[{"data":1,"prerenderedAt":651},["ShallowReactive",2],{"subject-chi-tang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},756,"chi-tang","池塘","池塘画高清赏析","精选中国历代池塘题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5179da7bb459b9b918590bcfbb041052.jpg",0,46,[14,44,68,88,100,112,132,150,175,185,198,210,227,243,259,271,285,298,310,322,333,349,367,377,391,405,416,427,442,452,463,473,493,507,520,529,537,554,564,577,585,598,608,617,627,636],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},236166,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236166","雍正十二月行乐图","清","佚名","北京故宫博物院","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[23,24,25,26,27,28,29,30,31,7,32,33,34],"国画","设色","工笔","界画","行乐图","山水","楼阁","松树","飞鸟","山石","人物","中式园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa170ee7ea987eca05f818f0474a20d1.jpg","绢本，设色","纵188.2厘米，横102.2厘米","人物画精选",[38,40],"设色画精选",568,3,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":19,"museum":49,"description":50,"tags":51,"thumbUrl":62,"material":63,"size":63,"collection":64,"collections":65,"showCount":66,"zanCount":67,"manualWeight":11,"mainColor":43},223631,"lian-chi-shui-qin-tu-zhou-dui-zhou-yi-ming-223631","莲池水禽图轴对轴","宋","藏地不详","此作设色清雅古拙，将夏末荷塘景致凝于绢素。粉荷或粲然盛放，或半含待绽，圆阔荷叶交错叠覆，枯荣相携，细茎缀着淡粉小花，晕开幽柔生机。\n\n两只白鹭一动一静，振翅者俯身掠空，尖喙直指水面，将俯冲的凌厉之势藏于翩然羽翼间；引颈者独立浅泽，昂首似作长鸣，意态娴静悠然。\n\n画笔工致写实，花叶勾勒细腻，禽鸟晕染层次丰盈，古雅的矿物色历经岁时依旧温润。静塘藏动意，野趣暗生，把江南水泽的澹澹诗意晕开在古绢之上，尽显清寂悠然的雅致意趣。",[52,53,23,54,55,24,25,56,57,58,59,60,61,31,7],"高清","名画","书画","立轴","宋代","荷花","荷叶","莲","水禽","鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab72c6cd475fe4f0cd76844911ed7c4.jpg","","花鸟画精选",[64],334,7,{"id":69,"slug":70,"title":71,"dynasty":72,"author":73,"museum":74,"description":75,"tags":76,"thumbUrl":83,"material":84,"size":85,"collection":63,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":43},216361,"xi-xiang-ji-tu-ye-3-chou-ying-216361","西厢记图页-3","明","仇英","美国弗利尔美术馆","清人绘，款仇英",[23,25,24,26,77,33,78,79,29,80,57,7,81,82],"册页","美人","男子","树木","栏杆","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8160bed9793b09c0f8860270b639bc52.jpg","绢本,设色","18.5*38",[],218,{"id":89,"slug":90,"title":91,"dynasty":72,"author":73,"museum":74,"description":75,"tags":92,"thumbUrl":97,"material":84,"size":85,"collection":63,"collections":98,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":43},216359,"xi-xiang-ji-tu-ye-6-chou-ying-216359","西厢记图页-6",[25,24,93,33,78,29,94,57,95,96,81,7],"册","流水","竹","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F770eb7aaf55cdeaa8253a4ef63c814ab.jpg",[],211,{"id":101,"slug":102,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":103,"thumbUrl":108,"material":36,"size":37,"collection":63,"collections":109,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":111},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167",[23,54,104,24,25,28,29,105,94,96,33,80,57,32,106,7,81,107,82],"青绿","小桥","柳树","回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg",[],156,"BDBDBD",{"id":113,"slug":114,"title":115,"dynasty":48,"author":19,"museum":116,"description":117,"tags":118,"thumbUrl":125,"material":84,"size":126,"collection":