[{"data":1,"prerenderedAt":723},["ShallowReactive",2],{"subject-chuan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},507,"chuan","船","船画高清赏析","精选中国历代船题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6539c672cef4ce1b731d238bed4e6d9.jpg",0,53,[14,59,74,87,109,128,147,166,186,194,206,221,235,248,263,280,290,304,320,333,346,355,370,379,389,402,413,426,435,445,454,464,474,487,499,509,520,530,537,547,568,576,585,600,619,637,649,662,672,682,690,703,713],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":50,"material":51,"size":52,"collection":53,"collections":54,"showCount":56,"zanCount":57,"manualWeight":11,"mainColor":58},221320,"qing-ming-shang-he-tu-zhang-ze-duan-221320","清明上河图","宋","张择端","北京故宫博物院","《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。",[23,24,25,26,27,28,29,30,31,32,33,7,34,35,36,37,38,39,40,41,42,43,44,45,46,47,48,49],"高清","国画","书画","长卷","界画","工笔","设色","人物","楼阁","小桥","流水","马","牛","树木","街市","店铺","桥梁","城墙","车","河流","码头","货船","行人","商贩","房屋","道路","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米","宋画精选",[53,55],"水墨画精选",8462,106,"795548",{"id":60,"slug":61,"title":62,"dynasty":18,"author":19,"museum":63,"description":64,"tags":65,"thumbUrl":69,"material":70,"size":70,"collection":70,"collections":71,"showCount":72,"zanCount":73,"manualWeight":11,"mainColor":58},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","藏地不详","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。",[23,24,25,26,27,28,66,30,31,32,33,7,34,35,36,37,67,41,68,42,47,43,45],"白描","商铺","轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg","",[],368,3,{"id":75,"slug":76,"title":77,"dynasty":18,"author":19,"museum":20,"description":21,"tags":78,"thumbUrl":84,"material":51,"size":52,"collection":70,"collections":85,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":58},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,79,24,25,26,28,27,29,30,31,32,33,7,34,35,80,37,67,47,42,39,81,45,82,83,40],"名画","树","舟楫","车马","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg",[],181,{"id":88,"slug":89,"title":90,"dynasty":18,"author":91,"museum":92,"description":93,"tags":94,"thumbUrl":102,"material":103,"size":104,"collection":105,"collections":106,"showCount":107,"zanCount":108,"manualWeight":11,"mainColor":58},218232,"jiang-tian-lou-ge-tu-yi-ming-218232","江天楼阁图","佚名","南京博物馆","此图无款印，写江天坡石，远山楼阁，舟船人物，松枝虬劲。精致生动。可看出典型的“马夏”式构图，取一角之景，加以远山的绵延起伏，浩渺深远，意境深幽，为画面的水天一色注入了新的活力。",[24,25,95,27,96,29,97,31,98,99,100,7,101],"立轴","水墨","山水","孤舟","老树","岩石","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5919d4dd7f42021aba4be1549a9e9aa1.jpg","绢本,设色","纵97.4厘米，横54.6厘米","山水画精选",[105],147,2,{"id":110,"slug":111,"title":112,"dynasty":113,"author":114,"museum":115,"description":116,"tags":117,"thumbUrl":122,"material":123,"size":124,"collection":70,"collections":125,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":127},220059,"hu-qiu-shi-er-jing-tu-ce-8-shen-zhou-220059","虎丘十二景图册-8","明","沈周","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,24,96,97,118,119,31,120,80,33,7,30,121],"册","皴法","塔","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0478c2e27a123b03cd04587242f18298.jpg","纸本","31.1×40.2cmx12",[],127,"BDBDBD",{"id":129,"slug":130,"title":131,"dynasty":18,"author":132,"museum":133,"description":134,"tags":135,"thumbUrl":143,"material":103,"size":144,"collection":105,"collections":145,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":58},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","郭熙","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,24,79,95,119,96,29,97,136,137,138,139,98,30,34,140,80,7,141,142],"山","雪","枯树","小屋","石","瀑布","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[105],121,{"id":148,"slug":149,"title":150,"dynasty":151,"author":91,"museum":63,"description":152,"tags":153,"thumbUrl":161,"material":162,"size":163,"collection":70,"collections":164,"showCount":165,"zanCount":108,"manualWeight":11,"mainColor":58},228242,"long-zhou-duo-biao-tu-juan-yi-ming-228242","龙舟夺标图卷","元","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。”",[23,24,25,26,27,66,28,154,31,155,7,30,156,157,158,81,159,160],"龙","桥","旗帜","水","宫殿式建筑","龙舟","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba612b814b21c0a85e81089eda6238d.jpg","未知","Xcm*Xcm",[],108,{"id":167,"slug":168,"title":169,"dynasty":170,"author":171,"museum":172,"description":173,"tags":174,"thumbUrl":178,"material":179,"size":180,"collection":105,"collections":181,"showCount":183,"zanCount":184,"manualWeight":11,"mainColor":185},222764,"shi-er-yue-ling-tu-5-yue-lang-shi-ning-222764","十二月令图（5月）","清","郎世宁","台北故宫博物院","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,25,95,28,29,27,30,31,97,7,36,33,32,175,121,176,177],"亭台","花草","游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a452b4eda86eac0e610effee7ff9a62.jpg","绢本设色","188.2*102.2cm",[105,182],"设色画精选",101,1,"F48FB1",{"id":187,"slug":188,"title":189,"dynasty":113,"author":114,"museum":115,"description":116,"tags":190,"thumbUrl":191,"material":123,"size":124,"collection":70,"collections":192,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":58},220061,"hu-qiu-shi-er-jing-tu-ce-6-shen-zhou-220061","虎丘十二景图册-6",[23,24,96,119,118,97,31,33,7,80,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72248fc90bb40e68bc86e816e76412c9.jpg",[],97,{"id":195,"slug":196,"title":197,"dynasty":18,"author":91,"museum":198,"description":199,"tags":200,"thumbUrl":202,"material":179,"size":203,"collection":53,"collections":204,"showCount":205,"zanCount":184,"manualWeight":11,"mainColor":58},223660,"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","上海博物馆","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。”",[23,79,24,25,26,27,28,29,30,31,33,41,7,36,39,201],"劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","纵55.4厘米横124.1厘米",[53,182],84,{"id":207,"slug":208,"title":209,"dynasty":18,"author":210,"museum":172,"description":211,"tags":212,"thumbUrl":216,"material":217,"size":218,"collection":70,"collections":219,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":58},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","夏圭","画卷的前半段，以近平视的角度近景特写江岩块、林木，以及行的舟船，表现三长江峡险峻和波涛汹涌的痛痛\n后半段则是俯视和远观的角度以及江景的活动，沿途所见美景。\n从近逼观者的景物转换到辽阔空旷的范围，这种构图的方式具有戏剧性的效果。\n夏圭，字禹玉，钱塘人，生卒年不详，稍晚于马远，宁宗朝画院待诏。他的山水画在构图和笔墨技法方面与马远非常相似，因此画史上一向以马、夏并称 。