阴阳术数，精研《易经》。道光七年，以治经闻名的龚自珍在京与国瑚论《易经》，国瑚阐述“乾初九不易世”一节，自珍叹为闻所未闻。道光十七年，朝鲜使臣慕名求见国瑚，说：“君所为《定香亭赋》，东国人皆传诵。”又请讲解《易经》，求取诗文经注手迹，欣然而去。同年三月，国瑚告老返乡，迁居瑞安。八月赴处州，游遂昌。九月感嗽疾，病故。著有《太鹤山人诗集》13卷、《太鹤山人文集》4卷、《周易指》45卷、《周易葬说》1卷、《地理元文注》4册。",[25,7,119,120,114,193,15920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa83d48aef5fb66a8324f10a1dd1b201.jpg",[],{"id":25193,"slug":25194,"title":25195,"dynasty":250,"author":25196,"museum":227,"description":25197,"tags":25198,"thumbUrl":25199,"material":1050,"size":1051,"collection":217,"collections":25200,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},241430,"xu-yuan-wen-shou-zha-juan-xu-qian-xue-241430","徐元文手札卷","徐乾学","康熙九年（1670）进士。同年任《明史》编辑部主任，同年任内阁学士，后任武士礼部、佐藤御史、尚书尚书。但因党争被反对党弹劾，同年回国。除了参与《明史》、《大成改天》、《大成一成》的编纂外，他还着有《圣园书》（第36卷）和《读命通书》（第120卷）等书籍。",[23,25,119,7,120,114,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f38e9d42a63d56ccc26f50c2b8e125.jpg",[],{"id":25202,"slug":25203,"title":25204,"dynasty":250,"author":25127,"museum":227,"description":25128,"tags":25205,"thumbUrl":25206,"material":1050,"size":1051,"collection":217,"collections":25207,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},241428,"zhi-shou-shan-zha-juan-yi-bing-shou-241428","致手山札卷",[23,250,119,7,664,120,537,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cec330bef7a75d234429e4d9d9492.jpg",[],{"id":25209,"slug":25210,"title":25211,"dynasty":250,"author":25212,"museum":227,"description":25213,"tags":25214,"thumbUrl":25215,"material":1050,"size":1051,"collection":217,"collections":25216,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},241427,"wu-jia-zhi-fa-shi-shan-zha-juan-wang-yu-241427","五家致法式善札卷","王豫","王豫(1768—1826)，活动于清代嘉庆、道光年间，字应和，号柳村，又号翠洲农、小辋川主人，镇江人，后移籍江都。丹徒附监生，工于诗，诗风清淡，集名《种竹轩诗钞》。",[23,119,7,120,1892,193,114,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff44192270370e7451643c28b97e9e96c.jpg",[],{"id":25218,"slug":25219,"title":25220,"dynasty":250,"author":13424,"museum":227,"description":11431,"tags":25221,"thumbUrl":25222,"material":1050,"size":1051,"collection":217,"collections":25223,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":49},241333,"lu-wen-juan-dong-gao-241333","录文卷",[25,7,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466f5be52ce1f4a8752a7f984ba0a8f.jpg",[],{"id":25225,"slug":25226,"title":25220,"dynasty":54,"author":25227,"museum":227,"description":25228,"tags":25229,"thumbUrl":25230,"material":1050,"size":1051,"collection":217,"collections":25231,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},241297,"lu-wen-juan-fan-feng-ren-241297","范风仁","号梅隐，浙江嘉兴人，寄居笠泽。工画梅，自号梅影，其篆刻尤精古。",[119,1892,7,114,193,25,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed408b9201bb1bd084d726ea5943064.jpg",[],{"id":25233,"slug":25234,"title":25235,"dynasty":54,"author":25236,"museum":227,"description":25237,"tags":25238,"thumbUrl":25239,"material":442,"size":217,"collection":543,"collections":25240,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},241232,"shan-zhong-shi-er-yong-juan-jiang-ming-feng-241232","山中十二咏卷","蒋明凤","蒋明凤（？～1644后）",[119,120,7,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1848d09a0cfe62e928d5723536608224.jpg",[543],{"id":25242,"slug":25243,"title":25244,"dynasty":54,"author":25245,"museum":227,"description":25246,"tags":25247,"thumbUrl":25248,"material":442,"size":217,"collection":543,"collections":25249,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},241183,"shou-cheng-jia-shu-zha-juan-hou-dong-ceng-241183","守城家书札卷","侯峒曾","侯峒曾（1591年10月1日—1645年8月24日），字豫瞻，号广成，南直隶松江府上海县（今上海市闵行区）人，祖籍苏州府嘉定县（今上海市嘉定区）， [1] 雅好诗文，能书法。\n万历四十六年（1618年）经元 ，天启五年（公元1625年）进士，授南京武选主事。为政有声，刚正不阿。与徐石麒、陈洪谧称“南都三清”，官至顺天府丞，未赴而京师亡。弘光元年闰六月十七日（公元1645年8月8日），剃发令下，嘉定民众起义抗清，其与黄淳耀被推为首领。坚守十余日，至七月四日（8月24日）城破，与二子投叶池殉国。\n南明绍宗赠兵部尚书，谥“文忠”。明监国鲁王赠左都御史，谥“忠烈”。清高宗乾隆四十一年（1776年）赐谥“忠节”。",[23,119,120,7,114,193,25,24176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0b1a3cdc6065bcec6eb4e5c9e1a0d.jpg",[543],{"id":25251,"slug":25252,"title":25253,"dynasty":250,"author":25254,"museum":227,"description":25255,"tags":25256,"thumbUrl":25257,"material":1050,"size":1051,"collection":217,"collections":25258,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},241142,"xing-shu-shi-zha-ding-jing-241142","行书诗札","丁敬","丁敬（1695—1765），字敬身，号钝丁、砚林，别号龙泓山人、孤云、石叟、梅农、清梦生、玩茶翁、玩茶叟、砚林外史、胜怠老人、孤云石叟、独游杖者等，浙江杭州府钱塘县人。清代书画家、篆刻家。\n乾隆初年举鸿博不就，卖酒街市。嗜好金石文字，工诗善画，所画梅笔意苍秀。尤精篆刻，擅长切刀法，为“浙派篆刻”开山鼻祖，“西泠八家”之首。有《武林金石记》《砚林诗集》《砚林印存》《寿寿初稽》等。\n丁敬的亲家公为清代大文豪厉鹗。",[119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F764fd00e4bce7725da5f964c6870f444.jpg",[],{"id":25260,"slug":25261,"title":25262,"dynasty":54,"author":25263,"museum":227,"description":25264,"tags":25265,"thumbUrl":25266,"material":1050,"size":1051,"collection":217,"collections":25267,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},241100,"xing-shu-shi-juan-zhu-yue-fan-241100","行书诗卷","朱曰藩","朱曰藩，字子价，号射陂，宝应人（今江苏省宝应县），朱应登之子。生卒年不详，约明世宗嘉靖三十年前后在世。",[119,120,7,25,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e81c908fa6a504896e23f962018d349.jpg",[],{"id":25269,"slug":25270,"title":25271,"dynasty":149,"author":430,"museum":227,"description":25272,"tags":25273,"thumbUrl":25274,"material":1050,"size":1051,"collection":217,"collections":25275,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":49},241070,"jing-guang-xie-da-cheng-dao-yu-jing-juan-yi-ming-241070","浄光写大乘稻芋经卷","此卷写经以小字行书抄录，笔意简率灵动，全无刻板写经的拘谨沉滞。起收锋利落洒脱，点画间顾盼呼应，带着随性自如的文人笔致。\n\n通篇排布茂密却不失舒朗，墨色有自然的浓淡枯润变化，将抄经的虔诚融于笔墨线条之中，既有宗教写本的肃穆沉静，又带着五代民间书写的率意朴拙，在日复一日的笔耕里，尽显朴素古雅的书卷气质，是兼具书法审美与宗教文化意涵的佳制。",[25,7,173,540,119,537,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b2983f4ec22a1290c542e6aedc7cf4.jpg",[],{"id":25277,"slug":25278,"title":25279,"dynasty":250,"author":18801,"museum":227,"description":20523,"tags":25280,"thumbUrl":25281,"material":1050,"size":1051,"collection":217,"collections":25282,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},241040,"shu-qiu-xing-shi-juan-fu-shan-241040","书秋兴诗卷",[23,119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2bc6a8f97007e36f411118f0f5fe66.jpg",[],{"id":25284,"slug":25285,"title":25286,"dynasty":54,"author":13685,"museum":227,"description":25287,"tags":25288,"thumbUrl":25289,"material":1050,"size":1051,"collection":217,"collections":25290,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},241007,"liu-jia-shou-zha-juan-huang-dao-zhou-241007","六家手札卷","黄道周（1585年3月9日—1646年4月20日），汉族，字幼玄，一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。福建漳州府漳浦县（今福建省东山县铜陵镇）人，祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[23,25,7,119,120,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adb9242b3992f887867bc05df2b1e81.jpg",[],{"id":25292,"slug":25293,"title":25294,"dynasty":54,"author":13685,"museum":227,"description":25287,"tags":25295,"thumbUrl":25296,"material":1050,"size":1051,"collection":217,"collections":25297,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},241002,"qi-jia-shou-zha-juan-huang-dao-zhou-241002","七家手札卷",[23,25,7,119,120,1892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393d3076cf63fb55b00bce98b4643e16.jpg",[],{"id":25299,"slug":25300,"title":25301,"dynasty":54,"author":430,"museum":227,"description":25302,"tags":25303,"thumbUrl":25304,"material":442,"size":217,"collection":543,"collections":25305,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},240995,"jin-sheng-zha-juan-yi-ming-240995","金声札卷","此札行书隽秀清逸，笔墨简淡萧散，章法疏朗从容。行笔牵丝映带轻盈婉转，笔画粗细合宜，尽显文人书写的随性雅致，不见雕琢之态。\n\n信中叙旧访游，寄寓知己阔别惦念，日常琐语化为纸上温情，裹挟着晚明文人的林下风流。左侧题跋与手札呼应，双璧相映，兼具文献与书法双重价值，尺牍之间藏着晚明交游的文人情愫，尽显一代士人的心迹风神。",[23,5431,119,7,120,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da70fc7fb515fa67593fee5648a64c9.jpg",[543],{"id":25307,"slug":25308,"title":25309,"dynasty":2618,"author":22726,"museum":227,"description":25310,"tags":25311,"thumbUrl":25312,"material":1050,"size":1051,"collection":217,"collections":25313,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},240993,"zhi-er-xue-xing-zha-juan-song-ling-shen-240993","致儿学行札卷","此作为文人手札长卷，以率意行书铺陈，笔墨朴拙灵动。行笔迅疾却不失法度，字形欹侧错落，墨色枯湿浓淡富于变化。密密麻麻的小字排布紧凑却不显拥塞，带着家信独有的松弛与真切。褪去了刻意的书家姿态，将日常的牵念、叮咛尽数凝于毫端，把私人化的家常絮语与文人底蕴相融，藏着鲜活的日常心绪，质朴间尽显温度，是极具烟火气的文人尺牍典范。",[23,119,7,120,1892,25,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff39d6f85c93badcb1ef99db9c578f362.jpg",[],{"id":2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万历时期首辅王锡爵之子，明末清初画家王时敏之父。\n万历十六年（1588年）顺天乡试，王衡因是大学士王锡爵之子，且当时首辅申时行的女婿也同时中举。有言官弹劾主试官，认为有作弊嫌疑。虽然王衡在随后的复试中取得第一获准参与会试，但言官们仍不依不饶，为避免父亲王锡爵陷入更大的党争之中。王衡在他父亲执政期间没再参加考试。万历二十九年（1601年），王锡爵致仕后，王衡再次走进科场，以一甲第二名（榜眼）及第，授任翰林院编修。后辞官归隐，中年早卒。",[23,54,119,120,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cfe419008f91ea8577897a33b167af6.jpg",[],{"id":25369,"slug":25370,"title":15997,"dynasty":54,"author":495,"museum":227,"description":13872,"tags":25371,"thumbUrl":25372,"material":1050,"size":1051,"collection":217,"collections":25373,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":2653},240505,"xi-yuan-shi-juan-wen-zheng-ming-240505",[23,154,24,25,7,120,119,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9358505ce43750aa5e202274296573.jpg",[],{"id":25375,"slug":25376,"title":17432,"dynasty":54,"author":25377,"museum":227,"description":25378,"tags":25379,"thumbUrl":25380,"material":1050,"size":1051,"collection":217,"collections":25381,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},240421,"zi-shu-shi-juan-yan-song-240421","严嵩","严嵩（1480年3月3日—1567年），字惟中，号介溪，袁州府分宜介桥村（今江西省分宜县）人。 [16] 明孝宗弘治十八年（1505年）进士，累迁礼部尚书、翰林院学士。嘉靖二十一年（1542年）六十三岁时入阁，加少傅兼太子太师、谨身殿大学士，后改少师、华盖殿大学士，嘉靖二十七年（1548年）诬害夏言，再任内阁首辅，专擅国政近十五年之久。\n严嵩在朝期间，陷害同僚，必置之死地而后快;同时他结党营私，贪赃纳贿，而他的党羽和子孙更是跋扈骄奢，横行朝廷。严嵩的专权乱政，使明王朝的国力衰弱，边疆防御受到严重破坏，人民惨遭蹂躏。晚年因事激怒嘉靖帝而失势，嘉靖四十一年（1562年）勒令致仕，嘉靖四十三年（1564年）严世蕃案发，其恶迹败露后，世宗下诏将他罢职，削籍为民，家产被抄，奸党与家人一一治罪。\n隆庆元年（1567年），87岁的严嵩贫病交加，把持朝政20多年后，在举国一片唾骂声中死去，挤进《明史·奸臣传》。他死的时候，寄食于墓舍，既无棺木下葬，更没有前去吊唁的人。《明史》将严嵩列为明代六大奸臣之一，称其“惟一意媚上，窃权罔利”。",[23,25,7,119,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6321fcc2f8c8d1899a7ec793459c5e1e.jpg",[],{"id":25383,"slug":25384,"title":25385,"dynasty":54,"author":25386,"museum":20,"description":25387,"tags":25388,"thumbUrl":25389,"material":217,"size":217,"collection":543,"collections":25390,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},240393,"gu-feng-ci-gao-zong-ben-240393","孤凤辞","高宗本","天顺七年龙集癸未春三月既望赐甲戌第二甲进士出身文林郎山东道监察御史古雄高宗本书",[23,25,7,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c55ec5722bfe23bcb91d9390201d506.jpg",[543],{"id":25392,"slug":25393,"title":25394,"dynasty":250,"author":25395,"museum":227,"description":25396,"tags":25397,"thumbUrl":25400,"material":1050,"size":1051,"collection":217,"collections":25401,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},240138,"wu-kuan-qian-long-huang-di-ci-qi-gao-shen-juan-heng-ling-240138","无款乾隆皇帝赐妻诰身卷","恒龄","恒龄（？—1911）舒穆鲁氏，字锡九，满洲正蓝旗人，湖北荆州驻防。恒龄少嗜学，娴武干，尤熟中外兵家言。",[25,7,119,537,193,25398,25399],"满文","汉文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4e30ef5c9af213e7632f45ca9b98ed.jpg",[],{"id":25403,"slug":25404,"title":25405,"dynasty":54,"author":25406,"museum":227,"description":25407,"tags":25408,"thumbUrl":25409,"material":1050,"size":1051,"collection":217,"collections":25410,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":49},239981,"wan-jie-ting-ci-juan-xia-yan-239981","晚节亭词卷","夏言","夏言（1482年7月14日－1548年11月1日），字公谨，号桂洲，江西广信府贵溪县（今江西省贵溪市）人 。明朝中期政治家、文学家，赠少师夏鼎的儿子。\n正德十二年（1517年），进士及第，授行人司行人。迁兵科给事中，以正直敢言闻名。明世宗继位后，上疏奏陈先朝弊政，奉命裁汰冗员，清查皇族庄田，迁少詹事兼任翰林学士。推动“大礼议”事件，大获圣宠，累迁武英殿大学士、礼部尚书、太子太傅，加位少师、特进光禄大夫、上柱国。嘉靖十八年（1539年），成为内阁首辅。完备内阁，抑制宦官，整顿吏治，巩固边防，颇有政绩。内心耿直，豪迈强直，逐渐失去宠爱。\n嘉靖二十七年（1548年），支持收复河套地区，受到严嵩诬陷，坐罪处死，时年六十七岁。明穆宗继位，得以平反昭雪，追谥“文愍”。诗文宏整，以词曲擅名，著有《桂洲集》及《南宫奏稿》传世。",[23,154,24,25,7,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249a76b7089dbf0651db22708e272cf2.jpg",[],{"id":25412,"slug":25413,"title":25414,"dynasty":54,"author":2680,"museum":227,"description":15728,"tags":25415,"thumbUrl":25416,"material":217,"size":217,"collection":543,"collections":25417,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},239911,"shi-wai-zhuan-juan-zhu-yun-ming-239911","诗外传卷",[23,119,120,1892,7,114,193,1973,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b1ff69ebcbaddc6016658cab5a6faf6.jpg",[543],{"id":25419,"slug":25420,"title":23507,"dynasty":54,"author":23508,"museum":227,"description":23509,"tags":25421,"thumbUrl":25422,"material":217,"size":217,"collection":217,"collections":25423,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},239901,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239901",[119,25,24,7,120,114,193,4040],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98ea6b414bb2eefd6807d89390d76fd.jpg",[],{"id":25425,"slug":25426,"title":25427,"dynasty":54,"author":24268,"museum":227,"description":24269,"tags":25428,"thumbUrl":25429,"material":217,"size":217,"collection":543,"collections":25430,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},239888,"huang-fu-jiao-yi-juan-huang-cong-239888","黄福教仪卷",[23,25,7,119,193,173,120,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3672b4f04e0e545551c38a03ad75d415.jpg",[543],{"id":25432,"slug":25433,"title":19775,"dynasty":54,"author":23508,"museum":227,"description":25434,"tags":25435,"thumbUrl":25436,"material":217,"size":217,"collection":217,"collections":25437,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},239800,"shi-han-juan-yang-yi-qing-239800","此卷狂草纵横跌宕，将笔墨意气挥洒淋漓。中锋使转提按兼施，线条枯湿浓淡交织，飞白牵丝映带字间，裹锋绞锋尽显老辣苍劲。