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明代乌斯道题跋：“守躬以礼，泣之衣也。养心以静，福之基也。笃于兄弟，家之肥也。诉先裕后，志无递也。胤善继续续，续有辉也。斯真逸处士，熟其非也？乌斯道”。",[23,77,78,52,80,81,190,191,192,193,28,7,194],"松树","山水","远山","草地","持杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad73948b5383d12c65013d9bdad1a100.jpg","120.5x44.9厘米",[107],25,"37474F",{"id":201,"slug":202,"title":203,"dynasty":71,"author":204,"museum":73,"description":205,"tags":206,"thumbUrl":212,"material":40,"size":40,"collection":40,"collections":213,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":110},228295,"xi-zhi-long-e-tu-chen-hong-shou-228295","羲之笼鹅图","陈洪绶","《右军笼鹅图》是明代陈洪绶创作的一幅纸本设色画。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[23,77,80,81,52,207,208,209,82,7,210,170,211],"笼","鹅","扇","古装","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7b7a55715dbf5b199f6e559cf3c60a.jpg",[],21,{"id":216,"slug":217,"title":218,"dynasty":71,"author":204,"museum":73,"description":219,"tags":220,"thumbUrl":225,"material":40,"size":40,"collection":40,"collections":226,"showCount":227,"zanCount":11,"manualWeight":11,"mainColor":110},228304,"can-zhi-tu-chen-hong-shou-228304","餐芝图","此作用笔高古奇骇，构图疏朗雅致，奇石衬出幽寂林下氛围。主角宽袍峨冠，手托芝草悠然凝思，神情澹然超迈，尽显林下高士的出尘之态。下方侍者蹲身专注燃炉蒸芝，神态恭谨，一动一静之间衬出画面闲雅意趣。衣纹勾勒清劲凝练，设色淡雅沉静，古拙的线韵晕染出静穆脱俗的幽隐意境，将服食灵草、寄情丘山的出世雅趣藏于笔底，尽显高逸绝尘的文人风骨。",[23,77,78,79,81,221,80,52,222,37,223,7,224],"白描","孤石","芝","帽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104d5293337b078854f928fd606d4d56.jpg",[],19,{"id":229,"slug":230,"title":231,"dynasty":71,"author":72,"museum":232,"description":233,"tags":234,"thumbUrl":242,"material":243,"size":244,"collection":245,"collections":246,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":110},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像","天津博物馆","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。”",[23,77,78,76,79,221,81,122,52,235,190,236,237,238,239,240,241,7],"宗教","竹子","石头","植物","童子","尊者","念珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","纸本","52.8x117.8","山水画精选",[245,247],"水墨画精选",11,{"id":250,"slug":251,"title":252,"dynasty":71,"author":72,"museum":165,"description":253,"tags":254,"thumbUrl":257,"material":258,"size":259,"collection":40,"collections":260,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":110},233744,"san-jiao-tu-zhou-ding-yun-peng-233744","三教图轴","此图画孔子、老子、红衣罗汉坐于树下共同探究玄理的情景。画中三位智慧长者面目严肃，神情专注，孔子儒雅敦厚，循循善诱，正发表言论；老子道貌岸然，谨慎而善辩，他注视着对方，似乎准备随时发问；红衣罗汉双目低垂，安详而平静，从他紧锁的眉头可以看出他已沉于思索之中。明代，随着儒、道、释三教的融合，宗教题材的绘画也随之有了世俗化的倾向，此画中的宗教人物与作为供养的神仙不同，脱离了程式化的因素，有着鲜明的个性特征和情绪化色彩，同时融入了文人的审美情趣。其人物造型古拙、气质端庄文雅，体现了明后期文人画注重表现个性的风尚。画法上，运用“高古游丝描”，细劲而“笔力伟然”，既有古朴之感，又具有时代气息。设色古妍冷隽，尤其是人物服饰的红色、兰色与赭色，赋色沉稳和谐。山石树木勾勒添色，取法文徵明，小青绿设色，文静典雅，营造了一种静谧清淡的意境，引人入胜。",[77,79,80,52,235,81,28,151,7,255,256],"印章","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a31bf07bdede9ea0b3bd2d2ca86d3e2.jpg","纸本，设色","纵115.6厘米，横55.7厘米",[],10,{"id":263,"slug":264,"title":265,"dynasty":266,"author":267,"museum":73,"description":268,"tags":269,"thumbUrl":275,"material":90,"size":91,"collection":276,"collections":277,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":199},225652,"rembrandt-harmensz-van-rijn-062-lun-bo-lang-225652","Rembrandt Harmensz.van Rijn - 