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」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[23,24,25,26,96,119,97,31,36,98,33,121,213,214,7,215],"亭","飞鸟","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","绢本","该幅26.8x1115.3公分",[],72,{"id":222,"slug":223,"title":224,"dynasty":151,"author":225,"museum":226,"description":227,"tags":228,"thumbUrl":230,"material":231,"size":232,"collection":105,"collections":233,"showCount":234,"zanCount":11,"manualWeight":11,"mainColor":58},221757,"jiang-xiang-yu-yin-sheng-mao-221757","江乡渔隐","盛懋","美国大都会艺术博物馆","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。",[23,24,79,26,96,119,97,32,33,98,36,83,229,214,7],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","绢本水墨","30.8x475.3cm",[105,55],66,{"id":236,"slug":237,"title":238,"dynasty":151,"author":239,"museum":172,"description":240,"tags":241,"thumbUrl":244,"material":217,"size":245,"collection":105,"collections":246,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":58},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","王振鹏","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。",[23,79,24,25,26,27,66,29,30,31,154,7,157,36,242,243],"竞渡","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[105,55],62,{"id":249,"slug":250,"title":251,"dynasty":113,"author":252,"museum":20,"description":253,"tags":254,"thumbUrl":257,"material":258,"size":259,"collection":260,"collections":261,"showCount":262,"zanCount":184,"manualWeight":11,"mainColor":127},219059,"yu-le-tu-zhou-chen-219059","渔乐图","周臣","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。",[23,24,26,96,28,30,98,80,42,255,229,119,7,256],"芦苇","渔具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091dcc3a0f131e4c9e7d128fe9d0850c.jpg","纸本,设色","纵32厘米，横239厘米","人物画精选",[260],56,{"id":264,"slug":265,"title":266,"dynasty":267,"author":268,"museum":269,"description":270,"tags":271,"thumbUrl":277,"material":70,"size":70,"collection":70,"collections":278,"showCount":279,"zanCount":184,"manualWeight":11,"mainColor":127},220548,"chuan-fu-xu-bei-hong-220548","船夫","民国","徐悲鸿","中央美术学院美术馆","漓江烟霭如纱晕染天际，前景丹黄枝叶错落交织，框住扁舟浮生。赤身船夫们筋肉虬结，或匍匐撑篙、或伫立持杆，将劳力的沉实粗粝揉碎在漾漾水波里。蓝衣妇人静坐舱侧，指尖捻着细碎活计，松弛的背影与紧绷的船夫形成鲜明对照，将日常烟火气晕开劳作的艰涩。\n\n画作融水墨晕染与写实工笔于一体，淡墨晕开远山虚影，细笔勾勒出躯干贲张的肌理，把底层劳动者的鲜活力量揉进水乡诗意里。以平实视角定格江面上生计的重量，将烟火日常淬炼成沉凝的生命注脚，笔墨里既有写实筋骨，又带着东方意境的柔婉，苦役里透出质朴生机。",[24,29,96,272,30,7,157,36,273,101,201,274,275,276],"写实","枝叶","秋意","人物画","场景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287adcfa47e3a00be2e87bcf795b7f9b.jpg",[],50,{"id":281,"slug":282,"title":283,"dynasty":170,"author":91,"museum":63,"description":284,"tags":285,"thumbUrl":287,"material":162,"size":163,"collection":70,"collections":288,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":58},287929,"qing-ming-shang-he-tu-ju-bu-yi-ming-287929","清明上河图(局部)","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。",[79,24,26,29,28,30,32,31,33,34,7,286],"市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e33ae4f04a3a44f84910b66851ed29.jpg",[],45,{"id":291,"slug":292,"title":293,"dynasty":18,"author":91,"museum":20,"description":294,"tags":295,"thumbUrl":300,"material":179,"size":301,"collection":70,"collections":302,"showCount":303,"zanCount":11,"manualWeight":11,"mainColor":58},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","摹顾恺之洛神赋图","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。",[79,24,25,26,296,66,29,28,30,154,97,31,214,7,297,298,36,100,33,243,299],"临摹","神仙","云气","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],36,{"id":305,"slug":306,"title":307,"dynasty":308,"author":309,"museum":63,"description":310,"tags":311,"thumbUrl":316,"material":162,"size":163,"collection":317,"collections":318,"showCount":319,"zanCount":11,"manualWeight":11,"mainColor":58},225747,"fisherman-and-boats-from-the-pont-de-clichy-fan-gao-225747","Fisherman and boats from the Pont de Clichy","不详","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[79,312,29,313,314,7,155,33,36,315,229,30,273],"油画","后印象派","渔夫","黄叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8c3f712674167c7884bf0e358d5cee.jpg","油画精选",[317],32,{"id":321,"slug":322,"title":323,"dynasty":170,"author":324,"museum":63,"description":325,"tags":326,"thumbUrl":330,"material":70,"size":70,"collection":105,"collections":331,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":127},236455,"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼","郑旼（1632—1683）， 字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[24,25,95,96,119,97,136,80,98,157,100,138,327,328,329,7],"远峰","水面","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[105,55],31,{"id":334,"slug":335,"title":336,"dynasty":113,"author":337,"museum":63,"description":338,"tags":339,"thumbUrl":344,"material":70,"size":70,"collection":70,"collections":345,"showCount":332,"zanCount":73,"manualWeight":11,"mainColor":58},228735,"jiang-cun-feng-yu-tu-lv-wen-ying-228735","江村风雨图","吕文英","吕文英（1421—155），括苍（今浙江丽水）人。\n擅画人物，亦写山水，为明代 名家之一。\n孝宗弘治间（1481－155）与 同以指挥知直 。\n文英以人物、吕纪以 而受宠，人呼文英为“小吕”， 为“大吕”。\n卒年八十五。\n传世作品有《江村风雨图》、《货郎图》等。\n吕文英（1421~155），字阔苍，括苍（今浙江丽水）人。\n著名画家。\n尤擅人物，兼画山水。\n成化朝 、弘治朝 二帝，均擅画，时宫廷画院兴盛，名家云集。\n弘治元年（1488），文英以 在武英、仁智殿供职，受 恩宠。\n人呼文英为“小吕”， 为“大吕”。\n传世作品有人物画《货郎图》春夏秋冬4幅 资料馆藏、山水画《《江村风雨图》现藏美国克利夫美术馆。\n此外，还有《嬉春》图轴2幅、《宫妆娃娃》图轴等。\n文英还多次与 合作创作，有《竹园寿集图》、《龙女斩蛇图》等。\n216版《 》中所刊与宁波有关的两幅画：《姚大梅诗意图册之白猿渡水页》和《竹园寿集图》。\n《竹园寿集图》说的是明弘治己未，户部尚书周经、吏部尚书屠滽、御史侣锺三人同值六十大寿，诸僚至周经私宅置酒同庆的故事。\n当年祝寿人群中，还有两位锦衣卫，“大吕”吕纪和侄子“小吕”吕文英，恰是两位画家。\n二人常合作作画。\n当天主人周经援引《杏园雅集图》事，要二吕仿效，也将此次聚会画下来。\n二吕欣然摹写，将在场的28人皆入画中。\n其中屠滽着红衣，执笔立于竹下，边上有童子捧砚，诗已写成，面容自得。",[23,24,29,97,119,136,80,99,340,157,98,100,341,342,343,7,47],"枯藤","村舍","风雨","江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],{"id":347,"slug":348,"title":349,"dynasty":113,"author":91,"museum":172,"description":350,"tags":351,"thumbUrl":352,"material":103,"size":353,"collection":182,"collections":354,"showCount":332,"zanCount":184,"manualWeight":11,"mainColor":58},219350,"wang-hai-lou-tu-zhou-yi-ming-219350","望海楼图轴","画中楼阁矗立于城墙之上，下瞰大江，群客登临宴饮。屋内文人三五成群，有些持卷观赏，有些凭窗眺远。本幅用界工整，青绿设色已略剥落，然屋宇脊顶之蛤白勾勒线条仍鲜明如故，使楼台轮廓分外醒目。