字势欹侧错落，行气贯通如江河奔涌，整卷一气呵成毫无滞碍，点画狼藉却暗藏法度。既有颠张醉素的豪放恣肆，又自具沉郁雄健的风骨。洒金笺底衬得墨色愈见厚重，朱文小印点缀其间，于狂放中见雅致。通篇诗墨相融，将文人磊落襟怀宣泄纸上，尽显老笔纷披的磅礴气势，是尚奇书风里极具个性的佳作。",[23,119,25,7,120,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc188c62d53074d8bea00508dcafdf0e7.jpg",[],{"id":25439,"slug":25440,"title":25441,"dynasty":54,"author":430,"museum":227,"description":25442,"tags":25443,"thumbUrl":25444,"material":217,"size":217,"collection":217,"collections":25445,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},239661,"zhang-yu-huai-you-shi-juan-yi-ming-239661","张羽怀友诗卷","此卷笔墨萧散清逸，以行书铺陈怀友心绪，点画牵丝映带间尽显明代文人的清雅风神。笔意随性舒展，将念友的缱绻深情藏于流动线条之中。\n\n卷上鉴藏钤印琳琅错落，历代题跋排布有致，虽经岁月磨洗，有蠹蚀墨损晕开斑驳痕迹，却恰似时光镌刻的印记，晕染出古旧温润的质感。它将私人怀愫凝为跨越时空的笔墨遗存，裹挟着古纸沉香，静静诉说昔年文人间的知己情谊，尽显尺牍诗卷的隽永韵致。",[23,24,25,7,119,763,114,120,193,29,34,69,15920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7840233708350a9a9d0071500e0ed22.jpg",[],{"id":25447,"slug":25448,"title":25449,"dynasty":54,"author":2680,"museum":20,"description":25450,"tags":25451,"thumbUrl":25452,"material":217,"size":217,"collection":543,"collections":25453,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},239576,"shu-yan-xi-ting-deng-si-ji-ti-zhu-yun-ming-239576","书燕喜亭等四记题","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 [1] 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[23,119,25,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263f9a302ecb8222f9c62a850d907960.jpg",[543],{"id":25455,"slug":25456,"title":13008,"dynasty":54,"author":22140,"museum":227,"description":25457,"tags":25458,"thumbUrl":25459,"material":217,"size":217,"collection":217,"collections":25460,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},235241,"shui-xian-juan-wang-gu-xiang-235241","此卷以水墨写意水仙，笔致劲挺秀雅，兰叶交错舒展、顾盼自然，以极简笔墨勾勒出水仙清逸出尘之态，留白空灵尽显幽冷澹远的君子气韵。\n\n行书赋文笔势舒展清健，将水仙孤高清介的品性寄于辞章，一众题跋亦各见风神，诗书画合璧，尽显明代文人寄情花木、托物言志的雅趣，整卷清雅隽秀，是文人情致与笔墨功力的绝佳融合。",[23,24,25,7,114,27,209,280,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff554019383163d38f70a85a82bed3490.jpg",[],{"id":25462,"slug":25463,"title":25464,"dynasty":250,"author":3062,"museum":227,"description":15116,"tags":25465,"thumbUrl":25466,"material":217,"size":217,"collection":217,"collections":25467,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},234261,"jiang-gan-qi-shu-tu-juan-wang-hui-234261","江干七树图卷",[23,24,25,7,114,29,118,120,193,254,1298,117,2560,1123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0508feeed1b0e9cd3ecabf7ad66ce29.jpg",[],{"id":25469,"slug":25470,"title":25471,"dynasty":250,"author":3062,"museum":20,"description":25472,"tags":25473,"thumbUrl":25474,"material":696,"size":217,"collection":217,"collections":25475,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},234236,"qiang-jiao-zhong-mei-tu-juan-wang-hui-234236","墙角种梅图卷","图上自题七言诗一首并识：“子鹤种梅墙角，庶几幽人韵事。余为补图，并题一绝，博诸君春雪之和。”该图卷上另有杨晋、恽寿平、王武等二十余家题诗、词，通过他们的题跋可知此图是王翚应杨晋的请求，绘杨晋在新居墙角处移植古梅一本之事。王翚以册页的形式为杨晋画了二幅图。第一幅图绘远山连绵、平波静水以及枝干清癯如铁的梅树。第二幅图绘修篁摇翠影、高台筑草亭以及高士临窗赏梅的情景。二幅图繁简不一，但是均以细润娟秀的笔墨真实地刻画出杨晋生活的居所环境，反映了其以竹、梅为邻的生活情趣。此图卷也印证了王翚与杨晋之间深厚的师生情谊。王翚被邀请画友人居所的写生之作还有许多，如他34岁时应鹤客先生张文钺之邀，绘其庭院里的仙鹤，自言“有鹤来至庭际”以“命余作图以纪其事”",[23,154,24,25,7,114,118,120,119,193,274,29,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914023115b1962e8a0c6180d27212af9.jpg",[],{"id":25477,"slug":25478,"title":25479,"dynasty":2618,"author":430,"museum":227,"description":25480,"tags":25481,"thumbUrl":25484,"material":1050,"size":1051,"collection":217,"collections":25485,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},231824,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-shang-bu-yi-ming-231824","明清日本古画花鸟山水人物粉本-人物卷上部","此作为粉本画稿，兼具底稿的灵动与定稿的精细。左侧刻画武人新田义贞，甲胄纹饰繁丽精美，设色淡雅克制，尽显武将威严沉稳的气度。中段白描战场群像，线条劲挺利落，将士搏杀姿态张力十足，配景山水简括写意，烘托出厮杀的肃杀氛围。右侧以淡墨晕染水波，勾勒骑将渡水之势，寥寥数笔尽显行色匆忙。\n\n整体融合中日绘法，既有日式武人绘的刚健雄武，又借鉴明清人物画的线描表现力，古雅朴拙，是极具价值的汉风域外画稿范本。",[23,6346,24,25,7,174,27,61,117,34,14710,25482,14723,25483],"战斗场景","线条勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e283fcb3a0cb442e90e2eeba1801bb.jpg",[],{"id":25487,"slug":25488,"title":25489,"dynasty":2618,"author":430,"museum":227,"description":25490,"tags":25491,"thumbUrl":25493,"material":1050,"size":1051,"collection":217,"collections":25494,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},231795,"chun-ri-ji-li-xing-fu-xing-shi-shang-juan-yi-ming-231795","春日祭礼兴福行事上卷","此作为全景长卷，徐徐铺展祭典全程。开篇以苍劲松杉点缀郊野，晕染出古朴郊祀的清雅底色。随后人潮次第排布，僧众、职役、乐师各行其位，衣装色彩错落分明，素洁僧袍、朱色公服、明黄仪仗次第铺陈，仪仗行进的秩序感跃然纸上。\n\n右侧的花树仪仗团如流动花簇，将祭典热烈推向顶点，与左侧题字的朴拙笔意相映成趣。静雅山林与喧腾仪仗形成鲜明对照，既还原古仪的整肃轨制，又饱含鲜活的世俗烟火气，将春日祭典的庄重盛大与和风雅韵凝于卷上。",[23,24,25,7,27,28,61,276,34,875,20497,25492],"祭祀场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8c267524e8c66bbbf9ed1253ce3df2.jpg",[],{"id":25496,"slug":25497,"title":25498,"dynasty":2618,"author":20387,"museum":227,"description":25499,"tags":25500,"thumbUrl":25501,"material":1050,"size":1051,"collection":217,"collections":25502,"showCount":791,"zanCount":48,"manualWeight":48,"mainColor":128},231789,"wen-yong-he-mao-ji-tu-juan-shuang-zhi-2-zhi-shou-jing-231789","文永贺茂祭图卷 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南海寄归内法传手稿","此卷通篇小楷排布绵密齐整，朴拙笔意带着写经特有的端稳气息，又兼具草稿的随性灵动。纸面虽经岁月摩挲泛黄斑驳，笔墨却依旧苍劲利落，小字牵丝映带不显局促。\n\n朱笔校改的痕迹犹存，留存下抄录治学的鲜活细节，字里行间满是伏案时的专注沉潜，藏着古人心怀大道的虔诚。它既是承载西行求法厚重史事的稿本，亦是唐人写经书法的精妙缩影，残损纸面是岁月镌刻的印记，让这份手卷兼具学术与美学的双重价值。",[119,540,7,6818,1973,19538,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506298bb2c104d81985050a93f20066a.jpg",[],{"id":26013,"slug":26014,"title":26015,"dynasty":2618,"author":430,"museum":227,"description":26016,"tags":26017,"thumbUrl":26019,"material":1050,"size":1051,"collection":217,"collections":26020,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},290707,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-shou-gao-yi-ming-290707","佛说阎罗王授记四众预修生七往生净土经手稿","此作为写经与彩绘合璧的珍品，经文书法朴拙厚重，笔意带着写经者的虔诚肃穆，墨色沉凝安稳，尽显中古写经的典型风貌。\n\n彩绘部分章法分明，佛尊造像面相圆融端雅，衣纹舒展流畅，气韵沉静庄严；供养人像衣冠古雅写实，带着鲜活的世俗人文气息。\n\n泛黄纸色晕开经年沉淀的厚重感，朱红、石青的古旧配色愈发古朴沉静，图文排布疏密得当，将宗教的肃穆性与世俗意趣交织一处，晕开浓郁的信仰温度，是宗教美术与写经艺术融合的上乘之作。",[7,24,540,119,173,6818,27,3601,61,9619,2803,26018,1242,20724,20576],"阎罗王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289568264595735d6da590ac40d0c17d.jpg",[],{"id":26022,"slug":26023,"title":26024,"dynasty":2618,"author":430,"museum":227,"description":26025,"tags":26026,"thumbUrl":26027,"material":1050,"size":1051,"collection":217,"collections":26028,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},290705,"yu-jia-lun-di-si-shi-yi-er-san-juan-shou-ji-shou-gao-yi-ming-290705","瑜伽论第四十、一、二、三卷首记手稿","纸色晕开旧岁黄调，长卷如墨色长河舒展。瘦劲小楷排布绵密齐整，字字端严凝练，带着沉静静定的写经笔韵，通篇无一字懈怠，笔锋暗藏筋骨，尽显抄经手沉潜伏案的心力。朱色标点错落墨痕间，冷暖相映，是古人校读留下的鲜活印记，让千年长卷多了温度。纸页带着岁月磨耗的残损晕染，却更添古拙厚重。漫漫书卷将信仰与工稳书艺揉为一体，铺展开来，仿若能见千年前灯下笔耕的身影，把经文化作纸上山河，是写经书法里内敛沉凝的传世佳作。",[7,119,540,537,1973,19538,6818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9480ddea43a6a2fdfb0918f3924c266.jpg",[],{"id":26030,"slug":26031,"title":26032,"dynasty":2618,"author":430,"museum":227,"description":26033,"tags":26034,"thumbUrl":26035,"material":1050,"size":1051,"collection":217,"collections":26036,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},290702,"jiu-mo-luo-shen-jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-290702","鸠摩罗什 金刚般若波罗蜜经手稿","此卷写经墨色沉朴苍润，纸面晕开岁月泛黄的痕迹，带着旧卷特有的沉静质感。用笔匀净端雅，结体方正秀逸，字字排布齐整却不失灵动意趣，通篇气息平和冲淡，藏着抄录时的恭谨禅心。\n笔墨间无跳脱张扬，只以安稳笔力缓缓铺陈经文，尽显写经书法独有的肃穆雅致。纸页褶皱与细微破损，凝着时光厚重的印记，让这件遗存既是宗教文典，亦是难得的书法珍本，静静诉说着漫长岁月里的传承底蕴。",[7,119,540,537,173,6818,1973,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a3b7c57fb7e770c58cfb1d75140a54.jpg",[],{"id":26038,"slug":26039,"title":26040,"dynasty":2618,"author":430,"museum":227,"description":26041,"tags":26042,"thumbUrl":26043,"material":1050,"size":1051,"collection":217,"collections":26044,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},290698,"fu-ding-zun-sheng-tuo-luo-ni-jing-juan-yi-yi-ming-290698","佛顶尊胜陀罗尼经卷一","这卷经页带着被时光啃噬的痕迹，虫蛀的豁口、晕开的暗黄，皆是岁月凿下的印鉴。雕版字体方朴敦实，笔画凝厚沉稳，墨色沉郁古雅，虽残损多处，仍能窥见当年刷印时的庄重虔诚。栏线虽已漫漶模糊，经文排布仍匀整规矩，字里行间浸透着旧时的信仰温度，每一道残痕都藏着千年来传抄、诵读的过往，是被香火摩挲过的时光切片，带着旧世里沉静的梵唱余韵，将久远的信仰日常封存在这薄纸之上。",[173,6818,540,1973,119,537,7,20516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5edc2bf81ce6d6fb41c4db7195fe3a1.jpg",[],{"id":26046,"slug":26047,"title":26048,"dynasty":2618,"author":430,"museum":227,"description":26049,"tags":26050,"thumbUrl":26051,"material":1050,"size":1051,"collection":217,"collections":26052,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},290693,"yu-jia-shi-di-lun-fen-men-ji-yi-juan-shang-bu-shou-gao-yi-ming-290693","瑜伽师地论分门记一卷上部 手稿","素纸铺陈，黑笔小楷瘦劲紧凑，字字排布密而不乱，通篇朱笔圈点勾注，红痕如星子落墨海，明暗相映层次斐然。\n\n这是沉潜佛典的心血注本，笔底藏着往复推演的思辨脉络，朱痕标记着义理津要，是研读时灵光乍现的留存。密密麻麻的字迹里，藏着古人逐字叩问经义的执着，红黑交织间，复刻了千年前灯下探幽的治学图景，让纸面成为盛放思想的容器，鲜活承载着彼时对唯识义理的沉潜求索。",[7,119,540,25102,19538,537,23160,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18efd207034aff98c1e585f766deac2.jpg",[],{"id":26054,"slug":26055,"title":26056,"dynasty":2618,"author":430,"museum":227,"description":26057,"tags":26058,"thumbUrl":26059,"material":1050,"size":1051,"collection":217,"collections":26060,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},290680,"wei-mo-ji-jing-juan-shang-shou-gao-yi-ming-290680","维摩诘经卷上手稿","此卷小楷通篇匀净秀雅，点画精劲内敛，起收转合皆循写经典型法度。字字排布齐整如列松，却无板滞之弊，行间气脉贯通，带着沉静肃穆的禅意。墨色醇和古雅，泛黄纸页晕染着岁月痕迹，经文排布疏朗停匀，藏着写经人落笔时的静定之心。笔墨间克制端严，将佛法的空寂圆融融于毫端，是书法形制与经文禅思的绝妙契合，尽显古代写经人特有的虔敬工稳，藏着朴素静雅的东方笔墨禅味。",[7,119,540,537,19538,6818,24102,23722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29af51d82350dac21418c5fcf44af83.jpg",[],{"id":26062,"slug":26063,"title":26064,"dynasty":2618,"author":430,"museum":227,"description":26065,"tags":26066,"thumbUrl":26067,"material":1050,"size":1051,"collection":217,"collections":26068,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},290676,"da-fang-guang-fu-hua-yan-jing-juan-di-si-shi-jiu-shou-gao-yi-ming-290676","大方广佛华严经卷第四十九手稿","卷面古旧泛黄，岁月晕染的褐渍斑驳铺陈，边角朱印依稀留存。通篇以工整小楷抄就，排布匀净舒朗，笔锋内敛沉实，起收皆合法度，点画清劲凝练，筋骨内含，虽历经漫长年月，圆融工稳的笔势依旧清晰可辨。\n\n整卷一气呵成，墨色苍润沉静，藏着抄经人书写时的极致恭谨，将禅意澄寂融于毫端，质朴虔诚的气息漫溢纸面，既是极具古韵的书法佳构，亦是饱含宗教温度的传世珍本。",[540,119,537,7,1973,6818,173,3196,13081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb121d7c8cefbddd945be6e45e4670db5.jpg",[],{"id":26070,"slug":26071,"title":26072,"dynasty":2618,"author":430,"museum":227,"description":26073,"tags":26074,"thumbUrl":26075,"material":1050,"size":1051,"collection":217,"collections":26076,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},290674,"da-fang-guang-fu-hua-yan-jing-juan-di-liu-shi-liu-shou-gao-yi-ming-290674","大方广佛华严经卷第六十六手稿","这卷写经小楷通篇匀整端秀，笔力凝稳沉实，起收皆具法度。点画排布紧凑舒展得宜，字字如列队之士，齐整却不失灵动。古纸泛黄晕开淡墨，衬得笔墨愈发清隽雅致。\n\n整卷一气呵成，数百字排布森然有序，尽显书写者恭谨心境，兼具唐写经的端严工稳与沉静内敛的禅意，将典籍庄严感融于笔墨之间，每一处顿挫转折皆见虔诚与娴熟功底，尽显传统写经书法的肃穆美感与沉静气韵。",[119,540,537,7,173,6818,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358ff285af0d8270749f5a07c72f4a79.jpg",[],{"id":26078,"slug":26079,"title":26080,"dynasty":2618,"author":430,"museum":227,"description":26081,"tags":26082,"thumbUrl":26083,"material":1050,"size":1051,"collection":217,"collections":26084,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},290664,"miao-fa-lian-hua-jing-di-er-shou-gao-yi-ming-290664","妙法莲华经第二手稿","此卷小楷写经，笔致匀净秀雅，通篇气息平和内敛。墨色莹润乌亮，行气舒展贯通，虽为长篇抄经却字字端稳工谨，法度隐于笔墨之间。点画精到细腻，起收转合皆见用心，在规整肃穆之中暗含灵动意趣，尽显写经人抄录时的恭谨持敬之心。整卷笔墨与经文禅意相融，静静承载着书写者的虔诚，将宗教的沉静内化于笔墨章法之中，是写经书法中颇具韵味的佳构。",[7,119,537,540,6818,173,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f7aec475123b17cab27265526beb5a6.jpg",[],{"id":26086,"slug":26087,"title":26088,"dynasty":2618,"author":430,"museum":227,"description":26089,"tags":26090,"thumbUrl":26091,"material":1050,"size":1051,"collection":217,"collections":26092,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},290663,"miao-fa-lian-hua-jing-di-yi-shou-gao-yi-ming-290663","妙法莲华经第一手稿","通篇小楷点画精劲凝练，结体端雅宽和，是典型的写经体风貌。抄经者以恭谨肃穆的笔态书写，行次匀整、气息悠长，既有唐楷的森严法度，又兼具写经特有的朴拙温润。\n\n墨色沉凝苍古，纸面因岁月经年泛黄斑驳，缺损处如时光凿痕，更添古厚意蕴。字里行间浸透着书写者的虔诚心境，将宗教的沉静内敛融于笔墨之中，这份写本既是珍贵的佛教文献，亦是极具审美价值的书法遗存，尽显中古写本的隽永质感，静静诉说着跨越千百年的笔墨与信仰的交融。",[7,119,540,19538,6818,173,1973,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d5c575509ced83272168336fb99794.jpg",[],{"id":26094,"slug":26095,"title":26096,"dynasty":2618,"author":430,"museum":227,"description":26097,"tags":26098,"thumbUrl":26099,"material":1050,"size":1051,"collection":217,"collections":26100,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},290655,"miao-fa-lian-hua-jing-fa-shi-pin-di-shi-shou-gao-yi-ming-290655","妙法莲华经法师品第十手稿","此卷小楷笔致端雅秀润，结体匀整舒展，通篇排布森然有序，尽显写经体的庄重法度。书写者以恭谨之心落墨，点画之间兼具规整性与灵动意趣，既有经生书法的典型风貌，又暗含细腻的笔锋流转，将抄经时的沉敛肃穆融于笔墨之中。\n字里行间浸透着虔诚的信仰气息，清和静谧的韵致扑面而来，让观览者得以窥见书写时的肃穆心境，书法审美价值与宗教文化意蕴相融，是一件沉静雅致的写经遗存。",[25,119,540,537,7,173,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0cecb2dee95954c87864a0cdc62f937.jpg",[],{"id":26102,"slug":26103,"title":26104,"dynasty":2618,"author":430,"museum":227,"description":26105,"tags":26106,"thumbUrl":26107,"material":1050,"size":1051,"collection":217,"collections":26108,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},290654,"wei-mo-ji-jing-juan-xia-shou-gao-yi-ming-290654","维摩诘经卷下手稿","此卷写经笔致匀整秀雅，中锋行笔骨力内含，通篇千余字一气呵成，气韵贯通无懈怠之态。字间排布齐整肃穆，恪守写经法度规范，又于匀净笔墨中带着质朴自然的笔意，不见刻意雕琢痕迹。\n\n写经人将礼佛的恭谨虔诚融于笔墨流转，让通篇既有规整的庙堂感，又不失温润灵动的笔情。历经岁月墨色依旧莹润乌亮，留存下写经书法特有的静谧禅意，尽显古代抄经书法的工整美感与信仰温度，是写经书法中颇具代表性的佳构。",[7,119,540,537,6818,1973,2805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14169a044d90f97e971a753a93f4ccfc.jpg",[],{"id":26110,"slug":26111,"title":26112,"dynasty":2618,"author":430,"museum":227,"description":26113,"tags":26114,"thumbUrl":26115,"material":1050,"size":1051,"collection":217,"collections":26116,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},290651,"miao-fa-lian-hua-jing-shou-gao-yi-ming-290651","妙法莲华经手稿","这卷素纸泛着温润的米黄旧色，深浅不一的水痕晕散如淡墨晕染的花影，是时光浸洇留下的温柔印记。