127,"collections":128,"showCount":130,"zanCount":131,"manualWeight":11,"mainColor":43},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","台北故宫博物院","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[52,23,54,28,24,119,120,121,7,105,94,122,123,124,96],"水墨","皴法","柳","孤舟","蓑笠","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24","宋画精选",[127,129],"山水画精选",125,1,{"id":133,"slug":134,"title":135,"dynasty":18,"author":136,"museum":20,"description":137,"tags":138,"thumbUrl":144,"material":145,"size":146,"collection":38,"collections":147,"showCount":148,"zanCount":149,"manualWeight":11,"mainColor":43},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",[52,25,24,139,33,96,29,7,57,140,80,81,82,58,141,142,143],"长卷","舟","儿童","建筑","桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80e3fe3947e693b07fbefa84c8d0fd0.jpg","设色，绫本，手卷","纵40厘米，横200厘米",[38],104,4,{"id":151,"slug":152,"title":153,"dynasty":154,"author":155,"museum":49,"description":156,"tags":157,"thumbUrl":168,"material":169,"size":170,"collection":171,"collections":172,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":174},226132,"the-waterlilies-1904-mo-nai-226132","The Waterlilies, 1904","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[158,159,160,161,162,163,164,165,166,7,167],"印象派","油画","光影表现","色彩晕染","睡莲","水面","浮萍","花卉","自然景观","水面倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f788b342e69064e33985edf48eac37.jpg","未知","Xcm*Xcm","油画精选",[171],83,"37474F",{"id":176,"slug":177,"title":178,"dynasty":154,"author":155,"museum":49,"description":156,"tags":179,"thumbUrl":182,"material":169,"size":170,"collection":171,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":43},226092,"the-pool-with-waterlilies-1917-19-mo-nai-226092","The Pool with Waterlilies, 1917-19",[158,159,162,7,163,180,58,57,181],"倒影","绿色植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f56d0d168308a70d3719a0fa3f72a0.jpg",[171],78,{"id":186,"slug":187,"title":188,"dynasty":189,"author":190,"museum":49,"description":191,"tags":192,"thumbUrl":195,"material":169,"size":170,"collection":63,"collections":196,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":43},289777,"lian-chi-shui-qin-tu-zhou-er-gu-de-qian-289777","莲池水禽图轴二","五代十国","顾德谦","顾德谦，五代南唐画家。建康(江苏)人，专喜好画道教神像画，又善画动植物。深受李后主厚爱。他画的人物，神韵清劲，笔力雄健。传世作品有《太上像》、《太上度关图》、《太上图》、《太上采芝像》、《四子太上像》、《采芝图》、《仙迹图》、《洞庭灵烟图》等20余件，见《宣和画谱》。",[52,23,55,193,24,25,57,60,7,194],"花鸟画","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb96d9cd6b47e7470bafecaed08c207.jpg",[],75,{"id":199,"slug":200,"title":201,"dynasty":18,"author":19,"museum":116,"description":202,"tags":203,"thumbUrl":205,"material":206,"size":207,"collection":38,"collections":208,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":111},238870,"mei-gui-fei-chun-gui-ren-xing-le-tu-zhou-yi-ming-238870","玫贵妃春贵人行乐图轴","此图描绘玫贵妃与春贵人、鑫常在花园中钓鱼的情景。人物形神毕肖，个性鲜明，明显带有肖像画特征，对研究晚清嫔妃的宫廷娱乐生活具有较为珍贵的影像价值。\n此图所绘主人公玫贵妃，姓徐佳氏，是清代咸丰皇帝的嫔妃，初为贵人，后进玫嫔。