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年齿大沈周十馀岁的刘珏（1410-1472）极爱周之画，每与珏晤面，不问“寒暑风雨日夜冗暇醒醉”，皆强之作画。据沈周於画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的“崇山修竹”有同工之趣，二幅成画时间当甚接近，约于1470（成化庚寅）之际，时沈周四十四岁。 沈周不善饮，自谓平生于酒至痛饮处仅升许，而於六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，“以其有醉之乡，处之可以佚吾老也。”三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。 此画亦为刘珏作，画成于醉后。据沈周自跋，刘珏极爱沈周之画，每一晤面，輙求周作，不间醒醉冗暇寒暑，甚致夜亦张灯，强之作画云。",[23,24,25,26,27,28,29,30,31,32,33,7],"国画","水墨","立轴","山水","皴法","孤舟","蓑笠","树木","山峦","流水","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg","","山水画精选",[36,38],"水墨画精选",1229,4,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":64,"material":65,"size":66,"collection":67,"collections":68,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":41},214808,"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","清","华嵒","台北故宫博物院","这幅画表现的是一朵石榴花靠着一块石头，在一个清澈的池塘里有一支箭。钟馗坐在椅子上，头戴绿帽，身穿大衣，欣赏着锦葵花。在他身后，桌子上放着水果、酒和香喷喷的饺子。五个鬼魂陪伴着他，一个拿着一把破伞遮挡阳光，一个手里拿着一个酒瓶，一个头上戴着花。其中一个人偷了一盘橙子，试图把它藏在腋下，但另一个鬼注意到了，用左手摘下他的围巾，用右手打他的上衣。另一个鬼注意到了，用他的左手摘下他的围巾，而他的右手打在他的上面。整幅画是故事性和趣味性的结合，观者不禁为之倾倒。",[51,23,52,53,24,54,55,56,57,58,59,60,61,62,63,7],"高清","书画","设色","写意","人物","柳树","孤石","桌子","伞","花草","印章","饮酒场景","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","纸本,设色","131.5x63.7","人物画精选",[67],160,{"id":71,"slug":72,"title":73,"dynasty":46,"author":74,"museum":75,"description":76,"tags":77,"thumbUrl":86,"material":87,"size":88,"collection":35,"collections":89,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":41},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","石涛","北京故宫博物院","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[23,24,25,27,26,78,32,30,79,63,80,57,7,81,82,83,84,85],"小桥","房屋","飞鸟","松","远山","村落","路径","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纸本","纵131.4厘米，横44.2厘米",[],86,2,{"id":93,"slug":94,"title":95,"dynasty":18,"author":19,"museum":20,"description":96,"tags":97,"thumbUrl":102,"material":103,"size":104,"collection":35,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":41},288067,"chui-diao-tu-shen-zhou-288067","垂钓图","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， 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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。",[116,117,118,119,120,121,122,30,7,123,124,125,126,127,128],"印象派","油画","光影捕捉","色彩晕染","笔触轻快","玫瑰","草地","天空","花园","绿植","户外景致","自然光影","色彩融合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99235da26b7da38ff6b2e94c739a94b7.jpg","油画精选",[130],51,"37474F",{"id":135,"slug":136,"title":137,"dynasty":46,"author":138,"museum":20,"description":139,"tags":140,"thumbUrl":145,"material":103,"size":104,"collection":35,"collections":146,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":41},290217,"shan-shui-shan-mian-2-zhang-xiong-290217","山水扇面-2","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[51,141,23,53,142,143,7,26,63,30,144],"扇面","牛","桃花","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88be39cdc3e376892292b3c895927355.jpg",[],50,{"id":149,"slug":150,"title":151,"dynasty":18,"author":152,"museum":153,"description":154,"tags":155,"thumbUrl":158,"material":65,"size":159,"collection":36,"collections":160,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":41},219072,"xiao-xiang-ba-jing-ce-zhang-fu-219072","潇湘八景册","张复","天津博物馆","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[51,23,52,156,24,53,27,26,78,32,157,7,82,61],"册","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a5cb54be34956331e4afd296566fa1.jpg","30x33厘米",[36],{"id":162,"slug":163,"title":164,"dynasty":18,"author":165,"museum":48,"description":166,"tags":167,"thumbUrl":176,"material":177,"size":178,"collection":36,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":41},219467,"shan-shui-tu-tian-xiang-shu-wu-xiang-sheng-mo-219467","山水图-天香书屋","项圣谟","此作用笔清简淡逸，近景茅庐临于水岸，屋中文士凭窗凝思，耽于林泉清寂。两株高木挺秀疏朗，枝桠间细叶轻展，旁侧垂柳柔丝拂水，石矶错落浅滩之上。远景江天空蒙，远山以淡墨轻扫，留白尽显寥廓幽远。\n\n画面虚实相生，水墨清润素雅，将幽居林下的闲淡雅趣晕染开来，尽显文人遁迹丘山、寄情林泉的隐逸襟怀，淡远静穆的意境里，藏着独有的萧散简远之美。",[23,24,26,168,169,170,7,171,82,101,172,173,174,175],"茅庐","水岸","文士","石矶","幽居","清简淡逸","萧散简远","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee538d72e1ee98a98295250c90f3f28f.jpg","纸本,水墨","74.1x31.7厘米",[36],35,{"id":182,"slug":183,"title":184,"dynasty":46,"author":185,"museum":48,"description":186,"tags":187,"thumbUrl":192,"material":193,"size":194,"collection":36,"collections":195,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":197},219538,"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","萧晨","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[23,52,25,53,188,26,189,190,78,32,55,7,191,63,79,30],"工笔","雪景","楼阁","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","绢本,设色","109.8x56.1厘米",[36],32,"795548",{"id":199,"slug":200,"title":201,"dynasty":18,"author":202,"museum":48,"description":203,"tags":204,"thumbUrl":207,"material":177,"size":208,"collection":38,"collections":209,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":41},290870,"liu-tang-yu-ting-zhou-chou-ying-290870","柳塘渔艇轴","仇英","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”。",[23,25,24,26,205,28,7,32,29,80,61,206],"渔乐","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f02bdef353d8b20aa856b160f3841a4.jpg","102.9x47.2",[38],31,{"id":212,"slug":213,"title":214,"dynasty":18,"author":215,"museum":20,"description":216,"tags":217,"thumbUrl":224,"material":103,"size":104,"collection":35,"collections":225,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":197},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。",[23,25,218,219,188,53,7,63,220,80,221,222,223,82],"花鸟画","山水画","池塘","白鹅","禽鸟","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe936e3fc90e57a92a37ae1980b1caf.jpg",[],19,{"id":228,"slug":229,"title":230,"dynasty":231,"author":232,"museum":20,"description":233,"tags":234,"thumbUrl":243,"material":35,"size":35,"collection":35,"collections":244,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":197},227825,"xing-lv-tu-tuan-shan-ma-yuan-227825","行旅图团扇","宋","马远","此作以边角取景，以简淡笔墨晕染出江南烟柳暮色。劲挺的笔法写垂柳，柔丝拂动暗藏骨力，烟霭轻笼水岸，将空濛湿冷的暮色铺陈开来。\n\n寥寥数笔勾勒出行旅队伍，策骑主仆行色匆匆，荒村野渡隐在淡墨轻烟之间，虚实相映间，羁旅清寂的况味尽显。