纸面肌理带着古纸特有的纤维质感，藏着经年流转的温度。两处细微的残缺边角，默默诉说着辗转流传的往昔。空寂的素笺仿佛还留存着昔年誊写后的沉静余韵，将岁月沉香与笔墨心绪封存在这一卷之中，安然内敛，晕开旧时光的澹澹诗意。",[540,119,7,173,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e97bbbce5cff53c1af32cec8862abbd.jpg",[],{"id":26118,"slug":26119,"title":26120,"dynasty":2618,"author":430,"museum":227,"description":26121,"tags":26122,"thumbUrl":26123,"material":1050,"size":1051,"collection":217,"collections":26124,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},290650,"miao-fa-lian-hua-jing-juan-di-liu-shou-gao-yi-ming-290650","妙法莲华经卷第六手稿","纸色泛黄斑驳，残损处带着时光剥蚀的痕迹，却难掩笔墨的沉静力量。书写端严匀净，是典型的写经体风貌，笔致舒展凝练，既有恪守楷则的规整，又带着抄经时自然流露的温润意趣。整卷文字排布齐整如林，字里行间藏着抄写者的恭敬之心，墨迹沉实，带着古卷特有的沉静书卷气，将过往的虔敬与笔墨温度留存至今，沧桑间尽显古雅肃穆的质感。",[540,119,7,173,6818,1973,537,2805,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17e5e69ff817c81eac9252a1e6d66c47.jpg",[],{"id":26126,"slug":26127,"title":26128,"dynasty":2618,"author":430,"museum":227,"description":26129,"tags":26130,"thumbUrl":26131,"material":1050,"size":1051,"collection":217,"collections":26132,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},290645,"miao-fa-lian-hua-jing-juan-di-yi-shou-gao-yi-ming-290645","妙法莲华经卷第一手稿","此长卷素纸淡墨，千言笔致朴拙却工整匀净，文字绵密排布一气呵成，不见半分怠惰，尽显书写时静定心力。古纸泛黄晕着斑驳旧痕，墨色随岁月浅淡晕染，笔墨与信仰相融，每一道笔痕都藏着书写者的虔诚。通篇浸着沉静古雅的书卷气，带着素朴禅意，是时光留存下的笔墨修行遗存。",[7,119,540,6818,173,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f20c3c1d33e167ac2898b0e6c91ef7.jpg",[],{"id":26134,"slug":26135,"title":26136,"dynasty":2618,"author":430,"museum":227,"description":26137,"tags":26138,"thumbUrl":26139,"material":1050,"size":1051,"collection":217,"collections":26140,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},290628,"da-fang-bian-fu-bao-en-jing-juan-di-wu-shou-gao-yi-ming-290628","大方便佛报恩经卷第五手稿","此卷以泛黄旧纸为载，墨色沉凝匀净，是工整端秀的写经书法。起收笔皆循法度，点画舒展从容，通篇行气贯通，字字安稳雅致，将宗教文本的肃穆气质与笔墨意趣相融，可见抄经人落笔时的恭谨虔诚。纸面晕开几处浅淡渍痕，是岁月留下的斑驳印记，为手卷晕染出厚重的时光质感。每一笔都带着沉静的心力，经文在笔墨间缓缓铺展，让信仰与书法合二为一，静静留存下旧时光里抄经岁月的平和与敬畏。",[119,540,7,173,6818,537,1973,19538,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261d10538eea8b5834939ee8184b723f.jpg",[],{"id":26142,"slug":26143,"title":26144,"dynasty":250,"author":3062,"museum":227,"description":26145,"tags":26146,"thumbUrl":26147,"material":1050,"size":1051,"collection":217,"collections":26148,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},290422,"mo-quan-huang-tu-juan-wang-hui-290422","摹全黄图卷","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在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[23,154,24,7,60,27,26,29,31,4140,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6da97dcfe47dbc64987fc8fb4dd7ed9.jpg",[],{"id":26150,"slug":26151,"title":26152,"dynasty":2618,"author":430,"museum":227,"description":26153,"tags":26154,"thumbUrl":26157,"material":1050,"size":1051,"collection":217,"collections":26158,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},290042,"fo-tuo-luo-yi-da-zang-jing-da-fang-guang-fu-hua-yan-jing-ru-fa-jie-pin-zhi-shi-liu-yi-ming-290042","佛陀羅譯 大藏經 大方廣佛華嚴經 入法界品之十六","此卷写经书法为典型写经体风貌，笔法清劲舒展，结体匀整端秀，起收暗含法度，通篇排布疏密合宜，墨色沉凝古雅。岁月侵蚀留下的缺损虫蛀，晕开了沧桑古韵。抄写者以虔诚心境落墨，将宗教的庄严融于笔墨之间，既恪守写经的工整肃穆，又在笔锋流转里流露温润意趣，是佛教写本与书法艺术相融的典范，静静诉说着昔日抄经的郑重与信仰的温度。",[7,119,537,540,6818,2805,1973,26155,26156,173],"大藏经","华严经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803bbe975bf88ddb6dc305daf1b8ef0f.jpg",[],{"id":26160,"slug":26161,"title":26162,"dynasty":133,"author":26163,"museum":227,"description":26164,"tags":26165,"thumbUrl":26166,"material":1050,"size":1051,"collection":217,"collections":26167,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},289953,"bao-yun-zhi-yi-tie-juan-cheng-ju-fu-289953","薄云之谊帖卷","程钜夫","程钜夫（1249年5月30日－1318年8月14日），初名文海，因避元武宗海山名讳，改用字代名，号雪楼，又号远斋。建昌军（今江西南城）人，祖籍郢州京山县（今属湖北）。",[25,7,119,120,1892,193,1229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f2da1006fce8b866800e06ffc8dae9f.jpg",[],{"id":26169,"slug":26170,"title":26171,"dynasty":2618,"author":430,"museum":227,"description":26172,"tags":26173,"thumbUrl":26174,"material":1050,"size":1051,"collection":217,"collections":26175,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},289719,"dun-huang-yi-shu-355-yi-ming-289719","敦煌遗书355","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[1242,7,119,540,537,173,1973,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee06a00c2f1bb095966570801fe4080.jpg",[],{"id":26177,"slug":26178,"title":26179,"dynasty":2618,"author":430,"museum":227,"description":26172,"tags":26180,"thumbUrl":26181,"material":1050,"size":1051,"collection":217,"collections":26182,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},289718,"dun-huang-yi-shu-354-yi-ming-289718","敦煌遗书354",[1242,540,119,7,1892,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69619830575b29121e396b61073b3ffb.jpg",[],{"id":26184,"slug":26185,"title":26186,"dynasty":2618,"author":430,"museum":227,"description":26172,"tags":26187,"thumbUrl":26188,"material":1050,"size":1051,"collection":217,"collections":26189,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},289687,"dun-huang-yi-shu-323-yi-ming-289687","敦煌遗书323",[1242,7,119,540,537,6818,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64176a15d83df953e270482dd2c9336e.jpg",[],{"id":26191,"slug":26192,"title":26193,"dynasty":54,"author":495,"museum":227,"description":13872,"tags":26194,"thumbUrl":26195,"material":1050,"size":1051,"collection":217,"collections":26196,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},288237,"shi-shou-juan-wen-zheng-ming-288237","十首卷",[119,1892,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866f45fe1ba9442abac1b8f677e3f26f.jpg",[],{"id":26198,"slug":26199,"title":26200,"dynasty":168,"author":430,"museum":227,"description":26201,"tags":26202,"thumbUrl":26203,"material":1050,"size":1051,"collection":217,"collections":26204,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},288132,"da-bo-re-bo-luo-mi-duo-jing-juan-di-wu-bai-er-shi-er-yi-ming-288132","大般若波罗蜜多经卷第五百二十二","此卷写经纸色泛黄古旧，墨色凝练匀净，尽显唐人写经的虔谨风貌。小楷笔法端秀恭谨，结体平正舒展，字字排布齐整却不失灵动，通篇行气舒缓流畅。笔下带着抄写者的敬佛之心，法度谨严又蕴藏温润静雅的气韵，是唐代写经书法的典型范本。它既是佛教典籍的载体，更是盛唐书法艺术的珍贵遗存，静静承载着千年前的笔墨匠心与信仰温度。",[7,119,540,537,173,1973,6818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1135653f3f306e034eeb5fe290d4ab.jpg",[],{"id":26206,"slug":26207,"title":26208,"dynasty":168,"author":430,"museum":227,"description":26209,"tags":26210,"thumbUrl":26211,"material":1050,"size":1051,"collection":217,"collections":26212,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},288130,"da-bo-re-bo-luo-mi-duo-jing-juan-di-er-bai-wu-shi-yi-ming-288130","大般若波罗蜜多经卷第二百五十","此卷小楷点画清劲舒展，结体端稳匀净，通篇气息安和沉静，尽显写经时的恭谨心力。墨色沉润，与泛黄藏经纸相映，虽经岁月摩挲有褶皱破损，却晕开旧时光的温厚质感。笔锋起落皆合唐楷法度，既带着庙堂楷书的整饬，又因抄经的静定生出清和禅意。笔墨之间藏着书写者的虔诚，将般若经义融于一笔一划，朴素无华却见匠心，平淡之中自有静定风骨。",[537,119,540,173,7,1973,6818,2805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6ae2750455f003d32cb8ab900f508e.jpg",[],{"id":26214,"slug":26215,"title":26216,"dynasty":168,"author":430,"museum":227,"description":26217,"tags":26218,"thumbUrl":26220,"material":1050,"size":1051,"collection":217,"collections":26221,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},288128,"shi-xuan-zang-yi-da-zang-jing-a-pi-da-mo-ju-she-lun-fen-bie-sui-min-pin-di-wu-zhi-er-yi-ming-288128","釋玄奘譯 大藏經 阿毗達磨俱舍論 分別随民品第五之二","此卷写经书法是唐代写经体的典型范式，笔画匀净秀雅，结体端庄舒展，墨色沉静莹润。抄经人以恭谨心境落墨，笔笔平和端严，尽显写经的法度与冲淡禅意。虽历经岁月，卷身有多处虫蛀残破，却更添古旧沧桑，带着千余年时光的厚重质感。作为译抄佛典的遗存，笔墨间藏着彼时的宗教文化意趣，是书法艺术与佛教文化交融的珍贵实物，静静诉说着过往的虔敬与雅致。",[119,540,537,7,173,1973,20724,26155,26219],"阿毗達磨俱舍論","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6293c77ab7bf83e0082a486ec44000.jpg",[],{"id":26223,"slug":26224,"title":26225,"dynasty":168,"author":430,"museum":227,"description":26226,"tags":26227,"thumbUrl":26228,"material":1050,"size":1051,"collection":217,"collections":26229,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},288126,"shi-xuan-zang-yi-da-bo-re-bo-luo-mi-duo-jing-di-shi-yi-yao-shi-si-jing-yu-yang-jing-yi-ming-288126","釋玄奘譯 大般若波羅蜜多經第十一 薬師寺経 魚養経","泛黄纸身凝着千年尘霜，残损处是时光凿下的印记。笔墨沉凝端严，笔锋带着虔敬的力道，每一字都饱蘸着信仰的温度，尽显沉静风骨。木轴裹着温润包浆，素带轻束，将千年前的梵音与焚香一同封存在这尺幅之间。墨色历经岁月依旧饱满，字里行间晕染着禅意，仿佛仍能窥见灯下抄经人专注的身影，听见佛堂里悠悠的诵经声，让古韵禅思顺着纸页漫溢开来。",[540,119,537,1973,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26671b446ce8adb4d1e4f58900326f98.jpg",[],{"id":26231,"slug":26232,"title":26233,"dynasty":2618,"author":430,"museum":227,"description":26234,"tags":26235,"thumbUrl":26236,"material":1050,"size":1051,"collection":217,"collections":26237,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287917,"yin-ming-ru-zheng-li-lun-hou-shu-juan-yi-ming-287917","因明入正理論後疏卷","此卷以朱丝界格排布全篇，小字草书连绵铺展，满卷墨色沉郁古雅。笔锋灵动跳脱，提按转合间尽显娴熟功底，字字紧凑却毫无壅塞之感，整卷行气贯通，一气呵成。卷内朱印点缀，为满幅墨色晕开醒目的亮色，静穆经文与飞动笔意相融，既有佛典自带的庄正沉静，又不失草书抒情写意的畅快，将抄录时的静定之心与书写快意融为一体，尽显古卷历经岁月的沉厚质感，以及书法美学交织的悠长韵味。",[23,7,119,540,1892,173,193,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90de83e2c35a3ae9135e818b0610f479.jpg",[],{"id":26239,"slug":26240,"title":26241,"dynasty":2618,"author":430,"museum":227,"description":26242,"tags":26243,"thumbUrl":26244,"material":1050,"size":1051,"collection":217,"collections":26245,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287916,"jue-guan-lun-yi-ming-287916","絶觀論","通篇小楷匀净秀雅，行笔舒展畅达，字距行距错落自然，长篇铺陈却无壅塞之感。墨色历经岁月依旧沉润鲜亮，恪守写经端严法度的同时，又带着书写者自然流露的笔底风神。朱笔圈点与古印错落点缀，是千年前学人研读留下的印记，让这件写本跳出单纯的宗教文献属性，晕开了旧时治学的沉静温度。整卷将义理的幽深融于笔墨舒展中，尽显唐人写经特有的静谧禅意，是兼备文献价值与书法美学价值的珍品。",[23,7,119,540,6818,1973,537,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F667654e21b19e7870d11a20e10d1090d.jpg",[],{"id":26247,"slug":26248,"title":26249,"dynasty":2618,"author":430,"museum":227,"description":26250,"tags":26251,"thumbUrl":26252,"material":1050,"size":1051,"collection":217,"collections":26253,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},287915,"hou-han-fu-shuo-fu-shuo-xiang-fa-jue-yi-jing-gui-wen-mu-lian-jing-juan-yi-ming-287915","後漢佛說佛說像法決疑經鬼問目連經卷","这卷写本纸色黄旧，带着岁月侵蚀留下的残损与虫蛀痕迹，却难掩笔墨神采。通篇小楷匀净端稳，行气连贯排布紧凑却不显壅塞，尽显写经书法的质朴秀雅。笔锋内敛沉厚，带着抄经手虔诚肃穆的书写心境，每一笔都沉静笃定。朱红印章点缀其间，为古雅卷面添了几分灵动亮色。\n\n它既是宗教经文的载体，也是中古民间书法的实物佐证，残损纸页凝着跨越时光的沉静力量，笔墨间藏着旧时的信仰温度，尽显古朴厚重的人文质感。",[23,7,119,540,537,6818,173,2805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6aa8f6118710cceb4b6289a214d790f.jpg",[],{"id":26255,"slug":26256,"title":26257,"dynasty":2618,"author":430,"museum":227,"description":26258,"tags":26259,"thumbUrl":26260,"material":1050,"size":1051,"collection":217,"collections":26261,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},287913,"miao-fa-lian-hua-jing-juan-di-yi-juan-yi-ming-287913","妙法蓮華經卷第一卷","此卷写经笔法精整秀雅，中锋行笔凝练匀净，起收爽利，结体端稳舒展，字字排布紧凑却不局促，通篇气韵肃穆浑融，尽显抄经时的恭谨静定。苍黄古旧的纸面间，沉润墨色历经岁月仍清晰饱满，斑驳残损是时光镌刻的印记，为这份佛门遗存更添古雅厚重之感。笔墨间流淌着写经人持重虔诚的礼佛之心，是书法法度与宗教意涵的完美融合，尽显写经质朴端雅的独特美学意趣。",[23,7,119,540,537,173,6818,1973,2805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c808b14b87739de63f3016cd41ac48.jpg",[],{"id":26263,"slug":26264,"title":26265,"dynasty":2618,"author":430,"museum":227,"description":26266,"tags":26267,"thumbUrl":26268,"material":1050,"size":1051,"collection":217,"collections":26269,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287910,"si-fen-lv-shan-fan-bu-que-xing-shi-chao-juan-di-san-da-cheng-qi-xin-lun-zhu-yi-ming-287910","四分律刪繁補闕行事鈔卷第三大乘起信論注","通篇以精谨小楷书就，字势端稳匀整，笔画凝练瘦劲。千行万字排布齐整，毫无冗杂涣散之感，通篇气息浑穆静谧。\n纸色因岁月浸淫泛出沉雅米黄，残损边缘带着时光剥蚀的印记，行间偶见朱笔标注，为沉朴的书卷添了一丝灵动鲜活。\n它兼具书法艺术与文献价值，笔墨间承载着虔敬的宗教情怀，留存着中古时代的书写风骨，平淡朴拙中尽显沉静内敛的古典美感，是佛学典籍写本中的典范遗存。",[23,7,119,540,537,173,25102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bfffc56578cfc67fefd17a50d123f2.jpg",[],{"id":26271,"slug":26272,"title":26273,"dynasty":2618,"author":430,"museum":227,"description":26274,"tags":26275,"thumbUrl":26276,"material":1050,"size":1051,"collection":217,"collections":26277,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287909,"miao-fa-lian-hua-jing-yao-cao-yu-pin-di-wu-yi-ming-287909","妙法蓮華經药草喻品第五","此卷为写经小楷，通篇气息肃穆静雅，字形端稳匀整，排布森然有序。笔墨凝练温润，点画起收有度，提按间尽显书写恭谨，将宗教的虔诚融于毫端。虽经岁月洗练，墨色依旧焕然，整卷气息浑融统一，尽显写经书法特有的沉静雅致，以笔锋传递出诵经时的平和心境，在工整的法度之中蕴藏着内敛的书卷意韵。",[23,119,540,537,6818,7,1973,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e06a6228e71f567156f3e67e4c328ba.jpg",[],{"id":26279,"slug":26280,"title":26281,"dynasty":2618,"author":430,"museum":227,"description":26282,"tags":26283,"thumbUrl":26284,"material":1050,"size":1051,"collection":217,"collections":26285,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287908,"shou-pu-sa-jie-wen-juan-yi-ming-287908","受菩萨戒文卷","纸色泛黄古旧，墨色沉郁斑驳，满卷行草随兴排布，密而不壅。笔势迅疾洒脱，线条粗细随心法律动，字字错落呼应，既带着抄写戒文时的肃穆虔诚，又不失随性灵动的笔墨意趣。\n残损的纸边晕染着悠悠岁月的痕迹，笔墨之间封藏着千年前发愿持戒的心迹，古意漫溢，将信仰的重量与书写的温度交织在一起，静静诉说着旧时光里的笃诚。",[23,7,119,540,1892,173,6818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9108571801e1bcd41649f7b790c2a6.jpg",[],{"id":26287,"slug":26288,"title":26289,"dynasty":2618,"author":430,"museum":227,"description":26290,"tags":26291,"thumbUrl":26292,"material":1050,"size":1051,"collection":217,"collections":26293,"showCount":9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金光明经卷第七手稿","此卷小楷通篇排布匀整肃净，字势端雅秀润，笔力内敛沉厚。虽为长篇经文，却字字舒展安稳，毫无倦怠之态，笔画起收有度，间架停匀，顾盼之间自有温雅意趣。\n\n抄经人以虔诚恭谨之心落墨，将宗教静定的气息融于笔底，既有魏晋写经的古拙朴质，又兼具唐人写经的隽秀规整。