此图签题虽定为「望海楼图」，然根据绘画内容看来，整个建筑群组面城临江， 居高临下，江边还有大型的雀舫龙舟，非常接近唐代文人王勃于〈藤王阁序〉中所描写的场景，或可定为藤王阁图。",[24,79,95,27,28,29,31,30,97,34,7,36,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedfd8e3692883f0a750fcbb48cfd87f.jpg","159.8x93.2",[182],{"id":356,"slug":357,"title":358,"dynasty":170,"author":359,"museum":360,"description":361,"tags":362,"thumbUrl":366,"material":217,"size":367,"collection":70,"collections":368,"showCount":369,"zanCount":11,"manualWeight":11,"mainColor":127},222951,"hong-lou-meng-76-sun-wen-222951","红楼梦76","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,24,28,29,363,97,30,7,154,155,213,31,80,364,33,365],"青绿","灯笼","对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdcdd2b0e6efbaf7ad7defbef1bc16c.jpg","纵43.3厘米、横76.5厘米",[],25,{"id":371,"slug":372,"title":373,"dynasty":170,"author":91,"museum":63,"description":374,"tags":375,"thumbUrl":376,"material":377,"size":70,"collection":105,"collections":378,"showCount":369,"zanCount":11,"manualWeight":11,"mainColor":127},215618,"tian-xia-ming-shan-tu-ce-yi-ming-215618","天下名山图册","层峦叠嶂间，墨线勾勒出山脊嶙峋之势，皴擦点染晕开草木苍劲生机。几株古松挺立于峰巅，枝干虬曲如铁，似与流云低语。山间小径蜿蜒，行人三两成簇，或行或驻，为静谧山林添几分烟火气。右侧山谷隐现亭台楼阁，飞檐翘角藏于茂林修竹间，与山石流水相映成趣。画面布局疏密有致，留白处似有云雾流转，虚实相生尽显山川悠远意境。笔墨虽简，却将自然雄浑与人文雅致融于一纸，仿佛能闻松涛阵阵、涧水潺潺，叫人沉醉于这方清幽天地。",[24,25,118,66,96,119,97,136,36,213,31,32,33,7,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd70bb88931916c051d525147647bc23.jpg","纸本,水墨",[105],{"id":380,"slug":381,"title":382,"dynasty":170,"author":359,"museum":360,"description":361,"tags":383,"thumbUrl":386,"material":217,"size":367,"collection":70,"collections":387,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":127},223057,"hong-lou-meng-182-sun-wen-223057","红楼梦182",[23,24,25,26,28,29,30,7,97,36,384,385],"衣帽","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d4b98e1d2c02477657bf80b0a7cefc.jpg",[],24,{"id":390,"slug":391,"title":392,"dynasty":113,"author":393,"museum":172,"description":394,"tags":395,"thumbUrl":398,"material":399,"size":400,"collection":105,"collections":401,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":58},222065,"xue-ye-fang-dai-zhou-zhou-wen-jing-222065","雪夜访戴轴","周文靖","此图描写东晋名士王徽之夜里梦醒，见月色皎洁兴致突生，遂趋船造访好友戴逵。然抵达之后，又打消念头而折回，或曰：「乘兴而来，尽兴而返。」为明代历史人物故事画之佳例。此幅构图继承南宋马、夏特色，却较之概括简约，而其潇洒放逸之笔法，则近似元人风格。",[23,24,96,29,119,95,97,98,30,396,36,397,138,7],"雪景","月夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c217c7206bd4b15f36643d89ad02332.jpg","白纸本","320X120.2",[105,55],{"id":403,"slug":404,"title":405,"dynasty":18,"author":91,"museum":63,"description":406,"tags":407,"thumbUrl":410,"material":70,"size":70,"collection":70,"collections":411,"showCount":412,"zanCount":11,"manualWeight":11,"mainColor":127},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。",[23,24,25,26,27,28,29,97,31,7,343,408,299,409,243],"帆","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc497068d2ecd6fc3d6b39bdd1d0a3fbf.jpg",[],20,{"id":414,"slug":415,"title":416,"dynasty":113,"author":417,"museum":63,"description":418,"tags":419,"thumbUrl":423,"material":162,"size":163,"collection":70,"collections":424,"showCount":425,"zanCount":11,"manualWeight":11,"mainColor":58},237798,"qiu-xi-you-ting-tu-shan-wang-cheng-237798","秋溪游艇图扇","汪澄","[明]字潜然，徽州（今安徽歙县）人，工画。