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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。",[23,24,25,158,159,27,26,7,160,63,32,161,58,82,162,163,164],"长卷","青绿","游春","桃花","书法","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c745d85afcbc62c30de0087d4f06b8a.jpg","未知","Xcm*Xcm",[],58,{"id":171,"slug":172,"title":173,"dynasty":74,"author":174,"museum":104,"description":175,"tags":176,"thumbUrl":180,"material":166,"size":167,"collection":115,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":97},290567,"qiong-rui-chun-ming-xu-chong-si-290567","琼蘂春鸣","徐崇嗣","徐崇嗣，北宋画家。徐熙孙。擅画草虫、禽鱼、蔬果、花木及蚕茧等。其画初承家学，因不合当时图画院程式和风尚，遂改学黄筌、黄居寀父子。后自创新体，所作不用墨笔钩勒，而直接以彩色晕染，世称“没骨图”，也称“没骨花”。兄徐崇勋、弟徐崇矩，均擅画花鸟，崇矩并工士女。",[24,25,54,177,56,27,178,109,82,179,164,7],"册","花鸟","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f14756074a055f53880d7e300a794f.jpg",[],49,{"id":184,"slug":185,"title":186,"dynasty":187,"author":188,"museum":104,"description":189,"tags":190,"thumbUrl":191,"material":166,"size":167,"collection":115,"collections":192,"showCount":193,"zanCount":69,"manualWeight":11,"mainColor":46},290829,"qing-jiang-chun-xiao-zhou-wu-zhen-290829","清江春晓轴","元","吴镇","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。",[24,54,55,79,28,26,31,32,33,108,58,35,162,163,164,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9786e996b3ba3ec502dce1a7d92ae95.jpg",[],39,{"id":195,"slug":196,"title":197,"dynasty":74,"author":198,"museum":104,"description":199,"tags":200,"thumbUrl":202,"material":166,"size":167,"collection":115,"collections":203,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":46},289877,"han-gong-chun-xiao-tu-zhao-bo-ju-289877","汉宫春晓图","赵伯驹","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。",[24,25,107,56,108,26,201,7,164],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b53dbdb8bc0d4900b483762f21aecf.jpg",[],28,{"id":206,"slug":207,"title":208,"dynasty":74,"author":103,"museum":104,"description":209,"tags":210,"thumbUrl":213,"material":166,"size":167,"collection":115,"collections":214,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":46},289782,"xi-shan-chun-xiao-tu-yi-ming-289782","溪山春晓图","平远视角铺展出江南早春的缱绻景致，淡墨晕染山峦，烟岚轻笼起伏丘壑，晕开朦胧温润的春日底色。坡岸桃枝缀着浅绯新花，杂木抽芽，深浅绿意与粉红花色交织，漫开融融春意。\n\n溪湾回环，水面空明如镜，三两渔舟泛波，艄公悠然摇橹，野舍错落藏于林麓间，溪桥横陈连通幽境。笔墨秀雅清润，水墨间施淡彩，轻重相宜地勾勒出春日山水的柔婉生机，将江南乡野的静谧恬美尽数铺陈，把春风拂过溪山的温柔瞬间定格绢素，尽显平和悠远的山水雅意。",[23,25,24,158,27,26,28,63,58,161,32,33,31,211,7,212],"农舍","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc064e439aeef992d464680650ec944d9.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":187,"author":219,"museum":20,"description":220,"tags":221,"thumbUrl":223,"material":224,"size":225,"collection":147,"collections":226,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":46},218821,"chun-tang-qin-le-tu-sheng-mao-218821","春塘禽乐图","盛懋","图绘塘中一斜坡，坡上一棵柳树，下有野鸭栖息著。燕子逐著春光，一派春日景象。本幅画有「子昭」款，惟画风似与其他盛懋作品不同，疑为后人所加。",[24,25,54,79,178,26,82,62,222,164,7],"野鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907a0e23a9917f1bca565613adcaa56d.jpg","纸本,水墨","52x28.3cm",[147],{"id":228,"slug":229,"title":230,"dynasty":74,"author":231,"museum":104,"description":232,"tags":233,"thumbUrl":235,"material":166,"size":167,"collection":115,"collections":236,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},291012,"xi-hu-shi-jing-tu-ce-su-di-chun-xiao-ye-xiao-yan-291012","西湖十景图册 苏堤春晓","叶肖岩","杭（杭州）人宝佑间以画名。专工传写，作人物小景类马远。《画史会要》",[24,25,54,177,26,163,162,164,58,234,27,7],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4b95e980bdec852d96c46e9f573aae.jpg",[],22,{"id":239,"slug":240,"title":241,"dynasty":18,"author":242,"museum":104,"description":243,"tags":244,"thumbUrl":250,"material":115,"size":115,"collection":115,"collections":251,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":46},228862,"tian-jia-chun-dou-tu-juan-zhang-chong-228862","田家春斗图卷","张翀","此作以兼工带写之笔铺展乡野春景，古木虬枝环抱着错落村舍，水畔田埂间，村民们角力摔跤，呼喝喝彩之声似随画卷扑面而来。妇孺围立笑观，稚童穿梭嬉闹，田家烟火意趣尽显。画家精于人物情态捕捉，衣褶灵动简约，村野景致皴染朴拙细腻，将江南春日乡野的鲜活生机与质朴活力，尽数凝于绢素，画风古雅淳厚，把民间春日嬉游的松弛野趣刻画得淋漓尽致，尽显风俗画描摹世俗民生的动人特质。",[23,24,54,25,158,56,27,163,29,245,246,247,35,7,248,249,28],"田","屋舍","树","猫","狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592ca4cfbdcded52aaada6264e96bf35.jpg",[],21,{"id":254,"slug":255,"title":256,"dynasty":74,"author":257,"museum":20,"description":258,"tags":259,"thumbUrl":261,"material":65,"size":262,"collection":115,"collections":263,"showCount":264,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[24,25,78,27,260,32,33,29,108,35,164,7],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9657dea8e4aeb1713baaff8a6dca12c9.jpg","36.7x51.4",[],13,{"id":266,"slug":267,"title":268,"dynasty":102,"author":269,"museum":20,"description":270,"tags":271,"thumbUrl":280,"material":281,"size":282,"collection":115,"collections":283,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":97},222854,"wan-tun-chun-mu-dong-gao-222854","万屯春牧","董诰","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,27,56,28,26,177,63,58,60,272,273,274,275,234,32,83,7,276,277,278,279],"兽","马","草地","枯树","牧畜","坡岸","苔点","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a982e7c4080b31bce2c30a9be63ca83.jpg","纸本 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