整卷文书笔墨沉淀着书写时的肃穆宁和，兼具书法美学价值与宗教文化意蕴，观之令人心神澄澈。",[7,119,537,540,173,6818,1973,2805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62d0b8f45e2df0296cd750a3a61b1ead.jpg",[],{"id":26362,"slug":26363,"title":26364,"dynasty":2618,"author":430,"museum":227,"description":26365,"tags":26366,"thumbUrl":26367,"material":1050,"size":1051,"collection":217,"collections":26368,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},287878,"tai-bei-08716-guang-zan-jing-juan-di-yi-shou-gao-yi-ming-287878","台北08716光赞经卷第一手稿","此卷小楷写经，落笔稳健匀净，点画凝练端秀，结体宽和舒展，通篇气息沉静安和，尽显写经书法的肃穆雅正。字距排布齐整，章法匀净疏朗，笔墨不带半分躁意，可见书写时心境清宁专注。\n笔墨承载般若思辨，每一处笔锋收放，都暗含对经义的敬畏，将信仰与书法融为一体，尽显古写经质朴端严之美，在笔墨流转间传递出静谧沉潜的禅意。",[119,540,537,7,6818,173,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e1658313b3249905b46441a746e9a24.jpg",[],{"id":26370,"slug":26371,"title":26372,"dynasty":2618,"author":430,"museum":227,"description":26373,"tags":26374,"thumbUrl":26375,"material":1050,"size":1051,"collection":217,"collections":26376,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},287877,"tai-bei-08728-miao-fa-lian-hua-jing-juan-xu-pin-di-yi-yi-ming-287877","台北08728妙法莲华经卷序品第一","这件写经小楷气息端雅静穆，笔墨秀润精整，是极具代表性的民间写经书法。通篇字势匀稳排布，行气连贯悠长，笔笔恪守法度，点画舒展腴润，间架宽和安雅，尽显抄经时的恭谨心境。书写者将虔诚信仰倾注于笔端，在规整的书写范式中，蕴藏内敛沉静的禅意，既体现出写经书法特有的庄严规制，也展露精湛圆熟的书写功力，让这件经卷兼具宗教文化价值与书法审美价值，是颇为精湛的古代写经范本。",[537,119,540,6818,173,25,7,1973,2805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d75b971dc04fa4008cf53fe339576b.jpg",[],{"id":26378,"slug":26379,"title":26380,"dynasty":2618,"author":430,"museum":227,"description":26381,"tags":26382,"thumbUrl":26383,"material":1050,"size":1051,"collection":217,"collections":26384,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},287875,"da-guan-ding-jing-juan-di-liu-yi-ming-287875","大灌顶经卷第六","此作小楷精整秀雅，点画凝练厚重，行笔沉稳舒展。通篇排布匀齐肃穆，字距行距疏朗合宜，尽显抄经时的恭谨虔心。笔下无潦草懈怠，结体端稳平正，兼具质朴拙意与隽秀之美，墨色沉润饱满，历经岁月仍具光泽。\n以楷法抄写经文，将宗教的沉静庄严融于笔墨筋骨之中，既恪守严谨法度，又于规整中暗含灵动笔致，尽显书写者娴熟精湛的功底，藏着彼时抄经书法典型的肃穆雅致气韵。",[119,540,7,537,173,6818,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e96e870c3cd50273f290db1c9c09c0.jpg",[],{"id":26386,"slug":26387,"title":19763,"dynasty":54,"author":26388,"museum":227,"description":26389,"tags":26390,"thumbUrl":26391,"material":1050,"size":1051,"collection":217,"collections":26392,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287869,"shi-juan-lai-fu-287869","来复","来复，[明]字阳伯，三原（今陕西三原）人。万历四十四年（一六一六）进士。",[23,7,119,120,19763,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa159c7fc0335a8fc8526cb4ca92547e7.jpg",[],{"id":26394,"slug":26395,"title":26396,"dynasty":2618,"author":430,"museum":227,"description":26172,"tags":26397,"thumbUrl":26398,"material":1050,"size":1051,"collection":217,"collections":26399,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287852,"dun-huang-yi-shu-169-yi-ming-287852","敦煌遗书169",[7,119,540,1242,537,1973,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331c8d7830af701367bc005a361ad430.jpg",[],{"id":26401,"slug":26402,"title":26403,"dynasty":2618,"author":430,"museum":227,"description":26404,"tags":26405,"thumbUrl":26406,"material":1050,"size":1051,"collection":217,"collections":26407,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287842,"da-ban-nie-pan-jing-juan-di-san-shi-jiu-yi-ming-287842","大般涅槃经卷第三十九","这卷写经小楷气息匀净安和，是典型的写经体风貌。起笔收笔利落挺劲，点画排布匀整工稳，字字大小端严如一，通篇行气疏朗连贯，笔墨间带着沉静恭谨的写经意韵。\n笔画精劲秀雅，结构端稳平正，虽为千言长卷，却字字不苟，笔笔到位，既有法度约束下的规整，又暗含书写时的自然意趣，毫无板滞之感。古雅泛黄的纸面搭配黑亮如新的墨色，尽显岁月沉淀下的沉静肃穆，传递出书写时的恭敬诚笃，尽显写经书法平正端严、沉静清和的审美意趣。",[537,119,540,7,6818,24102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992a75f82e3f53c1a1456efadd59d029.jpg",[],{"id":26409,"slug":26410,"title":26411,"dynasty":2618,"author":430,"museum":227,"description":26412,"tags":26413,"thumbUrl":26414,"material":1050,"size":1051,"collection":217,"collections":26415,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287840,"tang-miao-fa-lian-hua-jing-juan-di-qi-yi-ming-287840","唐 妙法莲华经卷第七","此卷小楷起笔收笔温润秀雅，点画精到工稳，结体宽和端秀。通篇排布齐整匀净，字里行间兼具森严法度与沉静禅意，笔势圆融内敛，既恪守楷书的端正规整，又带着抄写经文时的肃穆恭敬。笔墨晕染间，将奉经的虔诚融于每一处细节，气韵冲淡安宁，尽显写经书法的典雅静穆之美，是写经书法中的上乘之作。",[7,119,537,540,173,6818,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe1bcaf4390de2381b1f1eb007ccdc.jpg",[],{"id":26417,"slug":26418,"title":26419,"dynasty":2618,"author":430,"museum":227,"description":26420,"tags":26421,"thumbUrl":26422,"material":1050,"size":1051,"collection":217,"collections":26423,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},287839,"tang-miao-fa-lian-hua-jing-juan-di-liu-yi-ming-287839","唐 妙法莲华经卷第六","此卷小楷笔致精匀端秀，墨色沉静古雅，通篇排布严整茂密，尽显写经书法的肃穆法度。字字清隽朴拙，笔意温润绵长，既恪守写经的规整范式，又带着内敛的笔墨意趣。将经文的慈悲奥义融于毫端，行笔间带着虔诚的禅心，通篇气息浑融统一，带着中古写本特有的厚重质感，静静铺展着跨越岁月的沉静禅意，尽显盛世写经的典型风貌。",[119,540,537,7,173,6818,20724,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f27e56443abfed56f5dd530321b580.jpg",[],{"id":26425,"slug":26426,"title":26427,"dynasty":2618,"author":430,"museum":227,"description":26428,"tags":26429,"thumbUrl":26430,"material":1050,"size":1051,"collection":217,"collections":26431,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287825,"dong-dou-fa-yuan-juan-yi-ming-287825","東都發願卷","此卷书法尽显唐人写经朴雅本貌，用笔简劲凝练，点画厚重平实，起收之间从容自然，牵丝映带暗含章法意趣。通篇布局匀整和谐，字距行距错落有度，虽为抄经之作，却将书写时的虔诚心境融于笔墨细节，不见刻意雕琢，尽是日常书写的松弛意态。\n\n岁月晕染让纸面带着斑驳痕迹，反而更添古拙意蕴。书写者娴熟的运笔功力藏在每一处提按转折里，以平实笔墨承载笃信之心，是民间写经书法中兼具文献价值与审美意趣的佳品，尽显中古写本的朴素之美。",[7,119,540,6818,537,4052,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed4766da81fe616deaa4b858b134dfa.jpg",[],{"id":26433,"slug":26434,"title":26435,"dynasty":2618,"author":430,"museum":227,"description":26436,"tags":26437,"thumbUrl":26438,"material":1050,"size":1051,"collection":217,"collections":26439,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287823,"da-cheng-bai-fa-ming-men-lun-kai-zong-yi-ji-yi-ming-287823","大乘百法明門論開宗義記","这卷写经以精工小楷书就，笔致匀稳端秀，结体方正疏朗，是唐人写经的典型风貌。墨色历久依旧沉凝鲜亮，卷面泛黄斑驳，朱印点缀其间晕开岁月厚重质感。整卷洋洋洒洒，字行排布齐整如一，法度谨严，尽显抄经人恭谨的写经态度。它既是承载佛教义理的珍贵载体，又尽显唐代民间写经书法的清雅朴拙之美，将宗教的庄敬气韵与书法的隽雅意趣融为一体，兼具极高的文献价值与艺术审美价值。",[119,540,537,173,6818,1973,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54771db68412067a685a86c63f5bdd72.jpg",[],{"id":26441,"slug":26442,"title":26233,"dynasty":2618,"author":430,"museum":227,"description":26443,"tags":26444,"thumbUrl":26445,"material":1050,"size":1051,"collection":217,"collections":26446,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287805,"yin-ming-ru-zheng-li-lun-hou-shu-juan-yi-ming-287805","这卷草书手卷笔墨苍朴老辣，通篇气息绵连不绝。以行草挥毫，字势欹侧相生，牵丝映带间尽显书写时的酣畅节奏，虽字字排布紧密却丝毫不显壅塞，行气贯通如一脉清流。\n\n用笔枯润互见，锋棱藏露随心，提按转合皆见法度，既有肆意挥洒的写意感，又不失写经类书法的端谨底色。墨色浓淡变化留存下书写时的情绪起伏，将义理述写与书法意趣相融，是一件兼具文献价值与审美意趣的书法佳构，尽显古雅沉厚的笔墨风神。",[23,7,119,540,1892,6818,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c601b78d641b401a6f7dc8353d786b.jpg",[],{"id":26448,"slug":26449,"title":26450,"dynasty":2618,"author":430,"museum":227,"description":26451,"tags":26452,"thumbUrl":26453,"material":1050,"size":1051,"collection":217,"collections":26454,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287751,"cao-shu-shou-gao-shang-bu-yi-ming-287751","草書手稿（上部）","全篇满纸云烟，字势连绵缠绕，锋毫游走毫无滞碍。虽密匝排布却丝毫不显壅塞，字字顾盼牵萦，气脉贯通首尾。书写随性自在，带着即兴挥洒的松弛快意，笔墨枯湿浓淡隐现其间，质朴纸色与苍劲墨痕相映，不见刻意雕琢，尽显草稿手札的天然意态。\n\n书写者将思绪随笔锋流淌于纸面，每一处牵丝映带都藏着心绪的起伏，满是率真的书写意趣，能让观者透过斑驳纸墨，触摸到这份笔墨遗存里鲜活且肆意的书写瞬间。",[23,1892,119,7,19538,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85ca3afaac75a1562d93bc42ee1481e.jpg",[],{"id":26456,"slug":26457,"title":26458,"dynasty":2618,"author":430,"museum":227,"description":26459,"tags":26460,"thumbUrl":26461,"material":1050,"size":1051,"collection":217,"collections":26462,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287743,"cao-shu-shou-gao-xia-bu-yi-ming-287743","草書手稿（下部）","纸面带着岁月蚀刻的斑驳，左首的蓝痕残损如同旧梦碎片。连绵草字铺陈满卷，笔锋辗转牵丝萦带，随性中藏着内敛法度。墨色深浅晕染在泛黄纸页间，每一行字都贯穿着书写时的流畅气韵，仿佛能窥见挥毫时的快意节奏，一气呵成的行气里藏着书写者的自在心境。残损的纸边反而晕开更浓的古旧质感，让这份笔墨更添厚重的时光温度，虽存残缺，却依旧能让人沉浸在这份古朴笔意中，触碰旧时书写里的松弛力道与雅致意趣。",[23,1892,119,7,19538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf22d3479f5b4dfbf098b0e4063e82c7.jpg",[],{"id":26464,"slug":26465,"title":26466,"dynasty":2618,"author":430,"museum":227,"description":26467,"tags":26468,"thumbUrl":26469,"material":1050,"size":1051,"collection":217,"collections":26470,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287725,"si-fen-ni-jie-ben-bing-xu-xi-tai-yuan-si-sha-men-huai-su-ji-juan-yi-ming-287725","四分尼戒本並序西太原寺沙門懷素集卷","此卷小楷写经笔致匀净秀雅，起收含蓄温润，结体端稳平齐，尽显写经书法的典型风貌。书写一丝不苟，千字排布齐整却不失灵动意趣，墨色沉静古雅，历经岁月晕染自然。\n\n作为戒律经文抄本，法度谨严的书风与戒经庄正的内涵相得益彰，字里行间浸着肃穆虔诚的气息，既承载着宗教文献的厚重价值，亦是书法艺术的传世范本，尽显抄经人恭谨之心与精湛笔墨功底。",[537,540,119,7,173,6818,1973,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eeade6dc49bf837b2521e9e2f7c542c.jpg",[],{"id":26472,"slug":26473,"title":26474,"dynasty":2618,"author":430,"museum":227,"description":26475,"tags":26476,"thumbUrl":26478,"material":1050,"size":1051,"collection":217,"collections":26479,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},287688,"fa-cang-quan-jing-p3305-wei-he-yan-lun-yu-ji-jie-shou-gao-xia-juan-yi-ming-287688","法藏全景 P3305魏 何晏 論語集解手稿下卷","这卷残本写迹纸色斑驳残破，带着时光浸蚀的苍旧质感，行书笔意率朴自然，无刻意雕琢的匠气，带着魏晋士人抄录经典时的随性笔致。\n\n墨迹晕染在残损麻纸之上，虽多处缺佚，却仍可窥见当年传抄经典的治学氛围。朴拙的线条藏着士林注经的风雅余韵，每一处笔锋转折，都留存千年前的书写温度，带着沙海尘封的厚重质感，是文献价值与书法意趣兼具的珍贵遗存，静静诉说着旧时文人沉心经典的沉静心境。",[7,119,1973,19538,26477,120],"残卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c8dcda768027b1c261cb8b1baebaf0.jpg",[],{"id":26481,"slug":26482,"title":25118,"dynasty":2618,"author":430,"museum":1270,"description":26483,"tags":26484,"thumbUrl":26485,"material":1050,"size":1051,"collection":217,"collections":26486,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},287631,"fu-shuo-wu-liang-shou-zong-yao-jing-shou-gao-yi-ming-287631","通篇以精整小楷书就，笔墨匀净秀雅，字字排布齐整森严，行气舒朗贯通，尽显抄经人恭谨澄澈的心境。笔锋清劲内敛，点画温润饱满，无过度锋芒张扬，暗合佛家内敛平和的气韵。整卷绵长不绝，数千字一气呵成，古旧泛黄的纸面晕开时光沉淀的沉静质感。字里行间既有法度严谨的书写功底，亦藏着抄写时的清净禅意，将宗教的肃穆与书法的雅致相融，静静诉说着往昔抄经时的虔诚岁月。",[7,119,540,537,19538,6818,2805,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59e26679fe02769653cf330ded417a39.jpg",[],{"id":26488,"slug":26489,"title":26490,"dynasty":2618,"author":430,"museum":1270,"description":26491,"tags":26492,"thumbUrl":26493,"material":1050,"size":1051,"collection":217,"collections":26494,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},287630,"da-ban-nie-pan-jing-juan-shi-liu-shou-gao-yi-ming-287630","大般涅槃經卷十六手稿","这卷写本以泛黄古纸为底，小楷密密排布，铺满整幅长卷。墨色沉郁朴拙，虽历经岁月有着虫蛀墨损，却更添沧桑古意。笔锋秀劲内敛，字字端稳清隽，排布紧凑却无壅塞之感，尽显写经书法的沉静肃穆之美。\n写经人以虔诚贯注笔端，笔画匀净凝练，带着写经书法的典型风貌，将宗教的庄严感融入笔墨筋骨之中，质朴无华却动人心神。它是信仰与书法艺术的融合遗存，每一处墨迹都留存着千年前的虔敬气息，静穆之中藏着沉静的力量，尽显古写本的质朴美学意蕴。",[7,119,540,6818,537,1973,19538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1cb49db18a9b0a48d9b91fde333bcf7.jpg",[],{"id":26496,"slug":26497,"title":11930,"dynasty":2618,"author":430,"museum":1270,"description":26498,"tags":26499,"thumbUrl":26501,"material":1050,"size":1051,"collection":217,"collections":26502,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},287622,"jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-287622","此卷小楷写经用笔精严端秀，结体匀整安定，是典型的写经书法风貌。通篇气息沉静肃穆，笔墨温润质朴，不见丝毫潦草懈怠，足见抄经者的恭敬虔诚。\n\n点画凝练沉稳，带着唐楷的端严法度，又自带写经特有的静定气韵，将对经文的虔敬融于每一处笔墨细节。长卷铺展，字字排布齐整，般若经的空寂禅思与笔墨的沉静内敛相互契合，观者凝视之间，便能感知抄经时的平和心力。历经岁月洗练，墨色依旧沉厚匀净，古雅的书卷气息扑面而来，尽显写经书法清雅肃穆之美，是兼具宗教意涵与书法审美价值的佳品。",[7,537,119,540,173,20724,26500],"佛教经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab52866f1081b2f75b0ad4a50034ecdc.jpg",[],{"id":26504,"slug":26505,"title":26506,"dynasty":2618,"author":430,"museum":227,"description":26507,"tags":26508,"thumbUrl":26509,"material":1050,"size":1051,"collection":217,"collections":26510,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},287322,"da-fang-deng-da-ji-jing-da-ji-jing-juan-ti-nian-si-shou-gao-yi-ming-287322","大方等大集經 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明遗民。\n崇祯十六年（1643年），成为国子监生，加入复社。清兵入关后，先后依托于弘光政权、佥都御史王永柞、唐王朱聿键、诗社，组织反清活动。后期，拒绝朝廷征辟，一生辗转，行万里路，读万卷书，创立了一种新的治学方法，成为清初继往开来的一代宗师，“开山始祖”。 顾炎武学问渊博，对于国家典制、郡邑掌故、天文仪象、河漕、兵农及经史百家、音韵训诂之学，都有研究。晚年，治经重视考证，开启明末清初朴学风气。治学以“博学于文，行己有耻”为主，合“学与行、治学与经世”为一，诗多伤时感事之作。\n康熙二十一年（1682年2月15日），去世，享年七十岁。著有《日知录》《天下郡国利病书》《肇域志》《音学五书》《韵补正》《金石文字记》《亭林诗集》等。",[23,119,120,1892,114,7,193,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23c692a81cc7fc65faefffc7480ede.jpg",[],{"id":26627,"slug":26628,"title":26629,"dynasty":54,"author":1945,"museum":227,"description":26630,"tags":26631,"thumbUrl":26632,"material":442,"size":217,"collection":543,"collections":26633,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240996,"zhi-si-weng-zha-juan-chen-ji-ru-240996","致思翁札卷","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 [1] 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。\n著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,120,119,7,114,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa112671d44d0758619edfd1200d9f2ed.jpg",[543],{"id":26635,"slug":26636,"title":26637,"dynasty":54,"author":26638,"museum":227,"description":26639,"tags":26640,"thumbUrl":26641,"material":1050,"size":1051,"collection":217,"collections":26642,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240899,"tang-shi-juan-xu-chu-240899","唐诗卷","许初","字复初，一字元复，以县学生序贡授教职，擢南京太仆寺主簿，迁汉阳府通判。工篆，庄整而秀；兼善楷、草，法二王。亦工大书，不轻与人书。又能刻印。",[119,7,120,25,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ba3ff23478a615bdf5fa505bc2df12.jpg",[],{"id":26644,"slug":26645,"title":26646,"dynasty":54,"author":22071,"museum":227,"description":25324,"tags":26647,"thumbUrl":26648,"material":1050,"size":1051,"collection":217,"collections":26649,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240874,"chun-yuan-za-shi-juan-li-dong-yang-240874","春园杂诗卷",[25,119,7,120,1892,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda31e4123682e0e4a9c860b4c4814178.jpg",[],{"id":26651,"slug":26652,"title":19763,"dynasty":54,"author":26653,"museum":227,"description":26654,"tags":26655,"thumbUrl":26656,"material":1050,"size":1051,"collection":217,"collections":26657,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240872,"shi-juan-li-meng-yang-240872","李梦阳","李梦阳（1473年1月5日—1530年1月28日），字献吉，号空同，汉族，祖籍河南扶沟，出生于庆阳府安化县（今甘肃省庆城县），后又还归故里，故《登科录》直书李梦阳为河南扶沟人。