同治皇帝在位时，尊封其为玫贵妃。",[23,55,25,24,33,78,106,57,58,32,81,165,7,204],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0271796fde7f4f01e55be68f0f4a86c.jpg","纸本设色","纵169cm，横90cm",[38,40],62,{"id":211,"slug":212,"title":213,"dynasty":18,"author":214,"museum":20,"description":215,"tags":216,"thumbUrl":223,"material":36,"size":224,"collection":63,"collections":225,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":43},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","姚文瀚","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。",[52,23,139,24,25,26,33,29,28,80,57,217,82,32,218,7,219,142,220,221,222],"舟楫","亭台","路径","园林","草木","游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","纵31．5厘米，横318厘米",[],55,{"id":228,"slug":229,"title":230,"dynasty":48,"author":19,"museum":231,"description":232,"tags":233,"thumbUrl":239,"material":84,"size":240,"collection":127,"collections":241,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":43},219013,"mu-niu-tu-yi-ming-219013","牧牛图","日本大阪市立美术馆","在池塘边的一棵柳树下，一头奶牛在舔她的小牛；不远处，一个牧童背靠着柳树睡觉，狭长的柳叶在风中飘动，温暖的阳光让春天的日子充满生机。这幅画是李唐和晏子平的遗作，他们都是著名的畜牧业画家，应该是大师级画家的作品。",[23,234,119,235,236,237,106,7,238],"扇面","牛","兽","牧童","春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa669771ee97905e8613b0c50bdb92e5a.jpg","24.7x25.6",[127],52,{"id":244,"slug":245,"title":246,"dynasty":48,"author":19,"museum":116,"description":247,"tags":248,"thumbUrl":255,"material":84,"size":256,"collection":64,"collections":257,"showCount":242,"zanCount":258,"manualWeight":11,"mainColor":43},218707,"han-tang-qun-yan-tu-yi-ming-218707","寒塘群雁图","这是一幅描绘池塘一角的画，岸边有枯草和树叶，给人一种寒意。几只大雁聚集在一起，其中一只飞向空中，与伸出头来的那只大雁遥相呼应，形成一个生动的画面。笔触和色彩的灵感来自于崔白。",[52,23,53,54,25,24,249,31,7,250,251,252,253,254],"雁","树","草","水","岸边","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71dfdb429461da18280483cbdee873a7.jpg","194.4x109.2",[64],2,{"id":260,"slug":261,"title":262,"dynasty":154,"author":155,"museum":49,"description":156,"tags":263,"thumbUrl":268,"material":169,"size":170,"collection":171,"collections":269,"showCount":270,"zanCount":131,"manualWeight":11,"mainColor":111},226130,"the-water-lilies-pond-1917-mo-nai-226130","The Water-Lilies Pond, 1917",[158,159,264,265,266,7,162,58,163,267,180],"色彩层次","光影变化","笔触","水波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a11760a29eb3f97cd31932b79db1765.jpg",[171],51,{"id":272,"slug":273,"title":274,"dynasty":48,"author":275,"museum":49,"description":276,"tags":277,"thumbUrl":283,"material":169,"size":170,"collection":63,"collections":284,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":43},288549,"qiu-tang-tu-zhao-ling-rang-288549","秋塘图","赵令穰","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。",[23,53,119,31,278,7,279,280,281,282],"枯柳","疏林","雾霭","秋意","萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0e139577d1c0981134a129ca84c66.jpg",[],{"id":286,"slug":287,"title":288,"dynasty":48,"author":19,"museum":116,"description":289,"tags":290,"thumbUrl":294,"material":84,"size":295,"collection":127,"collections":296,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":111},219233,"qiu-tang-fu-yan-tu-yi-ming-219233","秋塘凫雁图","松枝如墨笔皴染，苍劲枝干斜倚塘边，松针细密如丝，织着秋的清寒。几只凫雁散落在岸石上：有的敛翅蜷身，似枕着午后秋光小憩；有的侧颈理羽，绒羽软意与石面凉硬相映成趣。塘水静如镜，淡褐水面漾着若有若无的烟霭，把远天晕成朦胧色块，连风都放缓了脚步。\n\n笔墨简淡却藏极致细腻：每根松针带秋的劲挺，每片羽翎裹塘边静气，连岸石纹理都浸着湿润凉意。