《画史会要》",[24,420,96,29,119,97,421,422,98,30,100,101,328,36,7],"扇面","秋树","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff321caa0ed147ef8daab802eb0b0aea1.jpg",[],17,{"id":427,"slug":428,"title":429,"dynasty":113,"author":91,"museum":63,"description":430,"tags":431,"thumbUrl":432,"material":70,"size":70,"collection":70,"collections":433,"showCount":434,"zanCount":184,"manualWeight":11,"mainColor":58},228783,"ru-bi-tu-yi-ming-228783","入跸图","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。",[23,24,25,79,26,28,29,30,31,32,33,213,34,97,36,121,7,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],12,{"id":436,"slug":437,"title":438,"dynasty":113,"author":439,"museum":63,"description":440,"tags":441,"thumbUrl":442,"material":70,"size":70,"collection":70,"collections":443,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":127},235847,"san-mao-tu-ye-wen-jia-235847","三泖图页","文嘉","此作用浅青淡赭晕染远景山峦，烟岚空濛间漾出江南春日的柔润秀雅。湖心洲渚之上，佛塔层檐叠峙，垂柳轻拂屋舍，静立水波中央。水面舟楫错落，张帆者趁风徐行，摇橹者信步闲渡，将水乡的恬然生机铺陈开来。\n\n左侧题文详述此地胜状，书画合璧尽显文人雅趣。全画笔致秀婉松灵，设色清浅柔润，以简淡之笔勾勒出水泽空阔的诗意，将实景清丽与隐逸之思相融，尽展温雅悠然的文人意韵。",[24,25,29,97,31,7,409,243,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6a59c4dc57b3f7828ee9560939649b.jpg",[],11,{"id":446,"slug":447,"title":448,"dynasty":18,"author":91,"museum":63,"description":449,"tags":450,"thumbUrl":452,"material":70,"size":70,"collection":70,"collections":453,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":58},227862,"zao-qiu-ye-po-tu-yi-ming-227862","早秋夜泊图","此作用细腻铁线描勾勒两艘泊船，舱室回廊、高耸桅杆皆刻画入微，淡赭轻敷点缀舱间细节，古拙雅致。远景水榭楼台隐在朦胧夜色间，烟水空濛晕染开早秋清寒。\n画面以小景写幽情，将旅人行舟暂歇的安然揉进静谧江色里，写实中带着诗意澹远，尽显宋人体察日常的雅致笔力，把初秋江上夜泊的清寂况味铺陈开来，淡而不寡，静中藏着羁旅安然的意趣。",[23,24,25,27,29,28,7,31,157,97,451],"早秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9709ec5d8d3f68db6c128de0f7e73a9.jpg",[],{"id":455,"slug":456,"title":457,"dynasty":113,"author":114,"museum":198,"description":458,"tags":459,"thumbUrl":461,"material":179,"size":462,"collection":70,"collections":463,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":127},222094,"liang-jiang-ming-sheng-tu-ce-6-shen-zhou-222094","两江名胜图册6","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,24,25,118,29,97,31,155,7,101,36,460,409,243],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419cd7d3e9a099cd6e89767a3becac30.jpg","42.2×23.8厘米",[],{"id":465,"slug":466,"title":467,"dynasty":113,"author":91,"museum":63,"description":468,"tags":469,"thumbUrl":470,"material":70,"size":70,"collection":70,"collections":471,"showCount":472,"zanCount":11,"manualWeight":11,"mainColor":473},228820,"ju-shou-yi-ji-gu-hua-ce-yi-ming-228820","鞠寿簃集古画册","此作以工笔绘就水上演武图景，主体楼船层台重垒，舰首狞猛兽形威仪赫赫，旌旗猎猎舒展。甲板之上，士卒或执械列队，或奔走值守，各司其职，将水师校阅的整肃之气尽显。水面间三两快船穿梭，舟上健儿动作利落矫健，细碎晕染的水纹晕开行舟的动感。古雅沉郁的色调晕染出旧时光晕，精细的线条勾勒出楼船的精巧形制与人物神态，纪实之中带着古典工笔的雅致意趣，静中见动，将水军演武的鲜活场面凝于绢素之上，尽显水师的整肃气势。",[23,24,28,29,27,118,30,34,7,31,157,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d335e817b2ea77b1411cd30bdeff314.jpg",[],10,"37474F",{"id":475,"slug":476,"title":477,"dynasty":170,"author":91,"museum":172,"description":478,"tags":479,"thumbUrl":485,"material":70,"size":70,"collection":70,"collections":486,"showCount":472,"zanCount":11,"manualWeight":11,"mainColor":58},223416,"ma-zu-qi-ji-g-yi-ming-223416","妈祖奇迹G","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,24,29,28,480,30,7,156,481,482,483,484],"宗教","海浪","帆船","海面","群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F594511b7c858a89a3117cd1ae3d4285a.jpg",[],{"id":488,"slug":489,"title":490,"dynasty":267,"author":491,"museum":492,"description":493,"tags":494,"thumbUrl":497,"material":70,"size":70,"collection":70,"collections":498,"showCount":472,"zanCount":11,"manualWeight":11,"mainColor":127},220458,"shi-men-guan-liang-220458","石门","关良","龙美术馆西岸馆","关良，字良公，广东番禺人。