他善工书法，得颜真卿笔法，精于古文词。明代中期文学家，复古派前七子的领袖人物。提倡“文必秦汉，诗必盛唐”，强调复古，《自书诗》师法颜真卿，结体方整严谨，不拘泥规矩法度，学卷气浓厚。李梦阳所倡导的文坛“复古”运动盛行了一个世纪，后为袁宗道、袁宏道、袁中道三兄弟为代表的“公安派”所替代。",[119,120,7,114,921,2153,654,196,115,29,116,230,2791],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d8669501aa08cedc3e954ea4176b16.jpg",[],{"id":26659,"slug":26660,"title":26661,"dynasty":54,"author":430,"museum":227,"description":26662,"tags":26663,"thumbUrl":26664,"material":1050,"size":1051,"collection":217,"collections":26665,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},240833,"wang-duo-kai-shi-juan-yi-ming-240833","王铎楷诗卷","此作用笔重拙老辣，以行楷间杂写就，点画朴厚斑驳，墨色枯浓变幻自然。章法上疏行距、密字距，欹正相生，通篇气势连贯奔腾，带着晚明尚奇重势的典型书风特质。\n\n笔墨随诗文跌宕，激昂处笔力千钧，沉郁时墨色滞涩，将古风长辞的豪逸意境，与书法的雄肆气势融为一体。纸面岁月斑驳，更衬笔墨间饱藏的勃郁意气，尽显文人情愫的郁结不平，是一件极具力量感的行书佳作。",[23,119,537,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475aa497347a420f79d425748ffe329d.jpg",[],{"id":26667,"slug":26668,"title":19763,"dynasty":250,"author":26669,"museum":227,"description":26670,"tags":26671,"thumbUrl":26672,"material":9464,"size":26673,"collection":543,"collections":26674,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240711,"shi-juan-wang-yong-nian-240711","王永年","此卷草书如长河奔涌，行气贯通连绵，字势跌宕奇崛，通篇顾盼生姿。行笔中锋侧锋互用，提按顿挫间笔力苍劲灵动，线条枯湿浓淡交织，时而细韧如游丝，时而厚重如坠石，尽显狂草肆意放逸之态。疏密开合排布精妙，牵丝映带一气呵成，将胸臆间疏狂意气化为纸上龙蛇。墨色燥润相生，虚实相映，尽显文人放旷疏野之姿，诗书意境与笔墨意趣相融尽显抒情草书的动人魅力。",[23,25,119,7,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98b06d0de3ab7ed592f8222b994c09d.jpg","27.5×197cm",[543],{"id":26676,"slug":26677,"title":19763,"dynasty":250,"author":26678,"museum":20,"description":26679,"tags":26680,"thumbUrl":26683,"material":26684,"size":26685,"collection":543,"collections":26686,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240703,"shi-juan-cha-ji-zuo-240703","查继佐","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[23,119,7,120,114,193,19184,26681,26682,1282,1937,454,6711,5005,254,524,1070,4801,64,2153,921,654,116,196,115,29,274,282,275,283],"芳草","烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","绫本，行书","纵450厘米，横33.3厘米",[543],{"id":26688,"slug":26689,"title":26690,"dynasty":250,"author":26691,"museum":227,"description":26692,"tags":26693,"thumbUrl":26695,"material":1050,"size":1051,"collection":217,"collections":26696,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240670,"ti-cang-sang-xian-yi-tu-juan-qian-qian-yi-240670","题沧桑仙奕图卷","钱谦益","钱谦益（1582年10月22日—1664年6月17日），字受之，号牧斋，晚号蒙叟，东涧老人。学者称虞山先生。清初诗坛的盟主之一。苏州府常熟县鹿苑奚浦（今张家港市塘桥镇鹿苑奚浦）人。\n钱谦益是明万历三十八年（1610年）探花（一甲三名进士），后为东林党的领袖之一，官至礼部侍郎，因与温体仁争权失败而被革职。明亡后，马士英、阮大铖在南京拥立福王，建立南明弘光政权，钱谦益依附之，为礼部尚书。后降清，为礼部侍郎。\n钱谦益的评价富于争议，尤其是降清、仕清之举成为其道德症结，清乾隆帝将之视作失节者，删禁其著作；但也有学者指出，入清后钱谦益仍多次私下策反降清武将、暗中资助郑成功反清等等。若就文学地位而言，则钱谦益仍应得到肯定。",[119,120,7,193,482,11196,61,26694,114],"棋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11806b03ac02295de1494fb79076c8c.jpg",[],{"id":26698,"slug":26699,"title":26700,"dynasty":250,"author":19560,"museum":227,"description":26701,"tags":26702,"thumbUrl":26703,"material":1050,"size":1051,"collection":217,"collections":26704,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240669,"zi-shu-shi-ci-juan-wang-shi-zhen-240669","自书诗词卷","王士祯（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字贻上，号阮亭，又号渔洋山人，世称王渔洋。山东新城（今山东桓台县）人。清初诗人、文学家、诗词理论家。\n王士祯为清顺治十五年（1658年）进士，康熙四十三年（1704年）官至刑部尚书，颇有政声。谥文简。\n王士祯在实践“神韵说”，取得卓著诗文成果的同时，还能突破正统文坛和文人偏见，重视和高度评价小说、戏曲、民歌等通俗文学、文体。他的主要成就在诗文创作与理论方面，但在小说、戏曲、民歌、书画、藏书、史论等方面所取得的成就亦不容忽视。",[23,25,7,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e664ef86a8c210524f44c4d0ce839c.jpg",[],{"id":26706,"slug":26707,"title":26708,"dynasty":250,"author":5642,"museum":227,"description":5643,"tags":26709,"thumbUrl":26710,"material":1050,"size":1051,"collection":217,"collections":26711,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240663,"lin-zhao-shu-juan-ai-xin-jue-luo-yong-xing-240663","临赵书卷",[23,25,119,7,120,60,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ddc8641e8f71c5a7738004108b5b82c.jpg",[],{"id":26713,"slug":26714,"title":19763,"dynasty":54,"author":26715,"museum":227,"description":26716,"tags":26717,"thumbUrl":26718,"material":1050,"size":1051,"collection":217,"collections":26719,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":49},240629,"shi-juan-wu-wei-yi-240629","吴惟一","此作以草书挥就，整卷行气贯通，字势顾盼牵丝萦绕，尽得草书抒情之妙。笔墨枯湿浓淡交叠变幻，提按顿挫间带着肆意放达的意气，线条飞动缠绕却不失章法，字字相衔、行行呼应，如行云流水般舒卷自如。\n\n既有狂草的颠逸遗韵，又自出机杼，将诗中的心绪藏入挥毫的起落之中。通篇带着疏朗萧散的古意，把文人的疏放襟怀尽数铺展在卷上，笔墨节奏随着心绪起伏，观之如随作者共赴诗中情境，尽览挥毫时的酣畅快意，尽显明代草书抒情写意的独特风神。",[23,119,7,120,114,923,6711,1070,1937,482,483,115,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5dc16988a655910f7fdeeb3c330cd9c.jpg",[],{"id":26721,"slug":26722,"title":26723,"dynasty":250,"author":26724,"museum":227,"description":26725,"tags":26726,"thumbUrl":26727,"material":442,"size":217,"collection":543,"collections":26728,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240475,"shi-gao-juan-wang-ge-240475","诗稿卷","汪舸","此卷集信札诗稿为一体，形制错落参差，笺纸色泽各异，古意氤氲。行书笔墨苍朴率真，线条随文思起伏，粗细枯润变幻自如，尽显随性疏朗的文人意趣。诗稿排布疏密随心，朱印错落点缀，提亮古雅纸面。手札字迹带着书写时的情绪温度，或疾或缓，藏着旧时文人间的交游日常与幽微心绪，纸墨晕染间尽显彼时文人的笔墨风流，是兼具文献价值与审美价值的文墨佳作。",[23,25,7,119,120,193,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc792fd82666d8043a1bf474598bf8556.jpg",[543],{"id":26730,"slug":26731,"title":24191,"dynasty":250,"author":26691,"museum":227,"description":26692,"tags":26732,"thumbUrl":26733,"material":1050,"size":1051,"collection":217,"collections":26734,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240420,"shou-zha-juan-qian-qian-yi-240420",[23,119,7,120,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda2b518935f750fcc5e0a7c524c3e99.jpg",[],{"id":26736,"slug":26737,"title":24191,"dynasty":54,"author":3914,"museum":227,"description":11458,"tags":26738,"thumbUrl":26739,"material":1050,"size":1051,"collection":217,"collections":26740,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240335,"shou-zha-juan-dong-qi-chang-240335",[23,54,119,120,7,193,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1da620d7dc9aed2802c5a94155a484c7.jpg",[],{"id":26742,"slug":26743,"title":26744,"dynasty":168,"author":430,"museum":227,"description":26745,"tags":26746,"thumbUrl":26747,"material":1050,"size":1051,"collection":217,"collections":26748,"showCount":914,"zanCount":48,"manualWeight":48,"mainColor":128},240305,"zhi-hui-shan-yu-jia-shi-di-lun-xie-jing-juan-yi-ming-240305","智慧山瑜伽师地论写经卷","整卷以细密小字贯连始终，笔致恭谨流畅，尽显唐人写经的典型意韵。墨色沉润匀净，历经岁月依旧清晰醒目，朱圈句读点缀其间，与浓墨形成雅致对比，既标注文句，也为满卷笔墨增添了灵动层次。\n通篇排布齐整端严，字字大小匀停却暗藏变化，起收转合恪守唐楷法度，兼具抄经的实用性与书法审美价值。一笔一划皆见抄经人专注的心神，将宗教书写的虔诚融于笔墨之中，静静承载着千年前的书写传统与沉静匠心。",[23,119,540,537,7,173,1973],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手稿","此卷朱笔书于泛黄素纸，朱痕交织成细密思辨经纬。行笔朴拙灵动，是典型写经风貌，字字带着虔谨力道。卷中正文与批注层叠排布，密而不乱，可见抄录者沉潜探研佛理时反复诠解、往复修正的心力。笔锋起落间，既有写经特有的端稳肃穆，又不失随性舒展的意趣。一纸旧卷载着千年佛学思辨脉络，朴素卷面藏着古人穷研经论的专注，是信仰与笔墨相融的珍贵遗存。",[7,119,540,6818,19538,1973,27472],"朱笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9936d45ad1e56527e93ce2bb094b4bcc.jpg",[],{"id":27476,"slug":27477,"title":27478,"dynasty":2618,"author":430,"museum":227,"description":27479,"tags":27480,"thumbUrl":27481,"material":1050,"size":1051,"collection":217,"collections":27482,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},290681,"da-cheng-mi-yan-jing-juan-xia-shou-gao-yi-ming-290681","大乘密严经卷下手稿","此卷小楷点画精雅工稳，提按间法度自现，笔势圆融隽秀，尽显写经体的端丽气质。通篇排布匀整舒朗，字距行气齐整贯通，墨色匀净古淡，与泛黄纸面相映，晕染出沉穆静雅的氛围。书写者将静定心神凝注笔端，把信仰的虔诚融于每一处牵丝撇捺，既有写经书法的工整流丽，又暗含质朴自然的意趣，于规整中藏着灵动，笔墨间漫溢着悠远肃穆的禅韵，尽显兼具的宗教价值与审美意趣。",[119,540,7,537,173,6818,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba9a3eccf831e771985f01a58ce7d41.jpg",[],{"id":27484,"slug":27485,"title":27486,"dynasty":2618,"author":430,"museum":227,"description":27487,"tags":27488,"thumbUrl":27489,"material":1050,"size":1051,"collection":217,"collections":27490,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},290678,"da-ban-nie-pan-jing-juan-di-ba-shou-gao-yi-ming-290678","大般涅槃经卷第八手稿","此卷写经笔墨匀净秀雅，是典型的写经小楷。点画圆融饱满，起收内敛温润，字字排布齐整却不失灵动，行气舒朗贯通，笔势带着沉静的书写韵律，尽显抄录时的恭谨持重。\n\n泛黄古旧的纸面上墨色沉凝厚重，经文连绵铺展，将宗教文本的肃穆庄重与古典书法的清雅意蕴融为一体。岁月浸润的质感裹挟着沉静的信仰之力，尽显中古写本特有的质朴静穆之美，虔诚之心融于笔锋流转之间。",[7,119,537,540,6818,173,1973,2805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c14087f9dc8fd93e5b100c5bb38d31f.jpg",[],{"id":27492,"slug":27493,"title":27494,"dynasty":2618,"author":430,"museum":227,"description":27495,"tags":27496,"thumbUrl":27497,"material":1050,"size":1051,"collection":217,"collections":27498,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},290677,"da-bo-re-bo-luo-mi-duo-jing-juan-di-san-shi-san-shou-gao-yi-ming-290677","大般若波罗蜜多经卷第三十三手稿","此卷写经小楷精整秀雅，起收笔皆循法度，字形端稳排布齐整，通篇气息沉静肃穆。墨色苍润古雅，泛黄纸卷晕染着岁月痕迹，字里行间浸透千余年禅意。抄写疏密合宜，笔势圆融内敛，不见跳脱锋芒，将书写者的恭谨虔诚融于每一处笔墨细节，贴合释典抄写的庄严气韵，尽显古代抄经书法的典型风貌，带着独有的厚重历史质感，静静诉说着信仰与笔墨相融的旧日时光。",[540,537,119,7,1973,6818,1242,19538,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e07ae720a143ff180a419f3cbcf295.jpg",[],{"id":27500,"slug":27501,"title":27502,"dynasty":2618,"author":430,"museum":227,"description":27503,"tags":27504,"thumbUrl":27505,"material":1050,"size":1051,"collection":217,"collections":27506,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},290673,"da-cheng-mi-yan-jing-juan-shang-shou-gao-yi-ming-290673","大乘密严经卷上手稿","泛黄素纸被时光晕浸出深浅不一的水痕，似烟霭流转的淡墨云山，又如旧年案头遗落的茶渍。褪去了经文笔墨，只余下岁月镌刻的肌理，每一处晕染都是时光私藏的印记。错落的渍痕顺着纸纹漫开，将被搁置的旧时光凝在纸页间，带着被光阴摩挲后的温润古意，静静诉说着被风尘浸洇的过往，把漫长岁月里的沉静与斑驳，都封存在这一纸旧物之中。",[7,173,540,119,19538,20724,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641d0ec7a3fba60d5c179ccd30c2642a.jpg",[],{"id":27508,"slug":27509,"title":27510,"dynasty":2618,"author":430,"museum":227,"description":27511,"tags":27512,"thumbUrl":27513,"material":1050,"size":1051,"collection":217,"collections":27514,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},290672,"jin-guang-ming-zui-sheng-wang-jing-shou-gao-yi-ming-290672","金光明最胜王经手稿","素纸泛黄晕染着岁月痕迹，小楷字迹清隽端凝，笔力匀净秀雅，舒朗排布的经文，墨色虽有淡褪却依旧沉稳温润。修补的纸痕是时光镌刻的印记，诉说着辗转流传的过往。\n\n通篇笔墨带着写经特有的肃穆平和，不见尘俗烟火气，将虔诚信仰融于笔底。起收转合之间，藏着抄经人静定的心力，在素朴纸页晕开禅意静穆的气场，仿佛能窥见古卷在灯下被缓缓誊写的静定时刻，让观览者沉下心来，触摸跨越时光的沉静与虔诚。",[7,119,540,6818,537,193,173,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96ebaa973283b76fe9661dc29778e1.jpg",[],{"id":27516,"slug":27517,"title":27518,"dynasty":2618,"author":430,"museum":227,"description":27519,"tags":27520,"thumbUrl":27521,"material":1050,"size":1051,"collection":217,"collections":27522,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},290671,"da-bo-re-bo-luo-mi-jing-juan-di-wu-bai-er-shi-liu-shou-gao-yi-ming-290671","大般若波罗蜜经卷第五百二十六手稿","此卷小楷清隽端雅，笔致匀净秀润，结体方正平和，通篇排布齐整，行气贯通悠长。书写者以静定之心落墨，经文浩繁却字字安稳无怠，兼具经生书法的严谨法度，又隐有灵动的笔墨意趣。\n\n笔墨间晕染着虔敬肃穆的气韵，点画精劲内敛，起转收合皆循章法，将信仰融于毫端，在规整之中见细腻情致，尽显写经书法的清雅风骨，是兼具宗教意蕴与书法审美价值的佳作。",[7,119,537,540,6818,173,1973,2805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7740a9c7b6090477de558a8fd2278d0.jpg",[],{"id":27524,"slug":27525,"title":27526,"dynasty":2618,"author":430,"museum":227,"description":27527,"tags":27528,"thumbUrl":27530,"material":1050,"size":1051,"collection":217,"collections":27531,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},290670,"da-bo-re-bo-luo-mi-jing-juan-di-yi-bai-si-shi-shou-gao-yi-ming-290670","大般若波罗蜜经卷第一百四十手稿","此卷小楷通篇气脉贯通，笔锋秀雅灵动，结体端稳匀整，字间排布紧密却不失疏朗意趣。抄经者以静定虔诚的笔力将千字经文一气呵就，法度谨严之中暗藏灵动笔趣。古旧黄纸与沉隽墨色相映，晕染着岁月沉淀的厚重肃穆，既恪守写经的庄严规制，又暗融文人书写的雅致意韵，静穆雅致间尽显宗教典籍书法的独特魅力，古韵盎然。",[7,119,540,537,6818,2805,1973,27529],"宗教书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f6579a40919c28c10d00736fb4aa66.jpg",[],{"id":27533,"slug":27534,"title":27535,"dynasty":2618,"author":430,"museum":227,"description":27536,"tags":27537,"thumbUrl":27538,"material":1050,"size":1051,"collection":217,"collections":27539,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":2653},290669,"da-bo-re-bo-luo-mi-jing-juan-di-wu-shi-liu-shou-gao-yi-ming-290669","大般若波罗蜜经卷第五十六手稿","泛黄纸卷凝着岁月包浆，旧绳捆系仍存古雅装帧意趣。题签墨笔朴拙端正，是写经书体典型的平实笔致，不见矫饰匠气，带着抄经人沉心伏案的虔敬。纸面磨损褶皱皆是时光刻痕，静静晕开跨越年岁的沉静氛围，将千年前抄经时的肃穆心绪封存在卷轴之中。质朴笔墨带着宗教文字特有的静谧温度，旧卷沉沉，藏着被时光尘封的笔墨日常，留存下质朴动人的文物流韵。",[540,119,1973,173,7,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff439a347582195e1bc2be3fb29cfc696.jpg",[],{"id":27541,"slug":27542,"title":27543,"dynasty":2618,"author":430,"museum":227,"description":27544,"tags":27545,"thumbUrl":27546,"material":1050,"size":1051,"collection":217,"collections":27547,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},290667,"da-bo-re-bo-luo-mi-jing-juan-di-er-bai-yi-shi-er-shou-gao-yi-ming-290667","大般若波罗蜜经卷第二百一十二手稿","此作为小楷写经长卷，笔致精谨秀雅，点画温润匀整，结体端稳平和，通篇气息浑融肃穆。行气疏朗连贯，字字排布齐整却暗蕴灵动，笔画间牵丝映带呼应自然，尽显书写者静定深厚的心力。\n\n墨色匀净沉凝，无一笔躁妄，将宗教的澄澈虔诚诉诸笔端，在一丝不苟的书写中，兼具信仰意蕴与清雅的书法审美价值。平正之中见深湛功力，无欹侧跳脱之姿，尽显写经书法特有的清隽静雅之美，笔墨间满溢静谧平和的禅意。",[7,119,540,537,173,6818,1973,19538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc39285132f7759a01218b21530af13.jpg",[],{"id":27549,"slug":27550,"title":27551,"dynasty":2618,"author":430,"museum":227,"description":27552,"tags":27553,"thumbUrl":27554,"material":1050,"size":1051,"collection":217,"collections":27555,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},290666,"da-bo-re-bo-luo-mi-jing-juan-di-si-bai-ba-shi-liu-shou-gao-yi-ming-290666","大般若波罗蜜经卷第四百八十六手稿","此卷小楷写经用笔清劲圆融，点画匀整精停，起收转折暗含法度，平正之中暗藏细微欹侧，恪守楷则又不失书写的自然意趣。