这方圆景里，秋意非萧瑟，而是生灵与自然的温柔相拥——宋人把对天地万物的深情，凝在一笔一划、一禽一木的静谧中，让千年后的我们，仍能触到那份清旷与安然。",[52,53,23,24,25,234,291,80,7,252,292,293],"凫雁","石头","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512ca8a7e13d31ef689e673f06c54768.jpg","24.8x25.2cm",[127,64],44,{"id":299,"slug":300,"title":301,"dynasty":48,"author":19,"museum":116,"description":302,"tags":303,"thumbUrl":306,"material":84,"size":307,"collection":64,"collections":308,"showCount":309,"zanCount":131,"manualWeight":11,"mainColor":111},218856,"he-tang-yu-lu-tu-yi-ming-218856","荷塘浴鹭图","这幅画描绘了一个有荷花和摇曳的芦苇的浅水塘，一只白头鹅坐在池塘边梳理羽毛。荷花巨大，白粉涂得很重，掩盖了线条，而芦苇则用墨汁扫过，这与通常的花鸟彩色笔法不同，颇为有趣。这幅画的标题可能不正确，因为大雁被误认为是苍鹭。",[52,23,54,234,25,24,304,194,57,305,7,252],"花鸟","鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36b40f49eb9d1e1a577ea9c7a0e33576.jpg","20.3x19.9",[64],43,{"id":311,"slug":312,"title":313,"dynasty":48,"author":19,"museum":116,"description":314,"tags":315,"thumbUrl":317,"material":318,"size":319,"collection":127,"collections":320,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":43},221237,"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[52,23,54,55,304,24,25,249,316,57,7],"水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","绢本设色","170x 167厘米",[127,64,40],39,{"id":323,"slug":324,"title":325,"dynasty":48,"author":326,"museum":116,"description":327,"tags":328,"thumbUrl":330,"material":84,"size":331,"collection":64,"collections":332,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":111},219231,"liu-tang-yuan-xi-tu-ma-he-zhi-219231","柳塘鸳戏图","马和之","风拂柳丝软，池漾碧波轻。柳条以淡墨勾勒，柔韧如丝，似随微风拂动水面，余韵悠悠。塘岸简笔皴擦，草色依稀，野趣天成。鸳鸯两两相戏，红羽点缀素净底色，情态亲昵自然，于静谧中添一抹生动。笔墨疏朗却意韵丰满，不刻意渲染却得自然之趣，恰是宋人崇尚的“平淡天真”之境。观之如临清塘畔，柳风轻拂，鸳鸯悠游，心亦随之沉静，仿佛能闻水波轻响，感受那份独属于宋人的清雅闲逸。",[52,23,53,24,25,304,121,7,329],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a58fd64843b5aa46fa30a846f821cb.jpg","23x24.4cm",[64],{"id":334,"slug":335,"title":336,"dynasty":18,"author":337,"museum":338,"description":339,"tags":340,"thumbUrl":345,"material":84,"size":346,"collection":64,"collections":347,"showCount":348,"zanCount":131,"manualWeight":11,"mainColor":43},218736,"liu-tang-ji-qin-tu-hu-mei-218736","柳塘集禽图","胡湄","旅顺博物馆","此画描绘了一群禽鸟在柳塘嬉戏的情景。画中几只芦雁或在岸上长鸣，或在水中畅游，或在低空中盘旋，石缝中生长出几棵小树，两只小鸟在枝丫上彼此顾盼。",[52,23,54,53,55,25,119,304,121,341,342,7,252,343,80,31,344],"鸟","禽","石","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a65963fe55590b859fe37010d4dfd9.jpg","纵211厘米，横100厘米",[64],37,{"id":350,"slug":351,"title":352,"dynasty":18,"author":353,"museum":338,"description":354,"tags":355,"thumbUrl":362,"material":363,"size":364,"collection":63,"collections":365,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":111},223055,"hong-lou-meng-180-sun-wen-223055","红楼梦180","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[52,25,24,26,33,29,96,57,58,7,81,80,356,357,358,359,360,82,361],"圆形窗","桌椅","茶具","扇子","鸭子","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f50c00b41d18bf698643e1b41df6987.jpg","绢本","纵43.3厘米、横76.5厘米",[],36,{"id":368,"slug":369,"title":370,"dynasty":154,"author":155,"museum":49,"description":156,"tags":371,"thumbUrl":374,"material":169,"size":170,"collection":171,"collections":375,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":174},225958,"irises-and-water-lilies-1914-1917-mo-nai-225958","Irises