长于中国画、油画。1917 年入日本川端画学校学习油画，1918-1923 年于太平洋美术学校学习油画。1923 年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[24,29,97,495,33,213,7,80,496],"峭壁","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ebef99d6af837be20ccb7bdc022a25.jpg",[],{"id":500,"slug":501,"title":502,"dynasty":113,"author":503,"museum":63,"description":504,"tags":505,"thumbUrl":506,"material":70,"size":70,"collection":70,"collections":507,"showCount":508,"zanCount":11,"manualWeight":11,"mainColor":127},228327,"wei-yang-gu-du-tu-yuan-shang-tong-228327","维扬古渡图","袁尚统","《水墨城韵·中国历史文化名城画典:扬州卷》主要收录了穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》、至情至简——东山魁夷画《 》、扬州旧梦何处觅——陆俨少的《 》、记忆的符号展现——陆俨少画《扬州个园》等。\n《水墨城韵·中国历史文化名城画典:扬州卷》由 出版。\n贺万里，美术理论家、批评家、山水画家。\n1962年出生，安徽淮北人，祖籍河北。\n美术学博士。\n曾任教于 (现 )，现为 副院长、教授、研究生导师。\n会员， 会员，江苏省壁画学会常务理事，扬州市清代扬州画派研究会会长，石河子大学新疆大山水画研究所副所长。\n梦里他乡是瓜洲——明人袁尚统的《维扬古渡图》 置境平和《广陵茱萸湾图》 诗境与画境——从李白的《送孟浩然之广陵》到石涛、陆俨少的《李白诗意图》 明净疏朗维扬秋——石涛的《维扬洁秋图》 附录：石涛画扬州 附录：石涛《维扬洁秋图》的长款题跋 雅集盛会戾行合一——叶芳林、方士庶的《九目行庵文燕图》 樊川水榭苇上舟——高翔的《扬州即景册》 记忆深处的禅意——高翔的《弹指阁图》 附录：高翔的《弹指阁图》赏析 将军画本金碧色——李昭道、袁江 文人其乐融一园——袁江《东园胜概图》卷 亭台楼阁亦关情——解读袁耀之《扬州四景图》 深意画图余情休园——赏读王云《休园图》 念繁华前度，何时歌吹重闻？——解读汪望的《平山堂图》 邗江夜雨芦荻瑟——任堇与《邗沟夜泊图》 张大干画《瘦西湖》 附录：收藏扬州 附录：由张大千《瘦西湖》所见 穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》 至情至简——东山魁夷画《冶春园》 扬州旧梦何处觅——陆俨少的《扬州即景图》 记忆的符号展现——陆俨少画《扬州个园》 写运河，写扬州，写国之佳画——读宋文治《今日的运河》 钱松苗与《鉴真大和尚纪念堂》 秀媚大雅瘦美人——钱松曲两画“瘦西湖” 秀雅空灵性情自我——魏紫熙的《瘦西湖》 静谧空寂张力内蕴——亚明的《二十四桥明月夜》 水墨写实传真情——张安治的《扬州春郊》 散发着浓郁时代气息——《瘦西湖上》 周京新画扬州园林 附录：今月曾经照古人——扬州画苑《千年回眸》 石涛之后有石庄 东方的“巴洛克”——金农书画 江都别派 沉雄浑厚陈若木 虞蟾：天国画家第一人 写真丁门甘泉流韵 溥派真传姚兆明",[23,24,25,95,96,119,97,30,34,31,98,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347df80291e7dcba76749b7ed4b13a83.jpg",[],8,{"id":510,"slug":511,"title":512,"dynasty":113,"author":513,"museum":172,"description":514,"tags":515,"thumbUrl":517,"material":258,"size":518,"collection":70,"collections":519,"showCount":508,"zanCount":11,"manualWeight":11,"mainColor":127},216091,"tai-ping-le-shi-tu-ce-5-dai-jin-216091","太平乐事图册-5","戴进","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[24,29,30,229,118,7,516,214],"渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd119382dc2541c2e65ad1fc8ce71a95e.jpg","22.8x22cm",[],{"id":521,"slug":522,"title":523,"dynasty":113,"author":524,"museum":63,"description":525,"tags":526,"thumbUrl":527,"material":162,"size":163,"collection":70,"collections":528,"showCount":529,"zanCount":11,"manualWeight":11,"mainColor":127},239476,"qu-jiang-xian-fang-shan-zhang-fu-239476","曲江仙舫扇","张復","张复（1546年－？年），字元春，号苓石，江苏太仓人（一说中条山人）。明末著名山水画家。