通篇排布齐整，行气舒展贯通，虽为长篇经文，笔致始终安稳沉静，带着抄经时的肃穆禅意。\n\n墨色匀净统一，泛黄古纸衬得字迹温润雅致，尽显抄经者恭谨的书写心态与扎实功底，悠悠古意顺着笔墨流淌，静穆平和的禅意直透纸背，尽显写经典型意韵。",[7,119,540,537,6818,20724,2805,1973,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2002fa51c4ccbcba1be66968cace3623.jpg",[],{"id":27557,"slug":27558,"title":27559,"dynasty":2618,"author":430,"museum":227,"description":27560,"tags":27561,"thumbUrl":27562,"material":1050,"size":1051,"collection":217,"collections":27563,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},290665,"da-bo-re-bo-luo-mi-jing-juan-di-er-shi-ba-shou-gao-yi-ming-290665","大般若波罗蜜经卷第二十八手稿","此卷是典型写经体小楷，通篇千余字排布齐整匀一，字距行距工整如一，可见抄经时的沉静心力。笔画凝练舒展，结体端稳平和，无丝毫潦草懈怠，既有小楷工整流丽的特质，又饱含抄经独有的肃穆禅意。\n\n泛黄古纸搭配沉润墨色晕开悠悠古韵，将抄经时宁和专注的心境尽显无遗，静静诉说着经文传承里的沉静力量，是一件兼具书法审美与宗教文化意蕴的古雅珍品。",[7,119,537,540,6818,173,1973,21211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1d8601a831a3228017a75e41266af91.jpg",[],{"id":27565,"slug":27566,"title":27567,"dynasty":2618,"author":430,"museum":227,"description":27568,"tags":27569,"thumbUrl":27570,"material":1050,"size":1051,"collection":217,"collections":27571,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},290662,"da-bo-re-bo-luo-mi-duo-jing-juan-di-yi-bai-ba-shi-yi-shou-gao-yi-ming-290662","大般若波罗密多经卷第一百八十一手稿","此卷写经小楷清劲端雅，点画精匀端庄，通篇排布齐整森严，字字恪守法度，尽显抄经人的沉敬心力。起收笔温润凝练，转折圆劲沉稳，筋骨内含又暗蕴灵动，毫无板滞之弊。整卷墨色乌亮匀净，与古绢底色相融，愈发衬出古雅肃穆的气质。数百字一气呵成，将大乘般若经的庄严感融于笔墨间，气韵绵长静穆，带着写经典型的规整风貌，又藏着书写时的细腻心绪，兼具宗教意蕴与书法审美价值，静静传递着抄经时的虔诚与沉潜。",[7,119,540,537,6818,173,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc451628340a9b1a2868a19ebd91c805c.jpg",[],{"id":27573,"slug":27574,"title":27575,"dynasty":2618,"author":430,"museum":227,"description":27576,"tags":27577,"thumbUrl":27578,"material":1050,"size":1051,"collection":217,"collections":27579,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},290661,"da-bo-re-bo-luo-mi-duo-jing-juan-di-wu-yi-ming-290661","大般若波罗密多经卷第五","这卷旧纸晕染着岁月浸黄的温柔肌理，边角纤细的题注藏着它曾被递藏的脉络。留白的长卷虽褪去了经文笔墨，却依旧沉淀着过往肃穆的抄经余韵。素净的纸面带着时光摩挲出的细微褶皱，似还留存着曾被展卷诵读的温度，静静诉说着古籍流转的悠悠岁月，让观者于空白间触摸旧物独有的沉静力量，窥见曾经的虔诚与庄严。",[7,119,540,173,6818,20724,442,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd04c0f57dcd4e3cd7b556f87d5fe7f3.jpg",[],{"id":27581,"slug":27582,"title":27583,"dynasty":2618,"author":430,"museum":227,"description":27584,"tags":27585,"thumbUrl":27586,"material":1050,"size":1051,"collection":217,"collections":27587,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},290659,"mo-he-bo-re-bo-luo-mi-juan-di-ba-shou-gao-yi-ming-290659","摩诃般若波罗蜜卷第八手稿","这件写经小楷气息匀净宁和，笔笔恪守法度，点画腴润饱满，结体方正端稳，字距行距排布齐整森严，带着抄写佛典时的肃穆恭谨。泛黄卷纸承载着千年岁月的厚重，墨色历经千载依旧浓黑鲜亮。虽为佚名抄经生手笔，却尽显唐代民间书法的静雅工稳，既有循规守礼的内敛沉厚，也藏着抄写时浸润纸面的虔诚气韵，尽显中古写经书法的质朴禅意与工整之美。",[7,119,540,537,6818,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c6a1183553a8c50466ba1745319381.jpg",[],{"id":27589,"slug":27590,"title":27591,"dynasty":2618,"author":430,"museum":227,"description":27592,"tags":27593,"thumbUrl":27594,"material":1050,"size":1051,"collection":217,"collections":27595,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},290653,"fu-shuo-wu-liang-shou-zong-yao-jing-shou-gao-yi-ming-290653","佛说无量寿宗要经手稿","行书笔意游走，墨色沉润古朴，朱笔批注错落其间，与浓淡墨色形成鲜明呼应，是抄经时的校注痕迹。\n字迹虽繁仍排布齐整，笔势连贯圆融，兼具写经的肃穆法度与随性笔趣，尽显抄经人恭敬端严的心力。\n泛黄纸色晕染出古卷厚重底蕴，经文与校注交织，既是宗教文本载体，亦是东方传统书法佳品，藏着书写时的专注静气，将信仰与笔墨融为一体，尽显古写卷的质朴禅意。",[7,119,540,6818,173,19538,537,1973],"h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经卷下手稿","此卷以小楷抄录经文，笔致温润秀雅，排布齐整匀净。点画凝练舒展，字字恪守法度却不失灵动，带着写经特有的恭谨气韵。古旧泛黄的纸页晕着沉净墨色，字里行间漫溢着肃穆禅意，书写者的虔诚藏在每一笔起落之中。整体气息平和庄重，尽显写经书法的沉静质感，仿佛将往昔的清净禅心凝于卷上，带着旧时光特有的厚重静谧，观之便觉心神安定。",[7,119,540,6818,173,537,1973,19538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59f4ba215e4c3ce86f26a9ab281a61ec.jpg",[],{"id":27663,"slug":27664,"title":27665,"dynasty":2618,"author":430,"museum":227,"description":27666,"tags":27667,"thumbUrl":27668,"material":1050,"size":1051,"collection":217,"collections":27669,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},290636,"si-fen-jie-shu-juan-di-er-shou-gao-yi-ming-290636","四分戒疏卷第二手稿","此卷以小楷抄就，通篇字行排布匀整森密却不显拥迫，笔致秀雅端稳，墨色匀净沉凝。朱笔批注错落点缀于行间，与墨色相映成趣。书写者下笔收放合度，字字恪守法度，尽显誊抄的虔敬姿态，藏着沉静内敛的书写心力。卷中笔墨带着古朴雅致的书卷气，不见浮躁之态，完整留存了旧时誊写校阅的细节，舒展间尽显中古写本独有的质朴文心，将抄写经典时的肃穆与专注凝于毫端，朴素却动人心神。",[7,119,540,537,173,6818,1973,19538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95943061712ca034f03590423c4e51c1.jpg",[],{"id":27671,"slug":27672,"title":27673,"dynasty":2618,"author":430,"museum":227,"description":27674,"tags":27675,"thumbUrl":27677,"material":1050,"size":1051,"collection":217,"collections":27678,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},290635,"zeng-yi-a-han-jing-shou-gao-yi-ming-290635","增一阿含经手稿","此卷以小楷抄录经文，通卷排布齐整茂密，字距行距匀停舒朗，墨色清润凝练，尽显端雅静穆的书卷气韵。点画精谨细致，起收提捺皆见法度，笔力内敛沉厚，筋骨暗藏，虽字字独立却气脉贯通如一，将写经人的恭谨静定融入笔墨之间。\n\n全篇无一字苟且，一笔一划皆饱含敬奉之心，既有古雅简澹的意趣，又具端稳工致的姿态，在工整之中暗含灵动意趣，尽显书写者深厚的笔墨功底与虔诚的写经心境，是兼具宗教价值与书法美学价值的写本佳作。",[7,119,537,540,6818,173,1973,27676],"佛经手稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda98fc6e244fd1da064cf061385ac1d5.jpg",[],{"id":27680,"slug":27681,"title":27682,"dynasty":2618,"author":430,"museum":227,"description":27683,"tags":27684,"thumbUrl":27685,"material":1050,"size":1051,"collection":217,"collections":27686,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},290634,"si-fen-lv-cang-juan-er-shi-ba-shou-gao-yi-ming-290634","四分律藏卷二十八手稿","通篇以小楷抄就，字距行距如棋盘般排布严整，笔墨温润秀雅。起收笔一丝不苟，笔画圆融内敛，字字端稳沉静，不见丝毫浮躁懈怠，尽显抄经时的恭敬虔诚。\n\n整卷气息平和冲淡，将经文的庄严肃穆以笔墨具象晕染开来，无张扬笔锋，只在匀净字迹中蕴藏静定绵长的力量，带着手写经卷特有的质朴静雅与肃穆禅意，静静诉说着抄录时的专注与沉静。",[7,119,537,540,173,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F652caaa7ee44ea3a335f4a204389601a.jpg",[],{"id":27688,"slug":27689,"title":27690,"dynasty":2618,"author":430,"museum":227,"description":27691,"tags":27692,"thumbUrl":27693,"material":1050,"size":1051,"collection":217,"collections":27694,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},290633,"wei-mo-jing-di-zi-pin-yi-ming-290633","维摩经弟子品","此卷淡墨书于泛黄古纸之上，笔触圆融朴拙，行笔舒展从容，字间排布匀净舒朗。纸面带着岁月浸蚀留下的残损痕迹，晕开厚重古雅的沧桑氛围感。\n\n通篇笔墨无刻意妍美雕琢，纯然是抄录经文时的静定流露，将虔诚的信仰融于笔端，字字晕染着沉静内敛的禅意，尽显书写时肃穆宁和的心境，兼具书法审美价值与厚重的人文宗教底蕴。",[119,25,7,540,173,6818,537,1973,3196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a047a1d7159d1c88c69a2edd6b062d.jpg",[],{"id":27696,"slug":27697,"title":27698,"dynasty":2618,"author":430,"museum":227,"description":27699,"tags":27700,"thumbUrl":27701,"material":1050,"size":1051,"collection":217,"collections":27702,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":2653},290631,"you-po-sai-jie-jing-juan-di-er-shou-gao-yi-ming-290631","优婆塞戒经卷第二手稿","此卷以黄麻纸为底，乌丝界格规整排布，小字楷书写就。笔致精劲稳帖，点画朴拙凝练，字字匀停舒展，通篇气脉连贯沉静，带着抄经时的虔敬肃穆。纸页虽有残损虫蛀，却晕染出时光浸淫的厚重质感，更衬笔墨的温润古雅。无刻意妍美雕琢，却在平实书写里展露精湛功底，将宗教典籍的庄严与民间书法的朴素风神相融，平淡间自有沉静禅意，尽显古写经的质朴美感。",[119,540,7,537,173,6818,1973,19538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F837032fc6d57fe59b4d1c7477ecb8245.jpg",[],{"id":27704,"slug":27705,"title":27706,"dynasty":2618,"author":430,"museum":227,"description":27707,"tags":27708,"thumbUrl":27709,"material":1050,"size":1051,"collection":217,"collections":27710,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},290629,"mo-he-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-290629","摩诃般若波罗蜜经手稿","此卷小楷写经，笔致恭谨端稳，点画敦和舒展，结体匀整安雅，尽显民间写经的典型风貌。泛黄麻纸带着岁月浸润的温厚质感，浓黑墨色历经时光仍显沉实，虽有多处虫蛀残损，却更添古拙沧桑韵味。\n\n抄经者以沉静肃穆的笔力铺陈经文，通篇气息匀净宁和，字字皆带着抄录时的恭敬心力，褪去炫技的浮华，以质朴内敛的笔墨传递出信仰的沉静力量，尽显中古写经的质朴之美。",[119,540,7,1973,6818,537,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b7d0717e17191cf8d0da31d285a2c1.jpg",[],{"id":27712,"slug":27713,"title":27714,"dynasty":2618,"author":430,"museum":227,"description":26172,"tags":27715,"thumbUrl":27716,"material":1050,"size":1051,"collection":217,"collections":27717,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},290117,"dun-huang-yi-shu-410-yi-ming-290117","敦煌遗书410",[1242,119,540,7,25102,537,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3401f31f99de253733bc90ab9ad92368.jpg",[],{"id":27719,"slug":27720,"title":27721,"dynasty":2618,"author":430,"museum":227,"description":26172,"tags":27722,"thumbUrl":27723,"material":1050,"size":1051,"collection":217,"collections":27724,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},289412,"dun-huang-yi-shu-223-yi-ming-289412","敦煌遗书223",[1242,540,119,7,6818,24102,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ba16ef693c8bbb1c86e2b5866b1a5f.jpg",[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写者挥毫时意气流转，将经文义理暗藏在跌宕的笔墨节律中，通篇浑成一体，尽显随性自在的书写意韵，是抄经草书中极具韵致的佳构。",[23,119,1892,540,7,173,6818,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d388ca95316d99712574bcb335113f.jpg",[],{"id":27791,"slug":27792,"title":27793,"dynasty":2618,"author":430,"museum":227,"description":27794,"tags":27795,"thumbUrl":27796,"material":1050,"size":1051,"collection":217,"collections":27797,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},287901,"fa-ju-jing-shu-juan-yi-ming-287901","法句經疏卷","此卷以行草写就，墨色沉朴古雅，纸面虽因岁月经年泛黄斑驳，笔墨意趣却丝毫不减。字迹排布紧凑却不壅挤，笔势牵丝映带、流转自如，兼具法度与随性之美。行笔朴拙凝练，粗细藏露随心变化，可见书写时的松弛与持敬。通篇浸透着禅门写经特有的沉静肃穆，字里行间既有疏朗的呼吸感，又带着誊抄经疏时的专注静定，是兼具文献价值与书法审美意趣的古写本佳作。",[23,7,540,119,6818,173,1973,1892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bdfcd9c630bffd1c1823b351080c78.jpg",[],{"id":27799,"slug":27800,"title":27801,"dynasty":2618,"author":430,"museum":227,"description":27802,"tags":27803,"thumbUrl":27804,"material":1050,"size":1051,"collection":217,"collections":27805,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},287849,"miao-fa-lian-hua-jing-juan-di-qi-yi-ming-287849","妙法蓮華經卷第七","此卷以率性草书抄写，笔墨朴拙自然，线条灵动跳脱，全无刻意雕琢的匠气，书写韵律浑然天成。泛黄的古纸遍布斑驳虫蚀痕迹，是岁月剥蚀留下的深刻印记，每一处缺损都承载着时光的厚重分量。\n\n字间排布错落随性，墨色浓淡自然过渡，既保有经文抄写的肃穆底色，又尽显草书舒展快意的姿态。宗教文本的沉静内核与书法美学的烂漫意趣融为一体，尽显中古写本朴拙古雅的独特气质，将千年前抄写者的随性笔意与悠悠岁月沉淀的沉静气韵留存至今。",[7,119,540,1892,6818,1973,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01ce37d45f440f1dbf137086f925b71.jpg",[],{"id":27807,"slug":27808,"title":27809,"dynasty":2618,"author":430,"museum":227,"description":27810,"tags":27811,"thumbUrl":27812,"material":1050,"size":1051,"collection":217,"collections":27813,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},287848,"fu-shuo-yu-lan-pen-jing-juan-yi-ming-287848","佛說盂蘭盆經卷","整卷以朱丝界栏分格，墨色沉朴古雅，小楷字字排布齐整却不失灵动。起收笔可见典型写经笔韵，法度暗藏，朴拙间带着清隽秀雅。泛黄古纸带着斑驳岁月痕迹，经文密而不紊，字里行间尽显抄经人的恭谨肃穆，满溢沉静庄严的宗教气质，是兼具书法美学与宗教文化价值的古卷，承载着悠远的写经文脉底蕴。",[7,119,540,6818,173,1973,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfaadf8aef84c5eb43bc82739b533c2.jpg",[],{"id":27815,"slug":27816,"title":27817,"dynasty":2618,"author":430,"museum":227,"description":27818,"tags":27819,"thumbUrl":27820,"material":1050,"size":1051,"collection":217,"collections":27821,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},287845,"da-cheng-qi-xin-lun-lve-shu-shu-juan-shang-cao-shu-yi-ming-287845","大乘起信論略述疏卷上草書","此卷草书行气贯通连绵，字势欹侧呼应，笔墨枯润浓淡变化自然，飞白牵丝映带，尽显书写时的酣畅快意。虽为经卷疏述，却无刻意雕琢的板滞，随手挥毫间藏着朴拙烂漫的意趣，笔力沉厚不失灵动，带着日常写经的松弛随性。朱笔批注错落其间，与墨色交映，更添质朴古雅的书卷气息，将义理阐释与书法审美融为一体，尽显写草的风神韵味。",[119,1892,540,173,7,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1393043637a043c7c29723ab9f2bf2.jpg",[],{"id":27823,"slug":27824,"title":27817,"dynasty":2618,"author":430,"museum":227,"description":27825,"tags":27826,"thumbUrl":27827,"material":1050,"size":1051,"collection":217,"collections":27828,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},287843,"da-cheng-qi-xin-lun-lve-shu-shu-juan-shang-cao-shu-yi-ming-287843","通卷笔墨洋洋洒洒，字势顾盼相生，通篇气息匀净畅达，作为经卷抄录却无半分板滞。\n用笔枯湿互见，提按顿挫尽显腕底风神，牵丝映带如行云流水，将经文义理的沉静与草书的灵动相融无间。朱笔圈点与墨色相映，是研读时的用心批注，让这件抄本兼具写经的肃穆与文人草书的疏朗意趣。\n整卷行气贯通，字字相衔却错落自然，在书写法度与随性挥洒间达成绝妙平衡，抄经者将宗教虔诚寄寓笔墨流转，令作品兼具文献与书法审美价值。",[119,1892,7,540,6818,173,1973,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd31937d15ed1ace240528a24cd5a40e.jpg",[],{"id":27830,"slug":27831,"title":27832,"dynasty":2618,"author":430,"museum":227,"description":27833,"tags":27834,"thumbUrl":27836,"material":1050,"size":1051,"collection":217,"collections":27837,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},287826,"san-jie-fo-fa-mi-ji-yi-ming-287826","三階佛法密記","此卷为小楷写经，笔墨匀净秀雅，点画精谨端稳，字字排布齐整，行气舒展贯通。书写者以恭谨虔敬之心抄录佛典，笔笔恪守楷法，捺挑之间自带温雅韵致，尽显写经书法特有的沉静肃穆。\n\n整卷洋洋洒洒，以恒定的书写节奏，将文气与禅意融于笔墨之间，虽无跳脱恣肆的笔意，却以平和内敛的笔触，传递出持经礼佛的宁静心境，尽显隋唐写经的典型风貌，是一件兼具宗教价值与书法审美意义的古韵佳制。",[7,537,119,540,6818,27835,24102],"三阶教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbcf19717e453ab1ff306774f6b62e4.jpg",[],{"id":27839,"slug":27840,"title":27841,"dynasty":2618,"author":430,"museum":227,"description":27842,"tags":27843,"thumbUrl":27844,"material":1050,"size":1051,"collection":217,"collections":27845,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},287824,"juan-shang-shou-gao-yi-ming-287824","卷上手稿","此作行书间带楷意，用笔朴拙苍劲，提转舒展灵动，结体错落不拘却暗含章法。通篇文字排布茂密却不显壅塞，字间气脉连贯自然，尽显书写者娴熟的笔墨功底。墨色沉润古雅，朱笔点注错落点缀其间，既梳理了经文条理，又为满卷黑字添了跳脱生气，调和了密匝排布的沉闷感。整体带着厚重的写经笔墨气质，朴厚之中见灵动，规整之中藏变化，兼具珍贵的文献价值与书法审美价值。",[7,119,25,19538,540,120,114,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd23a03eb00d5ca7956784cfd2c59a67e.jpg",[],{"id":27847,"slug":27848,"title":26289,"dynasty":2618,"author":430,"museum":227,"description":27849,"tags":27850,"thumbUrl":27851,"material":1050,"size":1051,"collection":217,"collections":27852,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},287822,"fu-shuo-miao-hao-bao-che-jing-yi-ming-287822","这幅写经纸色泛黄古旧，墨色沉凝匀净。通篇小楷排布齐整，笔致端稳凝练，既有写经体自带的肃穆规整，又暗含书写者自然流露的笔底意韵，带着中古写经特有的虔诚质感。