and Water-Lilies, 1914-1917",[159,158,372,162,7,373],"鸢尾花","光影色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7162d947b4b794fd6f4adc0188ccf014.jpg",[171],34,{"id":378,"slug":379,"title":380,"dynasty":72,"author":381,"museum":116,"description":382,"tags":383,"thumbUrl":387,"material":206,"size":388,"collection":63,"collections":389,"showCount":390,"zanCount":11,"manualWeight":11,"mainColor":111},222111,"liu-tang-du-diao-shen-zhou-222111","柳塘独钓","沈周","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[52,23,54,119,24,384,385,28,106,105,96,7,164,33,386],"行书","文人画","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ebf57ec710cf7b3feb2eb738b90919.jpg","28x43.5厘米",[],28,{"id":392,"slug":393,"title":394,"dynasty":395,"author":19,"museum":396,"description":397,"tags":398,"thumbUrl":401,"material":84,"size":402,"collection":129,"collections":403,"showCount":404,"zanCount":11,"manualWeight":11,"mainColor":43},218216,"bi-wu-ting-xie-tu-yi-ming-218216","碧梧亭榭图","元","上海博物馆","这幅画描绘的是一座美丽的亭子和榭廊，位于一片茂密的森林之中。亭子呈方形，由木构建筑搭建而成，四周环绕着一圈小山丘。亭子上方是一座榭廊，榭廊的栏杆由许多小木棍组成，看上去十分精致。\n\n在亭子的中心有一个圆形的池塘，池塘周围种满了许多花草，荷花、菊花、牡丹等各种鲜艳的花朵相互辉映，颜色鲜艳夺目。在池塘中央有一只小鸟儿正在游泳，一群小鸭子在岸边嬉戏。\n\n整幅画非常美丽，构图巧妙，色彩鲜艳，是一幅非常优秀的画作。它所描绘的这座亭子和榭廊，是人们在繁忙的城市生活中的一片净土，是人们放松身心的好去处。它也是一幅富有意境的画作，让人感受到自然的和谐与宁静。",[53,23,26,24,96,29,7,80,399,400],"印章","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4393613c35a03edb85252ef3c1dbd1.jpg","26x22cm",[129],27,{"id":406,"slug":407,"title":408,"dynasty":18,"author":409,"museum":49,"description":410,"tags":411,"thumbUrl":413,"material":63,"size":63,"collection":63,"collections":414,"showCount":415,"zanCount":131,"manualWeight":11,"mainColor":43},230995,"xiu-yuan-tu-wang-yun-230995","休园图","王云","此作以工秀笔触绘就江南私园雅景，亭台临波而起，游廊蜿蜒衔连。水面凫鸭悠游，玲珑湖石与扶苏花木错落排布，晕染出雅致悠然的园居氛围。\n\n堂上主人凭案安坐，侍童侧立随侍，月台、游廊之上仕女游赏低语，将文人日常的闲雅意趣铺陈开来。设色清隽淡雅，界画工整流利，树石皴染兼具质感与文趣，把私园的幽致与园居的松弛心境相融，尽显古典园林绘卷的诗意闲情。",[23,54,24,25,26,33,29,412,80,57,105,7,107,82,32,142,220],"假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c4696b9a08d524f77b20f5a6383d28.jpg",[],26,{"id":417,"slug":418,"title":419,"dynasty":48,"author":19,"museum":49,"description":420,"tags":421,"thumbUrl":424,"material":63,"size":63,"collection":63,"collections":425,"showCount":426,"zanCount":11,"manualWeight":11,"mainColor":111},231078,"liu-tang-fan-yue-yi-ming-231078","柳塘泛月","薄月垂悬柳梢，清辉漫过塘面，晕开一怀夏夜幽寂。柔枝垂柳以淡墨晕染，如烟似雾，将塘岸晕染成朦胧一片。青碧莲叶错落水面，随波轻漾。\n\n扁舟缓行于莲间，舟上仕女姿态悠然，或凭舷凝望月色，或斜卧舟中静享晚风，侍女垂立身侧，动静之间，将夜游的闲雅意趣缓缓铺陈。\n\n画作以没骨晕染写就景致，墨色柔润层次分明，浅淡设色清雅和谐，以尺幅小景承载起清远疏淡的意韵，将闲逸的审美心境融于笔底，尽显小品画的隽永悠然。",[53,23,54,234,24,25,33,106,7,422,423,58,252],"明月","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d348506c30be231f405f138a860f593.jpg",[],23,{"id":428,"slug":429,"title":430,"dynasty":72,"author":431,"museum":49,"description":432,"tags":433,"thumbUrl":439,"material":169,"size":170,"collection":63,"collections":440,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":43},290981,"liu-tang-qin-ji-tu-zhou-lv-ji-290981","柳塘禽集图轴","吕纪","吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