善于兼收并蓄，兼得五代北方山水画派荆浩、关仝，南宋画派马远、夏珪，元代黄公望以及明代沈周趣味，成为吴门画派的健将之一。",[420,24,25,96,119,97,31,213,98,36,33,121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ab7bb7e7633b3bb346844f892a0546.jpg",[],7,{"id":531,"slug":532,"title":533,"dynasty":170,"author":91,"museum":172,"description":478,"tags":534,"thumbUrl":535,"material":70,"size":70,"collection":70,"collections":536,"showCount":529,"zanCount":11,"manualWeight":11,"mainColor":58},223412,"ma-zu-qi-ji-c-yi-ming-223412","妈祖奇迹C",[23,24,29,28,27,480,30,7,481,215,482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1bdb2f2246419402205f91e670b372b.jpg",[],{"id":538,"slug":539,"title":540,"dynasty":170,"author":541,"museum":63,"description":542,"tags":543,"thumbUrl":544,"material":70,"size":70,"collection":70,"collections":545,"showCount":546,"zanCount":11,"manualWeight":11,"mainColor":127},237984,"shan-shui-ce-zhang-geng-237984","山水册","张庚","以淡墨晕染铺就江景，近处洲渚墨色轻沉，晕出水气湿漉的朦胧质感。错落舟帆静泊渚边，如栖止飞鸿，衬出江渚安谧。远景山峦与水天融作浅灰烟霭，将江天寥廓缓缓铺展。\n\n右侧题诗与画面相映，诗画相融，把清秋江头的空寂揉进淡墨晕染间。笔触简淡松弛，摒弃浓艳，以留白衬出悠悠秋意，将暮色江景凝于笔底，晕染出疏淡萧散的文人意趣，尽显水墨小品雅致沉静的韵致。",[24,25,118,96,119,97,7,328,101,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c794eb71a22a3b26973eb940657065d.jpg",[],5,{"id":548,"slug":549,"title":550,"dynasty":308,"author":551,"museum":63,"description":552,"tags":553,"thumbUrl":566,"material":162,"size":163,"collection":70,"collections":567,"showCount":546,"zanCount":11,"manualWeight":11,"mainColor":127},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,24,25,26,29,28,66,296,243,554,30,98,214,555,556,213,31,33,420,557,558,559,560,561,121,32,562,563,7,176,36,564,409,565],"花鸟","芙蓉","牡丹","孔雀","雉鸡","燕子","松","竹","美人","鱼","鸟","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":569,"slug":570,"title":467,"dynasty":113,"author":91,"museum":63,"description":571,"tags":572,"thumbUrl":574,"material":70,"size":70,"collection":70,"collections":575,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":58},231047,"ju-shou-yi-ji-gu-hua-ce-yi-ming-231047","此作以细密笔触绘就江上行舟图景。主体楼船龙首高昂，层楼重檐结构精巧，甲板上人役往来穿梭，或搬运维船、或持械值守，各司其职，喧闹鲜活的行舟日常跃然绢上。水面间两艘小漕船相随，纤夫躬身曳缆，逆水而行。古雅沉郁的绢色素底晕染出水波粼粼的江面，整幅工致写实，细节毕现，既见舟船营造的匠心工艺，也暗合了彼时漕运兴盛的时代缩影，古拙生动间尽显水运图景的鲜活意趣。",[24,28,29,27,118,7,30,154,573,156,31],"海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792686e1a2980df0d6de52dfc1c8a581.jpg",[],{"id":577,"slug":578,"title":579,"dynasty":170,"author":91,"museum":63,"description":580,"tags":581,"thumbUrl":583,"material":162,"size":163,"collection":70,"collections":584,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":127},238640,"ping-ding-an-nan-zhan-tu-ce-yi-ming-238640","平定安南战图册","整幅作品以全景式构图铺展战事江色，翻涌的浪涛皴擦出逼人的水势，水师战船列阵破浪突进，楼橹严整、甲士森然。岸畔骑兵按辔待发，步卒云集呼应，将渡江攻坚的肃杀张力拉满。\n左侧题诗点明战事经纬，细密劲挺的线条勾勒出人物军马的错落排布，写实笔触还原出征伐的浩荡兵威，在纪实性中融入美术表现力，将临战前的紧绷氛围与行军的磅礴声势融为一体，尽展战地的雄浑质感。",[28,96,66,118,30,34,33,32,97,582,7,99],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c72102d787db874e642d713fd8ec447.jpg",[],{"id":586,"slug":587,"title":588,"dynasty":308,"author":589,"museum":63,"description":590,"tags":591,"thumbUrl":598,"material":162,"size":163,"collection":70,"collections":599,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":127},231805,"chun-ri-quan-xian-yan-ji-hui-tu-juan-gao-jie-long-jian-231805","春日権现验记绘图卷","高阶隆兼","镰仓时代 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