淡墨界栏隐约尚存，字迹历经岁月依旧清晰可观，行行字句间藏着书写时的沉静心力，尽显佛典传抄的庄严质朴，承载着千年前的信仰温度，是佛教文献流传的珍贵实物。",[7,119,540,537,6818,173,1973,2805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0117f3aeca50bb6210a31e3696995322.jpg",[],{"id":27854,"slug":27855,"title":27856,"dynasty":2618,"author":430,"museum":227,"description":27857,"tags":27858,"thumbUrl":27860,"material":1050,"size":1051,"collection":217,"collections":27861,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},287821,"juan-xia-shou-gao-yi-ming-287821","卷下手稿","此作为小楷写经卷，笔致精整匀净，点画清劲凝练，起收间恪守写经法度，顿挫含藏，骨力内蕴。通篇字距排布森然有序，行气贯通如一，带着宗教文本特有的沉静端严。墨色乌亮莹润，泛黄素纸衬出笔墨的沉厚质感，岁月流转仍神采不减。书写者以恭谨之心落墨，既严守写经的庄严程式，又在细微撇捺间流露笔底温润情致，法度与文心相融，将经文的肃穆与书法的雅正合而为一，尽显古韵盎然的写经意趣。",[7,119,540,537,6818,2805,27859],"手抄典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7b045754da7d3f8a256fa448002725.jpg",[],{"id":27863,"slug":27864,"title":27865,"dynasty":2618,"author":430,"museum":227,"description":27866,"tags":27867,"thumbUrl":27868,"material":1050,"size":1051,"collection":217,"collections":27869,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},287820,"si-fen-lv-shan-fan-bu-que-xing-shi-chao-juan-di-san-da-cheng-qi-xin-lun-zhu-yi-ming-287820","四分律刪繁補闕行事鈔卷第三大乘起信論注-","这卷小楷长卷气脉贯通，通篇行距字距匀整秀雅，尽显写经的典型风貌。行笔温润内敛，点画精劲妥帖，字字安稳端凝，不见一丝懈怠涣散，足见抄经人功底扎实，更将肃穆恭敬的心境融于笔端。朱笔圈点批注错落行间，墨朱相映，既是读经时的思索留痕，更为素净卷面添了灵动层次，让整卷作品兼具书法审美意趣与文献价值，静静诉说着抄经时沉潜专注的岁月质感。",[7,119,540,537,25102,2805,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b47632c05274ab6dddd6b4dfa1b460.jpg",[],{"id":27871,"slug":27872,"title":27785,"dynasty":2618,"author":430,"museum":227,"description":27873,"tags":27874,"thumbUrl":27875,"material":1050,"size":1051,"collection":217,"collections":27876,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},287819,"fa-hua-jing-xuan-zan-juan-di-shi-juan-miao-fa-hua-jing-ming-jue-yao-shu-cao-shu-yi-ming-287819","此卷草书满纸酣畅，如江河奔涌一气呵成。笔势灵动恣肆，提按顿挫间使转自然，线条枯湿浓淡交叠，牵丝映带暗合章法韵律，字字连绵却错落有致，通篇气息浑融一体。\n\n行与行疏密相宜，密处不觉壅塞、疏处不显空寂，尽显书写时的快意挥洒。书写者将经文的肃穆与草书的跌宕相融，落笔带着充沛心力，笔墨间既有沉静禅意，又不失飞扬笔情，法度与意趣兼具，尽显不俗的笔墨功底与艺文修养。",[119,1892,7,540,114,173,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148fd9d20af02094233fe23aca537e3b.jpg",[],{"id":27878,"slug":27879,"title":27777,"dynasty":2618,"author":430,"museum":227,"description":27880,"tags":27881,"thumbUrl":27882,"material":1050,"size":1051,"collection":217,"collections":27883,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},287818,"fu-shuo-zhai-jing-juan-yi-ming-287818","此卷写经以精谨小楷书就，笔致清劲端雅，结体匀整秀逸，尽显写经书法的庄严恭谨。通篇字距行距排布齐整，墨色沉凝饱满，古纸虽岁久泛黄，却晕染出沉静肃穆的古雅氛围。\n\n笔墨间饱含敬虔之心，一笔一划恪守法度，兼具魏晋写经的简淡古雅遗韵与后世抄经的规整工稳。将宗教的肃穆感融于笔墨细节，质朴静雅间尽显写经人对佛法的至诚之心，是极具代表性的民间写经佳品。",[23,119,7,540,537,173,6818,1973,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445c8e5fcc14b2abfa6db71d5f455cc3.jpg",[],{"id":27885,"slug":27886,"title":27887,"dynasty":2618,"author":430,"museum":227,"description":27888,"tags":27889,"thumbUrl":27890,"material":1050,"size":1051,"collection":217,"collections":27891,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},287817,"shi-di-yi-shu-juan-di-san-yi-ming-287817","十地義疏卷第三","此卷写经小楷劲挺内敛，点画匀净利落，通篇排布紧凑却不显壅塞，行气贯通悠长。字迹端稳秀雅，既恪守写经的规整法度，又暗含文人小楷的隽逸意趣，笔墨间浸透着书写者的虔诚肃穆。\n\n纸面虽历经岁月磨洗，边缘残损、纸面蛀蚀，却晕开了古雅沧桑的氛围，残痕定格住时光流逝的印记。整卷兼具宗教文献的厚重底蕴与书法艺术的审美价值，将写经时的沉静虔敬凝于笔端，藏在每一处规整点画之中，尽显中古写经书法的典型风貌。",[23,7,119,540,537,173,6818,1973,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4be89b1fb4019e5573d18c007f5a57.jpg",[],{"id":27893,"slug":27894,"title":27895,"dynasty":2618,"author":430,"museum":1270,"description":27896,"tags":27897,"thumbUrl":27898,"material":1050,"size":1051,"collection":217,"collections":27899,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},287629,"miao-fa-lian-hua-jing-juan-di-liu-shou-gao-yi-ming-287629","妙法蓮華經卷第六手稿","此卷写经以淡墨书于泛黄藏经纸之上，笔势匀整秀雅，字字清劲端丽，兼具写经体的森严法度与隽逸气韵。通卷文字排布舒朗齐整，抄写一丝不苟，尽显书写者的恭谨虔诚，是佛教写本中的上乘之作。\n\n笔墨裹挟着千年梵音的沉静力量，将经文义理以笔墨具象化。虽历经岁月晕染，依旧墨色沉稳风骨宛然，静静诉说着中古时期佛教文化传布的虔敬底色，让观者于笔墨间触摸到跨越时空的信仰温度。",[119,540,537,7,173,6818,20724,1973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8d28d176cb3b49d5a3c2bce911cd9c.jpg",[],{"id":27901,"slug":27902,"title":27903,"dynasty":2618,"author":430,"museum":1270,"description":27904,"tags":27905,"thumbUrl":27906,"material":1050,"size":1051,"collection":217,"collections":27907,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},287628,"da-bo-re-bo-luo-mi-duo-jing-juan-di-qi-shi-san-shou-gao-yi-ming-287628","大般若波羅蜜多經卷第七十三手稿","此卷小楷精雅端严，笔墨匀净沉润，历久弥新。字迹排布齐整却不失灵动，起笔收锋藏露得宜，兼具六朝写经的简古遗韵与唐楷的端整法度。抄经人以虔敬之心落墨，笔势舒展圆融，每一字都带着沉静肃穆的禅意，将经文的幽微义理融于笔底。卷面条幅舒展绵长，墨色乌亮澄澈，字里行间流淌着中古抄经特有的清雅氛围，仿佛能让观者窥见千年前青灯下，抄经人凝神落笔的静谧瞬间，体悟书法与经文合二为一的禅风雅韵。",[119,540,537,7,1973,6818,20724],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ea15b71ea62688481ae5ac85182dc3.jpg",[],{"id":27909,"slug":27910,"title":27911,"dynasty":2618,"author":430,"museum":1270,"description":27912,"tags":27913,"thumbUrl":27914,"material":1050,"size":1051,"collection":217,"collections":279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如來壽量品第十六","此卷书法笔锋挺秀舒展，结体匀整端庄，通篇排布齐整肃穆，尽显书写时的恭敬诚笃。墨色沉凝鲜亮，历千年依旧饱满，与泛黄纸张相映，晕染出古朴沉静的质感。\n运笔间法度谨严，又带着灵动气韵，无刻板匠气，将经文的庄严性融于笔墨细节。整体气息平和内敛，是唐人写经书法的上乘之作，兼具宗教文化价值与古典书法审美价值。",[119,540,7,537,6818,173,1973,23278,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaea334fa0a785ccfbbb16f732ad14a1.jpg",[],{"id":27961,"slug":27962,"title":27963,"dynasty":2618,"author":430,"museum":227,"description":27964,"tags":27965,"thumbUrl":27966,"material":1050,"size":1051,"collection":217,"collections":27967,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},287324,"da-cheng-wu-liang-shou-jing-juan-shou-gao-shang-juan-juan-ben-yi-ming-287324","大乘無量壽經卷手稿上卷绢本","此件写经书法用笔圆融饱满，起收含蓄内敛，通篇排布齐整匀净，尽显书写时的恭谨禅心。字里行间兼具唐楷端稳与行书的舒缓流动，法度谨严又不失灵动，每一笔都带着沉静笃定的力道，不见半分懈怠。古绢之上墨色沉润，岁月晕开浅淡旧痕，与工整字迹交织晕染，晕开跨越时光的沉静禅意，既承载着书写者的崇信之心，也尽显中古写经书法的肃穆清雅，静静诉说着千年前的虔敬与安宁。",[119,540,173,537,140,7,1973,6818,2805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0faec0c5ea514e942aa3be21846f7934.jpg",[],{"id":27969,"slug":27970,"title":27971,"dynasty":2618,"author":430,"museum":227,"description":27972,"tags":27973,"thumbUrl":27974,"material":1050,"size":1051,"collection":217,"collections":27975,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},287321,"yu-zhu-jin-gang-bo-re-bo-luo-mi-jing-xuan-yan-juan-zhong-shou-gao-yi-ming-287321","御注金剛般若波羅蜜經宣演卷中手稿","此作为典型唐人写经风格小楷，笔致精整匀净，点画饱满端凝，字字排布齐整工稳，通篇行气贯通舒展。起收笔具晋唐写经典型意韵，法度谨严间不失温雅秀润，无一丝潦草懈怠，足见书写时的恭谨至诚。墨色匀净沉润，纸墨交融和谐，将宗教文本的神圣感诉诸笔端，尽显写经书法特有的静谧庄严，是一件古韵醇厚的写经佳作。",[119,7,537,540,173,20724,19538,1973,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece90660d0d732d4e2b9cb8123888051.jpg",[],{"id":27977,"slug":27978,"title":27979,"dynasty":2618,"author":430,"museum":227,"description":27980,"tags":27981,"thumbUrl":27984,"material":1050,"size":1051,"collection":217,"collections":27985,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},287320,"si-bu-lv-bing-lun-yao-yong-chao-juan-shang-shou-gao-yi-ming-287320","四部律幷論要用抄卷上手稿","此卷以小楷钞录，间带行书笔意，行笔秀逸舒展，结体端稳匀整，墨色沉静古雅，朱笔校注错落其间，留存钞写时的校雠痕迹。通篇排布茂密齐整，笔墨间尽显抄经者的恭谨心境，带着宗教书写特有的安和肃穆气息。\n\n它兼具书法审美与宗教文献价值，既展现出写经书法的质朴美感，也还原了中古佛典钞纂的真实样貌，承载着佛教律典传承的珍贵信息，尽显中古写本文化的厚重质感。",[540,119,7,19538,25102,3196,537,27982,27529,27983],"抄本","古文献","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8bc1e36c989f5d22fbaf943f88e2450.jpg",[],{"id":27987,"slug":27988,"title":27989,"dynasty":2618,"author":430,"museum":227,"description":27990,"tags":27991,"thumbUrl":27992,"material":1050,"size":1051,"collection":217,"collections":27993,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},287319,"da-bo-re-bo-luo-mi-duo-jing-juan-di-yi-bai-yi-shi-jiu-shou-gao-yi-ming-287319","大般若波羅蜜多經卷第一百一十九手稿","此卷小楷笔墨稳健内敛，结体端庄匀整，字距行距排布齐整肃穆，尽显写经特有的端雅气韵。墨色苍古沉润，历经岁月纸面泛黄晕染，晕开独属于旧时光的沉静质感。通篇书迹一丝不苟，笔笔精谨，在工整的法度里藏着虔诚的心力，带着沉静祥和的气息，尽显写经书法的中和之美。一笔一划间，将经文的肃穆意蕴融于笔墨筋骨，让信仰的温度凝注在纸端，传递出般若经义的沉静力量，是写经书法里颇具代表性的质朴佳作。",[119,7,540,537,173,20724,1973,19538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8459b200ae1cd1af2bcc32381f0218cf.jpg",[],{"id":27995,"slug":27996,"title":27997,"dynasty":54,"author":3914,"museum":227,"description":27998,"tags":27999,"thumbUrl":28001,"material":1050,"size":1051,"collection":217,"collections":28002,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},283776,"lin-dong-po-chi-du-ce-dong-qi-chang-283776","临东坡尺牍册","本册为董氏节录苏轼尺牍七段，阮元《石渠随笔》曾载此册，记为六段，又收入《石渠宝笈续编》。金粟笺本，笔精墨妙。有脱漏或改动字句处。1612年，董文敏58岁，其时于深研二王基础上，董氏进而汲取宋四家之长，除米芾外，钻研最深的便是苏轼。董书以灵动绰约见长，虽不如苏书沉厚雄健，然圆润秀逸则过之。",[23,119,7,28000,60,120,114,1229],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e12c84a0d1734c9157bc948508caba1.jpg",[],{"id":28004,"slug":28005,"title":28006,"dynasty":250,"author":430,"museum":227,"description":28007,"tags":28008,"thumbUrl":28014,"material":1050,"size":1051,"collection":217,"collections":28015,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":16827},264146,"ming-huang-se-wu-cai-mang-duan-yi-ming-264146","明黄色五彩蟒缎","这匹织缎以明黄为底，尽显尊崇华贵。金棕蟒身矫健灵动，周身以五彩晕染填色，辅以祥云缠缀，瑞气盎然。江崖海水纹样层次分明，青绿与彩纹交错铺展，既摹写海波翻涌之态，也暗含山河永固的吉祥寓意。整体用色鲜亮饱满，缂丝绣工细腻规整，纹样排布疏密相宜，将礼制威严与织造匠心融为一体，尽显清代宫廷织绣工艺的精巧繁复，是皇家织物华贵气韵的典型缩影。",[297,24126,28009,28010,175,28011,7,28012,28013],"五彩","蟒纹","海水江崖","明黄色","传统纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389e15b64f993e462c5d1852b1505029.jpg",[],{"id":28017,"slug":28018,"title":28019,"dynasty":54,"author":430,"museum":227,"description":28020,"tags":28021,"thumbUrl":28023,"material":1050,"size":1051,"collection":217,"collections":28024,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},263679,"tian-lu-tu-jin-juan-yi-ming-263679","天鹿图锦卷","此卷以金地织锦为主体，细密小团纹铺满通幅，天鹿半掩于缠枝祥云中，身形丰腴俊朗，云纹舒卷灵动，配色沉浑富丽，尽显明织锦的精巧华贵。\n后接御笔题额“含华蕴古”，笔墨苍劲厚重，自带不凡气度。两段题诗秀逸雅致，朱红鉴藏印错落排布，金红交织，将织锦的匠造工巧，与清宫鉴藏的风雅意趣相融无间，织绣工艺与文人品鉴合为一体，格调尽显不俗。",[7,25,119,120,1009,193,28022,297],"织锦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6713919dc1180e160c374a35fd617a94.jpg",[],{"id":28026,"slug":28027,"title":28028,"dynasty":250,"author":28029,"museum":227,"description":28030,"t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晚清官员、文史学家。\n光绪六年进士，官至山西道监察御史。数上封事，不避权要。日记三十余年不断，读书心得无不收录。学识渊博，承乾嘉汉学之余绪，治经学、史学，蔚然可观。长于骈文，被称为“旧文学的殿军”。\n所著《越缦堂日记》，内容涉及经史、纪事、读书记、诗文等，字数多达数百万字，是一部文史、学术宝库，人评为“可继亭林《日知录》之博，”又谓“生不愿作执金吾，惟愿尽读李公书。”为“晚清四大日记之冠”（另三部为《缘督庐日记》《翁同龢日记》和《湘绮楼日记》）。",[23,119,7,120,537,1973,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fd5963f627123d893c453c7501b11b.jpg",[],{"id":28044,"slug":28045,"title":28046,"dynasty":250,"author":28047,"museum":227,"description":28048,"tags":28049,"thumbUrl":28050,"material":1050,"size":1051,"collection":217,"collections":28051,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},241436,"zhi-wu-qian-zha-heng-huang-pi-lie-241436","致吴骞札横","黄丕烈","黃丕烈（1763年－1825年），字绍武，又字荛圃、荛翁，別署覆翁，佞宋主人，清朝藏書家、版本目錄學家。江蘇省苏州府吳縣（今苏州市）人。",[25,119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f3880b2981e76ef8c8bfd531ff578ea.jpg",[],{"id":28053,"slug":28054,"title":28055,"dynasty":54,"author":3914,"museum":227,"description":11458,"tags":28056,"thumbUrl":28057,"material":1050,"size":1051,"collection":217,"collections":28058,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},241347,"zhou-ci-wei-yang-deng-zha-juan-dong-qi-chang-241347","舟次维扬等札卷",[23,119,25,7,120,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48611280b894c4fa2c22a0a3ad21961.jpg",[],{"id":28060,"slug":28061,"title":28062,"dynasty":250,"author":28063,"museum":227,"description":28064,"tags":28065,"thumbUrl":28066,"material":1050,"size":1051,"collection":217,"collections":28067,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},241306,"yao-fang-si-duan-juan-yu-zong-ying-241306","药方四段卷","于宗瑛","字英玉，号紫亭，汉军镶红旗人，襄勤于成龙之孙。乾隆十九年（一七五四）进士，官御史。性简淡，不趋荣利。工诗文，著有来鹤堂集。书学颜真卿，参以苏、米两家。",[25,119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a512449d22414ce41e84613a5e9c56.jpg",[],{"id":28069,"slug":28070,"title":28071,"dynasty":250,"author":28072,"museum":227,"description":28073,"tags":28074,"thumbUrl":28075,"material":1050,"size":1051,"collection":217,"collections":28076,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},241305,"qi-lv-san-shou-juan-lv-shi-lian-241305","七律三首卷","吕师濂","吕师濂，明末清初浙江山阴人，字黍字，号守斋。吕本曾孙。明亡后散财结客，好谈兵。后历游九边。善书，工古文，诗豪迈不羁。有《何山草堂诗稿》、《守斋词》。",[4081,7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e82f1a99a373528a6f6119e0e041dd.jpg",[],{"id":28078,"slug":28079,"title":28080,"dynasty":250,"author":28081,"museum":227,"description":28082,"tags":28083,"thumbUrl":28084,"material":1050,"size":1051,"collection":217,"collections":28085,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},241264,"lun-hua-juan-cheng-jing-e-241264","论画卷","程京萼","程京萼：. 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后人辑有《左忠毅公集》。",[23,5431,119,120,7,193,21417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2292bb998f616576b9da118dadac97cd.jpg",[],{"id":28096,"slug":28097,"title":28098,"dynasty":250,"author":28099,"museum":227,"description":28100,"tags":28101,"thumbUrl":28102,"material":1050,"size":1051,"collection":217,"collections":28103,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},241144,"wan-bai-shan-ren-chuan-heng-sun-yun-gui-241144","完白山人传横","孙云桂","余自与石如交情……每掀髯大言曰：邓布衣篆书，世岂有敌哉，其狂不可及则畏之。迨浃洽久，出肺肝相示，忘形骸精诚可贯金石。盖古之任侠士也，则昵而爱之。