062","不详","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[24,25,270,271,52,272,273,7,274],"明暗对比","光影","老者","男性","头巾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672706c53f9410ce44f62699cb3321ee.jpg","油画精选",[276],{"id":279,"slug":280,"title":281,"dynasty":266,"author":267,"museum":73,"description":268,"tags":282,"thumbUrl":286,"material":90,"size":91,"collection":276,"collections":287,"showCount":288,"zanCount":11,"manualWeight":11,"mainColor":199},225687,"rembrandt-harmensz-van-rijn-097-lun-bo-lang-225687","Rembrandt Harmensz.van Rijn - 097",[24,25,270,283,284,274,7,153,285],"人物肖像","老年男性","深色背景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd8a67b4102d349023ee425e4900726.jpg",[276],9,{"id":290,"slug":291,"title":292,"dynasty":266,"author":293,"museum":73,"description":294,"tags":295,"thumbUrl":308,"material":90,"size":91,"collection":40,"collections":309,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":44},232515,"he-er-bai-yin-174-he-er-bai-yin-232515","荷尔拜因174","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[235,52,221,51,79,296,297,31,298,299,300,301,7,302,303,304,305,306,307],"天使","恶魔","天平","怪兽","翅膀","铠甲","装饰纹样","底座","神话生物","武器","称量工具","竖幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397e2eb2133791e351d36266ae48288e.jpg",[],5,{"id":312,"slug":313,"title":314,"dynasty":71,"author":315,"museum":148,"description":316,"tags":317,"thumbUrl":322,"material":106,"size":323,"collection":40,"collections":324,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":44},216767,"jiu-lao-tu-3-huang-biao-216767","九老图-3","黄彪","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[77,76,81,80,52,318,319,190,320,151,210,7,28,321],"老人","孩童","花树","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f6a6c88bea38b7d78906c7e08ea109.jpg","27.2x193",[],{"id":326,"slug":327,"title":328,"dynasty":266,"author":329,"museum":73,"description":330,"tags":331,"thumbUrl":341,"material":90,"size":91,"collection":40,"collections":342,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":199},232285,"a-er-ma-12-lao-lun-si-a-er-ma-ta-de-ma-232285","阿尔玛12","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence 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Leys）的画室学习。",[24,25,52,332,333,334,335,336,54,7,337,338,339,340,321,56],"古典服饰","织物","大理石","家具","饰品","凉鞋","珍珠","窗帘","墙面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a38c189cf5cd4e316f5512b79dd0ab5.jpg",[],4,{"id":345,"slug":346,"title":347,"dynasty":266,"author":329,"museum":73,"description":330,"tags":348,"thumbUrl":358,"material":90,"size":91,"collection":40,"collections":359,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":199},232287,"a-er-ma-14-lao-lun-si-a-er-ma-ta-de-ma-232287","阿尔玛14",[76,24,349,52,350,351,352,353,354,355,356,357,173,274,7],"写实主义","建筑","房屋","门窗","藤蔓","盆栽","水罐","碗","推车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3521d3b0d4c155f13c3a86f3e1214d.jpg",[],3,{"id":362,"slug":363,"title":364,"dynasty":266,"author":267,"museum":73,"description":268,"tags":365,"thumbUrl":372,"material":90,"size":91,"collection":40,"collections":373,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":110},230637,"rembrandt-harmensz-van-rijn-0270-lun-bo-lang-230637","Rembrandt Harmensz.van Rijn - 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