。",[23,55,193,434,25,24,435,32,7,31,436,254,437,438],"山水画","垂柳","白鹅","林木","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe936e3fc90e57a92a37ae1980b1caf.jpg",[],19,{"id":443,"slug":444,"title":445,"dynasty":48,"author":446,"museum":49,"description":447,"tags":448,"thumbUrl":450,"material":169,"size":170,"collection":63,"collections":451,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":111},289128,"tai-ye-he-feng-tu-feng-da-you-289128","太液荷风图","冯大有","南宋画家，生卒年不详，是南宋吴门（今江苏苏州）人。他自号怡斋，画史记载他善于捕捉莲花风、晴、老、嫩不同的面貌，可说是画莲的能手。",[23,234,24,304,57,31,25,384,449,7],"书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4808c104c2ab567d8fad3a717971579.jpg",[],{"id":453,"slug":454,"title":455,"dynasty":154,"author":155,"museum":49,"description":156,"tags":456,"thumbUrl":461,"material":169,"size":170,"collection":171,"collections":462,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":174},226131,"the-water-lily-pond-at-giverny-1917-mo-nai-226131","The Water-Lily Pond at Giverny, 1917",[158,159,7,162,163,180,80,457,458,166,459,161,460],"花草","植物","光影","笔触灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3a8fb7d461b825bc9f879091fc468a.jpg",[171],{"id":464,"slug":465,"title":466,"dynasty":72,"author":19,"museum":49,"description":467,"tags":468,"thumbUrl":470,"material":63,"size":63,"collection":63,"collections":471,"showCount":472,"zanCount":11,"manualWeight":11,"mainColor":43},228812,"he-tang-shuang-e-tu-yi-ming-228812","荷塘双鹅图","此作以淡墨轻色绘秋水一隅，枯荷欹斜舒展，芦叶随风摇曳，将深秋荷塘的清寂晕染开来。两只雏鹅姿态生动，一只引颈抬首似在窥望残荷，绒毛蓬松的质感以细笔丝出，朴拙灵动。水岸以浅赭晕染，衬出水天朦胧的空寂氛围。\n\n整体设色淡雅柔和，工写兼具，既以精微笔触刻画禽鸟花叶的形神，又以简淡晕染烘托萧疏冷隽的秋日意趣，将秋日荷塘的幽寂与生机相融，淡而有味，韵致悠长。",[52,23,234,24,25,304,194,469,344,7],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb949ddd4193d20cfb32610246faade24.jpg",[],18,{"id":474,"slug":475,"title":476,"dynasty":154,"author":155,"museum":49,"description":156,"tags":477,"thumbUrl":490,"material":169,"size":170,"collection":171,"collections":491,"showCount":492,"zanCount":11,"manualWeight":11,"mainColor":174},225935,"giverny-roses-and-waterlilies-mo-nai-225935","Giverny, Roses and 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Tuileries, 1876",[159,158,486,512,7,513,514,515,516],"树林","石桥","行人","古建筑","城市远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5b5ae3a45729694565553e17dcf627b.jpg",[171],15,{"id":521,"slug":522,"title":523,"dynasty":154,"author":155,"museum":49,"description":156,"tags":524,"thumbUrl":526,"material":169,"size":170,"collection":171,"collections":527,"showCount":528,"zanCount":11,"manualWeight":11,"mainColor":174},226027,"saule-pleureur-1918-1919-mo-nai-226027","Saule pleureur, 1918-1919",[159,158,435,7,525,373],"风景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4715032ad527890a8766db08622b20.jpg",[171],14,{"id":530,"slug":531,"title":532,"dynasty":154,"author":155,"museum":49,"description":156,"tags":533,"thumbUrl":534,"material":169,"size":170,"collection":171,"collections":535,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":43},226091,"the-pond-at-montgeron-1876-mo-nai-226091","The Pond at Montgeron, 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