\n\n古绢沉暗掩不住墨色层次干湿浓淡的精妙，以简驭繁，把征途的萧索与水村烟景的淡远相融，空灵雅致，将宋画小景的隽永意趣藏在暮色烟岚之中，余韵悠然。",[51,23,141,24,26,55,235,7,236,237,238,239,240,241,242],"马","荒村","野渡","暮色","行旅","清寂","萧索","边角取景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d2515aac4ec3064cf85d6df21f21cd.jpg",[],{"id":246,"slug":247,"title":248,"dynasty":46,"author":47,"museum":20,"description":249,"tags":250,"thumbUrl":252,"material":103,"size":104,"collection":35,"collections":253,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":41},288023,"huang-li-chui-liu-tu-qian-se-hua-yan-288023","黄鹂垂柳图（浅色）","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[51,23,218,53,25,80,251,7,57],"黄鹂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef70ef5b3d148a261dcf8166d4c2823.jpg",[],16,{"id":256,"slug":257,"title":258,"dynasty":46,"author":259,"museum":75,"description":260,"tags":261,"thumbUrl":263,"material":264,"size":265,"collection":35,"collections":266,"showCount":267,"zanCount":11,"manualWeight":11,"mainColor":41},233400,"shan-shui-ren-wu-ce-jin-nong-233400","山水人物册","金农","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[23,52,156,24,53,262,26,55,28,32,7,157,61],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719bb0fb0ca34e2f5d64acbe64f13589.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[],15,{"id":269,"slug":270,"title":271,"dynasty":112,"author":113,"museum":20,"description":114,"tags":272,"thumbUrl":275,"material":103,"size":104,"collection":130,"collections":276,"showCount":277,"zanCount":11,"manualWeight":11,"mainColor":133},226027,"saule-pleureur-1918-1919-mo-nai-226027","Saule pleureur, 1918-1919",[117,116,7,220,273,274],"风景画","光影色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4715032ad527890a8766db08622b20.jpg",[130],14,{"id":279,"slug":280,"title":281,"dynasty":231,"author":282,"museum":48,"description":283,"tags":284,"thumbUrl":286,"material":193,"size":287,"collection":35,"collections":288,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":197},289378,"liu-xi-chun-fang-tu-ma-he-zhi-289378","柳溪春舫图","马和之","图绘崖壁柳荫，溪水垂柳，船坞码头，湖水盈盈，舂舫一艘，高士独游，妙诗新间，赞喻河山。这是马和之的一幅传世山水画代表作。款署“和之”。钤印一，模糊不可识。收传印记，有“朱之赤鉴赏”、“晴窗宝玩”、“子京”、“墨林山人”、“蕉林”及清乾隆诸玺等。\n这幅《柳溪春舫图》的特点是“简逸”而神旷，图中的山只画悬崖峭壁一面，只见山势高大，而毫无挺拔之感；画柳，不管是峭壁上的柳荫，还是溪边的垂柳，同样感到有随风飘逸之感；画水，水波纹轻轻波动，也有飘逸之感；画舫，在水上也显得轻快飘逸；画人，高士独自游览，轻松愉快；船工轻轻摇橹，船只就能随水推进。总之，这是作者在此画中体现了他的运笔使转灵活无一直经的板重之笔，这是作者来自于仿吴道子法，谓“蚂蝗描”的笔法，这种画法上的“简逸”，其实不仅仅可以理解为技巧的外形描述，还可以理解为一种新的技法意识观念的开始。图为当时南宋初，画家都以繁密写实为多见，所以不足为奇。要是像马和之那样简逸倒是一奇，如果简逸而又意趣，那就更是奇怪之至了。这幅可算是他的“简逸”画风的一作吧。",[23,98,219,53,7,32,28,55,190,63,61,285],"春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9657dea8e4aeb1713baaff8a6dca12c9.jpg","36.7x51.4",[],13,{"id":291,"slug":292,"title":293,"dynasty":46,"author":294,"museum":20,"description":295,"tags":296,"thumbUrl":305,"material":103,"size":104,"collection":35,"collections":306,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":41},235615,"hong-ren-shan-shui-ce-hong-ren-235615","弘仁山水册","弘仁","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[98,23,52,297,298,299,27,26,28,56,300,301,55,302,82,303,304,7],"册页","干笔","淡墨","亭","岸","水波","近岸","小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3182d660d161fc9f0b2b958a356bc8.jpg",[],{"id":308,"slug":309,"title":310,"dynasty":112,"author":113,"museum":20,"description":114,"tags":311,"thumbUrl":319,"material":103,"size":104,"collection":130,"collections":320,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":197},226134,"the-willow-the-roses-and-the-waterlilies-at-giverny-mo-nai-226134","The Willow, the Roses and the Waterlilies at 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