……君名琰号石如邓其姓怀宁人。",[119,120,7,442,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275a154c4531b98a7d4483b4528340e5.jpg",[],{"id":28105,"slug":28106,"title":28107,"dynasty":54,"author":28108,"museum":227,"description":28109,"tags":28110,"thumbUrl":28111,"material":1050,"size":1051,"collection":217,"collections":28112,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},241072,"zhi-zhi-ba-zha-juan-wang-zhi-deng-241072","致侄八札卷","王穉登","王穉登（1535年－1614年），字百谷、百榖、伯榖，号半偈长者、青羊君、廣長庵主等，直隸长洲（今江蘇蘇州）人，晚明文人。",[154,24,25,7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a5f7db84c76e4cf04dafbf0ae36f1a.jpg",[],{"id":28114,"slug":28115,"title":28116,"dynasty":54,"author":28117,"museum":227,"description":28118,"tags":28119,"thumbUrl":28120,"material":1050,"size":1051,"collection":217,"collections":28121,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},241015,"shu-qi-lv-juan-yang-chong-shan-241015","书七律卷","杨崇善","此作用笔纵逸洒脱，通篇以草书挥洒，笔墨枯湿浓淡富于变化，提转顿挫间尽显笔力遒劲。起首笔势开张，字形欹正相生，将律诗意韵融于线条流转之中，随诗意起伏，或缓或疾，时而朴拙厚重，时而灵动飞扬。\n\n字里行间疏朗错落，满纸笔墨却丝毫不显拥塞，墨色晕染自然，枯笔处见筋骨嶙峋，湿笔处见腴润饱满，将诗作里的羁旅愁思、故园之念依托笔墨倾泻而出，是诗书合一的佳构，尽显文人风雅的笔墨情致。",[23,119,120,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd791233fb3b869a29c7f31b53733ec53.jpg",[],{"id":28123,"slug":28124,"title":28125,"dynasty":54,"author":28126,"museum":227,"description":28127,"tags":28128,"thumbUrl":28129,"material":442,"size":217,"collection":543,"collections":28130,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},241000,"tao-yan-zhi-juan-pian-tao-yan-241000","陶琰致卷片","陶琰","陶琰（1449-1532），字廷信，号逸庵，山西承宣布政使司平阳府绛州（今山西省运城市新绛县）陶家巷人。正统十四年（1449）出生，少时聪敏好学，过目成诵。成化七年（1471）乡荐第一。弘治时任固原兵备副使，执法不挠。正德初迁刑部右侍郎，忤刘瑾下狱。瑾败复官，正德七年(1512)以右都御史巡视浙江，修筑萧山至会稽防洪堤，先后三次总督漕运。嘉靖元年(1522)以功任工部尚书，寻改南京兵部。次年致仕，卒于家。",[23,119,120,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94301e67249c331fbb503d062233b6cc.jpg",[543],{"id":28132,"slug":28133,"title":28134,"dynasty":54,"author":28135,"museum":20,"description":28136,"tags":28137,"thumbUrl":28138,"material":442,"size":217,"collection":543,"collections":28139,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240997,"shu-yi-lu-tang-ye-ji-lian-ju-juan-zhu-ying-deng-240997","书宜禄堂夜集联句卷","朱应登","此狂草长卷笔墨纵逸酣畅，字势奇宕舒展。牵丝映带间流转自然，将唱和雅兴寄寓于笔墨节律。布白疏密相生，时如惊风骤雨、字间缠绕密不透风，时似空山留白、疏朗自在。行与行错落呼应，如流泉奔涌一气呵成。墨色枯润浓淡交织，燥锋挺劲见筋骨，湿笔腴润藏温雅，起落提按间暗合夜集疏放的文人意气，尽显狂草抒情性与法度之美。",[23,119,7,120,114,193,29,115,764,63,64,116,196,274,282,275,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c98dbb2e6557e349cc7e45226036aa3.jpg",[543],{"id":28141,"slug":28142,"title":28143,"dynasty":250,"author":28144,"museum":227,"description":28145,"tags":28146,"thumbUrl":28147,"material":1050,"size":1051,"collection":217,"collections":28148,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240990,"si-jia-zhi-song-luo-zha-juan-liang-xi-240990","四家致宋荦札卷","梁熙","梁熙，字曰缉，鄢陵人，清朝政治人物、进士出身。",[23,119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea060d8ab1a6224cd17a7ced4325ab4.jpg",[],{"id":28150,"slug":28151,"title":21304,"dynasty":250,"author":28152,"museum":227,"description":28153,"tags":28154,"thumbUrl":28155,"material":1050,"size":1051,"collection":217,"collections":28156,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240925,"shi-he-juan-wang-qi-sun-240925","王芑孙","王芑孙（1755—1817），清代文学家、赋论家。字念丰，一字沤波，号惕甫，一号铁夫、云房，又号楞伽山人。长洲（今江苏苏州）人。乾隆五十三年（1788）召试举人，任国子监典籍、咸安宫教习、华亭县教谕。后辞官归，任扬州乐仪书院山长。学问宏博，文章名震一时，肆力于诗，最工五古，被称为“吴中尊宿”。工书逼刘墉，不期而合。吴门自明季以来，书家用笔，皆以清秀俊逸见长，至芑孙，始以遒厚浑古矫之，遂为三百年所未有。著有《碑版广例》、《楞伽山房集》、《渊雅堂集》。",[23,25,7,119,120,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb636181f8cdc43e399fbf45c8fe84290.jpg",[],{"id":28158,"slug":28159,"title":17432,"dynasty":54,"author":28160,"museum":227,"description":28161,"tags":28162,"thumbUrl":28163,"material":1050,"size":1051,"collection":217,"collections":28164,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240922,"zi-shu-shi-juan-zhao-nan-xing-240922","赵南星","赵南星（1550年4月19日—1628年1月23日），字梦白，号侪鹤，别号清都散客，北直隶真定府高邑（今河北省高邑县）人。明代后期政治家、文学家，东林党的首领之一。\n明神宗万历二年（1574年），赵南星登进士第。历任汝宁推官、户部主事、吏部考功郎中、吏部文选员外郎等职。万历二十一年（1593年），与孙鑨负责癸巳京察，触动在朝者利益，被罢黜。此后在家闲居长达二十余年。明熹宗天启三年（1623年），赵南星被重新启用，任吏部尚书。为政期间，革新吏治，整肃朝纲，风气为之一新。但随着东林党人与阉党斗争的失败，赵南星被革去官职，削籍戍代州。明思宗即位之初，即清查魏忠贤案，为其平反。天启七年十二月（1628年1月），赵南星去世，享年七十八岁。追赠太子太保，谥号“忠毅”，世称赵忠毅公。\n赵南星对明代后期政治改革提出了一些富有见地的思想主张，并勇敢地付诸实践，在当时取得明显的成效，对清明政治起了很好的作用。赵南星在文学上亦造诣颇深，作品涉及诗词，散曲等，题材种类之多为明代作家之少有。有《芳茹园乐府》等作传世。",[23,5431,25,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e194be605d3cee0186e81fb351cd5b.jpg",[],{"id":28166,"slug":28167,"title":28168,"dynasty":54,"author":28169,"museum":227,"description":28170,"tags":28171,"thumbUrl":28172,"material":1050,"size":1051,"collection":217,"collections":28173,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240915,"fang-tai-nan-tuo-an-bei-ji-juan-yang-ru-cheng-240915","方台难陀菴碑记卷","杨汝成","杨汝成（？－？），字载宁，号元玉，南直隶松江府华亭县灶籍。",[119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6474eb6d9cdd26949460a1661d62a8f0.jpg",[],{"id":28175,"slug":28176,"title":28177,"dynasty":54,"author":28178,"museum":227,"description":28179,"tags":28180,"thumbUrl":28181,"material":1050,"size":1051,"collection":217,"collections":28182,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240861,"dong-ting-liang-shan-fu-juan-wang-ao-240861","洞庭两山赋卷","王鏊","字济之，别号守溪，学晚号震泽先生，苏州吴县人。明成化十年（1474年）乡试、会试皆第一，殿试一甲第三名。 授翰林院编修。弘治初，选侍讲学士，充讲官。后转少詹事，擢吏部右侍郎。正德元年（1506年）四月起为吏部左侍郎，与诸大臣请诛大太监刘瑾。刘瑾掌权，欲焦芳入阁，廷议独推鏊。刘瑾迫于公论，命鏊以本官兼学士与芳同入内阁。时中外大权皆归瑾，鏊不能救，力求去，四年，许之。后归居苏州，致力于地方文献著述。嘉靖三年（1524年）卒。赠太傅，谥文恪。其人博学有识鉴，文章议论畅明，为人、德望均为时人敬服，门下学生众多，唐寅也是其中之一。著有《姑苏志》、《震泽集》等，《明史》一百八十一有传。",[154,24,25,7,119,120,114,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb7d187d31ff6641bc0c48c370a76cb.jpg",[],{"id":28184,"slug":28185,"title":28186,"dynasty":54,"author":22870,"museum":227,"description":22871,"tags":28187,"thumbUrl":28188,"material":1050,"size":1051,"collection":217,"collections":28189,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240857,"za-hua-shi-juan-wen-peng-240857","杂花诗卷",[23,154,24,25,7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f61b24e52a3aa46a17bbb91beb5e6c6.jpg",[],{"id":28191,"slug":28192,"title":19763,"dynasty":54,"author":28193,"museum":227,"description":28194,"tags":28195,"thumbUrl":28196,"material":1050,"size":1051,"collection":217,"collections":28197,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":49},240855,"shi-juan-zhou-yan-ru-240855","周延儒","字玉绳，号挹斋，南直隶常州府宜兴县（今江苏省宜兴市）人。明朝末年大臣，崇祯年间的内阁首辅之一。\n周延儒自幼聪颖，万历四十一年（1613年）连中会元、状元，历任翰林院修撰、右中允、左庶子、少詹事、正詹、礼部右侍郎等职。他善于迎合崇祯帝旨意，于崇祯二年（1629年）十二月以礼部尚书兼东阁大学士，进入内阁。翌年二月加太子太保衔，改任文渊阁大学士，九月升任内阁首辅，加少保衔，进武英殿大学士。崇祯五年（1632年）二月加少傅兼太子太傅，改吏部尚书，进建极殿大学士。期间与同僚温体仁倾轧，崇祯六年（1633年）六月因被言官陈赞化揭露曾私下称崇祯帝为“羲皇上人”而辞职。崇祯十四年（1641年）九月再任内阁首辅，翌年七月进少师，升为中极殿大学士。他复出后，推翻温体仁主政时的弊政，笼络人心，并重新获得崇祯帝的信任。但同时也倚靠吴昌时、董廷献等亲信，结交内侍，收受贿赂，加剧了朝政的腐败。\n崇祯十五年（1642年）冬，清军第六次入塞大掠，翌年四月，周延儒自请督师堵截撤退的清军，但他不仅没有认真堵截，还不断谎报军情。五月还朝后，崇祯帝欲加封他为太师，但其督师期间的行径随即由锦衣卫都督骆养性等密告于崇祯帝，因而被勒令致仕回乡。不久，言官雷縯祚、郝䌹、蒋拱宸等揭发其招权纳贿、结交内侍，触怒崇祯帝，周延儒被再召至京师，于崇祯十六年十二月（1644年1月）赐死，时年五十五岁。清修《明史》将他列入“奸臣传”。",[23,119,7,120,193,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd68c0a36f4346847b8f2f5faab6ed9.jpg",[],{"id":28199,"slug":28200,"title":28201,"dynasty":250,"author":28202,"museum":227,"description":28203,"tags":28204,"thumbUrl":28205,"material":1050,"size":1051,"collection":217,"collections":28206,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240839,"zhi-lan-po-zha-tong-juan-zhou-er-yong-240839","致兰坡札(通)卷","周尔墉","官京师时，舆昆明赵光齐名。咸丰四年（一八五四）作行书屏，时年六十三。卒年未详。",[23,25,7,120,119,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da0fd0143f3f4eb9e5dac793d7348.jpg",[],{"id":28208,"slug":28209,"title":19763,"dynasty":250,"author":28210,"museum":227,"description":28211,"tags":28212,"thumbUrl":28213,"material":1050,"size":1051,"collection":217,"collections":28214,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240831,"shi-juan-cheng-fang-240831","程淓","程淓，顺治进士，曾任诸城县令，擅长山水画，书法。",[23,119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e5772516527ddd614b08bb15fcacbd.jpg",[],{"id":28216,"slug":28217,"title":28218,"dynasty":54,"author":3914,"museum":227,"description":11458,"tags":28219,"thumbUrl":28220,"material":1050,"size":1051,"collection":217,"collections":28221,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240658,"shu-lin-song-si-jia-juan-dong-qi-chang-240658","书临宋四家卷",[23,119,7,60,120,193,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aa2722079e4d42db68a6c7dd6afce4c.jpg",[],{"id":28223,"slug":28224,"title":28225,"dynasty":250,"author":28226,"museum":227,"description":28227,"tags":28228,"thumbUrl":28229,"material":1050,"size":1051,"collection":217,"collections":28230,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240656,"du-shu-lu-juan-qiao-chong-lie-240656","读书录卷","乔崇烈","乔崇烈，字无功，号学斋，江苏宝应人。康熙四十五年（1706）进士，因其长于文学及书法，优选为庶吉士。为人倜傥不羁，诗文对客，挥毫千言立就。",[23,25,119,7,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2092cfd0043df289aad8a8b879ba3759.jpg",[],{"id":28232,"slug":28233,"title":28234,"dynasty":54,"author":28235,"museum":227,"description":28236,"tags":28237,"thumbUrl":28238,"material":1050,"size":1051,"collection":217,"collections":28239,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240517,"ni-shu-gu-shu-huai-juan-wang-lian-jie-240517","拟述古述怀卷","王连捷","此作为行书长卷，笔墨纵横跌宕，满卷真气沛然。字势大小错落、欹正相生，牵丝映带间笔势流转畅达，通篇气息浑融贯通，毫无滞塞。\n提按顿挫富于变化，中锋侧锋兼施，线条粗细枯湿交叠，迅疾挥运与徐缓铺毫兼具，墨色浓淡枯润层次丰盈，尽显书写时的情绪起伏。\n作品兼具二王行书的灵动意趣，又暗含晚明尚奇书风的纵逸格调，将胸中意气尽诉诸笔端，尽显洒脱不羁的书写意态，是文人襟怀与书法抒情性完美融合的佳构。",[23,25,7,119,120,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c99d171032afcef1709026aa84d1be.jpg",[],{"id":28241,"slug":28242,"title":28243,"dynasty":250,"author":28244,"museum":227,"description":28245,"tags":28246,"thumbUrl":28247,"material":442,"size":217,"collection":543,"collections":28248,"showCount":1106,"zanCount":48,"manualWeight":48,"mainColor":128},240509,"pu-xiao-chuan-juan-zhang-yun-zhang-240509","溥孝传卷","张云章","张云章，生于顺治五年（1648），卒于清雍正四年（1726），太学生。尝从 游京师，客徐乾学家，为校勘宋元经解。后受李楠邀请，校补其父李清所著之《南北史合注》。由此张获得声名，“其后诸公贵人考订文史，必以相属” 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生平[编辑]. 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笔力，山石既见元人山水的萧散，又含浙派的刚健气韵。林间飞鸟点活静景，村落炊烟暗合人间温情，将自然旷远与生活意趣交织。墨色层次丰富，淡彩晕染清润，在临摹中尽显个人风貌，传递出文人山水的雅致与生机。",[29,7,118,114,60,138,605,37,31750,23],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a36db6f899146689951814afd9563d.jpg",[124],"9c805b",{"id":31755,"slug":31756,"title":31757,"dynasty":54,"author":17944,"museum":111,"description":31758,"tags":31759,"thumbUrl":31760,"material":217,"size":217,"collection":217,"collections":31761,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":31762},201290,"you-ge-ting-quan-tu-juan-zhang-yan-201290","幽阁听泉图卷","此卷铺展山峦叠嶂之景，峰岩峻秀，林木森然，幽阁依岩筑立，隐于苍翠间。溪流蜿蜒穿林，似闻泉声泠泠，引观者入清寂之境。笔墨运用娴熟，皴擦勾勒尽显山石肌理，树木枝干虬劲，松针繁密有致。构图疏密得当，远近层次分明，咫尺间见深远。整体意境清幽淡远，传递出文人雅士寄情山水、静听泉声的闲适心境，尽显明代山水画的雅致韵致。",[154,24,25,7,29,114,118,62,64,605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea012e0db724fe1aab4c7cfca46e3d6f.jpg",[],"82826c",{"id":31764,"slug":31765,"title":31766,"dynasty":54,"author":110,"museum":111,"description":31767,"tags":31768,"thumbUrl":31769,"material":217,"size":217,"collection":124,"collections":31770,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":31771},201283,"ye-weng-zhuang-tu-juan-shen-zhou-201283","野翁庄图卷","画面铺展江南林泉之趣，山石以披麻皴写就，线条苍润，苔点错落，尽显丘壑秀逸。茂林修竹间，屋舍隐现，溪流蜿蜒穿林而过，小桥衔接幽径，一派静谧村居气象。笔墨融注文人逸致，构图疏密有致，虚实相生，既见自然野趣，又含林下风致，尽显吴门画派的苍劲与雅致。",[24,25,7,29,118,27,63,64,34,2038,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d7af389af095d82c19a93d4a9c25cb.jpg",[124],"a59c8b",{"id":31773,"slug":31774,"title":31775,"dynasty":149,"author":430,"museum":111,"description":31776,"tags":31777,"thumbUrl":31778,"material":217,"size":217,"collection":44,"collections":31779,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":31780},201236,"zha-kou-pan-che-tu-juan-yi-ming-201236","闸口盘车图卷","此卷以界画之精工勾勒楼阁桥栏，线条挺劲如铁线，结构比例精准入微；水车盘转、舟楫往来间，船夫卸货、工匠劳作，人物动态鲜活传神。古雅设色晕染绢素，器物细节毕现，既展水利设施之巧思，亦现古代市井劳作之生动图景。构图疏密相济，将建筑之美与生活气息相融，写实笔触中藏五代绘画的精湛技艺与对日常烟火的细腻捕捉。",[59,27,61,62,28,7,24,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2026e884c6217030ffbbff426f5ac5.jpg",[44],"8e7755",{"id":31782,"slug":31783,"title":3934,"dynasty":54,"author":27261,"museum":111,"description":31784,"tags":31785,"thumbUrl":31786,"material":217,"size":217,"collection":124,"collections":31787,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":31788},201230,"shan-shui-tu-juan-gu-zheng-yi-201230","这幅山水图卷以水墨皴染绘就，笔墨清逸雅致。近景岩岫嶙峋，皴法细腻勾勒出丘壑肌理；中景林木错落，枝干挺劲与山石相映成趣；远景峰峦叠嶂，淡墨晕染间隐现平远之致。水域开阔，串联起远近景致，构图开合有度，层次分明。画作兼具对自然山水的细致观察与文人寄情林泉的心境，笔墨虚实相生，尽显明代文人山水画的清雅意韵。",[24,7,29,114,118,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57daccd755af0abe2ca34ebc1b28912.jpg",[124],"7d7865",{"id":31790,"slug":31791,"title":31792,"dynasty":250,"author":3062,"museum":111,"description":31793,"tags":31794,"thumbUrl":31796,"material":217,"size":217,"collection":124,"collections":31797,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":31798},201219,"song-shan-shu-wu-tu-juan-wang-hui-201219","松山书屋图卷","画面山峦起伏，松枝苍劲多姿，几椽书屋藏于林麓间，与自然相融。笔墨细腻温润，山石以皴法勾勒显浑厚质感，松针工致，枝叶疏密得宜，皴染结合间见层次。整体意境清雅静谧，传递出文人寄情山水、读书林下的闲适之趣，尽显传统山水画的笔墨韵味与诗意栖居之境。",[24,29,276,31795,118,27,7,23],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9215229400a25a9019dc17f61c20aac7.jpg",[124],"9f8f6e",{"id":31800,"slug":31801,"title":31802,"dynasty":54,"author":430,"museum":111,"description":31803,"tags":31804,"thumbUrl":31805,"material":217,"size":217,"collection":103,"collections":31806,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":31807},201218,"mei-zhu-shi-tu-juan-yi-ming-201218","梅竹石图卷","画面疏朗有致，左侧竹丛墨叶纷披，劲挺如戟；中部老梅虬枝盘曲，花蕊点点，与嶙峋怪石相依，竹枝穿插其间，生机暗涌；右侧孤竹孑立，细枝疏叶见风骨。笔墨简练传神，梅枝以中锋写就，遒劲中含柔韧；竹叶侧锋撇捺，灵动洒脱；怪石淡墨皴染，形质兼备。整体意境清雅绝尘，藏“岁寒三友”之韵，于简淡中见深远情致，尽显文人画的高洁意趣。",[24,7,274,275,255,114,25,118,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b9987bbda5e433911e090923a49f9b.jpg",[103],"b3aa92",1777535693286]