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作描绘了萧寺的生活场景。\n\n在这幅画作中，戴进巧妙地捕捉了萧寺的生活状态。他用浓墨重彩的画法，勾勒出了萧寺的宏伟建筑。他还用细腻的线条勾勒出了萧寺内僧人修行的场景，让人感受到了萧寺内的宁静和谐。\n\n此外，戴进在这幅画作中还描绘了萧寺周围的景色。他用色彩丰富的画法，描绘了萧寺周围的山川和河流。这些景色与萧寺的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n松岩萧寺图是一幅能够唤起人们对萧寺的崇敬之情的画作。它展示了戴进的艺术才华，也是一幅能够让人们感受到明朝文化魅力的画作。",[23,25,122,33,31,179,123,36,37,38,7],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dadaa3dad497961e69e4dc516458e91.jpg","纸本,水墨","227x51.5",[46],1383,10,{"id":187,"slug":188,"title":189,"dynasty":99,"author":190,"museum":191,"description":192,"tags":193,"thumbUrl":196,"material":197,"size":198,"collection":111,"collections":199,"showCount":200,"zanCount":201,"manualWeight":51,"mainColor":52},221339,"rui-he-tu-zhao-ji-221339","瑞鹤图","赵佶","辽宁省博物馆","《瑞鹤图》描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。\n《瑞鹤图》，其不仅具神性的光辉与君主的华贵，也有仙音袅袅、高雅灵动之感。一方面，皇宫殿宇端端正正置于画面下方，均衡对称，留出三分之二湛蓝天空，正大光远，大气天成，颇具皇家风范。围绕殿宇的祥云打破屋宇水平线，稳重端庄的画面于是气韵流转，一派天趣。另一方面，仙鹤有表明志向高洁、品德高尚之意。停留在屋顶上的两只仙鹤，袅袅婷婷，以静寓动，与空中缭绕的鹤群相呼应，款款生姿。整个画面又多了一分高洁隽雅、飘逸灵秀之气。",[23,25,26,27,29,194,30,195,7,36],"界画","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef20e4191bb4faf39fae804720c95f29.jpg","绢本设色","纵51厘米，横138.2厘米",[111,91],1376,23,{"id":203,"slug":204,"title":205,"dynasty":99,"author":206,"museum":207,"description":208,"tags":209,"thumbUrl":212,"material":213,"size":214,"collection":111,"collections":215,"showCount":216,"zanCount":217,"manualWeight":51,"mainColor":52},221559,"pi-pa-shan-niao-tu-lin-chun-221559","枇杷山鸟图","林椿","北京故宫博物院","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。\n《石渠宝笈三编》著录。",[23,24,25,26,30,29,210,87,211,7,32],"册","枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195499e5cd6dd07045004c96458c8a96.jpg","绢本 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厘米",[],774,{"id":308,"slug":309,"title":310,"dynasty":18,"author":311,"museum":119,"description":312,"tags":313,"thumbUrl":320,"material":321,"size":322,"collection":244,"collections":323,"showCount":324,"zanCount":5,"manualWeight":51,"mainColor":52},290847,"han-xi-zai-ye-yan-tu-zhou-tang-yin-290847","韩熙载夜宴图轴","唐寅","作品如实地再现了南唐大臣韩熙载夜宴宾客的历史情景，细致地描绘了宴会上弹丝吹竹、清歌艳舞、主客揉杂、调笑欢乐的热闹场面，又深入地刻划了主人公超脱不羁、沉郁寡欢的复杂性格。全图共分为五个段落，首段“听乐”，韩熙载与状元郎粲坐床榻上，正倾听教坊副使李家明之妹弹琵琶，旁坐其兄，在场听乐宾客还有紫微朱铣、太常博士陈致雍、门生舒雅、家伎王屋山诸人；二段“观舞”，众人正在观看王屋山跳“六幺舞”，韩熙载亲擂“羯鼓”助兴，好友德明和尚不期而遇此景，尴尬地拱手背立；三段“暂歇”，韩熙载与家伎们坐床上休息，韩正在净手；四段“清吹”，韩熙载解衣盘坐椅上，欣赏着五个歌女合奏；五段“散宴”，韩氏手持鼓槌送别，尚有客人在与女伎调笑。全卷以连环画的形式表现各个情节，每段以屏风隔扇加以分隔，又巧妙地相互联结，场景显得统一完整。布局有起有伏，情节有张有弛，尤其人物神态刻画栩栩如生，如“听乐”段状元郎粲的倾身细听动姿、李家明关注其妹的亲切目光、他人不由自主的合手和拍；“观舞”段王屋山娇小玲珑的身姿、德明和尚背身合掌低首而立的尴尬状等等，传尽心曲，入木三分。最出色的还是主人公韩熙载的刻画，长髯、高帽的外形与文献记载均相吻合，举止、表情更显露出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[25,24,104,29,30,35,314,315,316,317,318,319,7,41,32,64],"宴饮","夜宴","仕女","文人","乐器","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5764fa2f3d6a90547aede86322e61e.jpg","未知","Xcm*Xcm",[244],691,{"id":326,"slug":327,"title":328,"dynasty":18,"author":222,"museum":329,"description":330,"tags":331,"thumbUrl":335,"material":332,"size":336,"collection":244,"collections":337,"showCount":338,"zanCount":5,"manualWeight":51,"mainColor":52},222148,"san-da-shi-tu-shui-yue-yi-ming-222148","三大士图-水月","法海寺","观音又作观世音、观自在、光世音，这佛教中西方极乐世界教主阿弥陀佛左胁侍。水月观音图在法海寺壁画中最为出色。人物刻画既有传统的形制，又具有与实的基本手法，突破了僵硬的模式和程式，绘制技术精细完美，细微处一丝不苟。\n水月观音是三十三观音之一，面目端庄，大慈大悲。法海寺的水月观音，曲右腿，盘左膝，右肘膝托，左掌下抵，半跏坐于噍岩之上。面如满月，超然脱俗。是佛，却微露慈母的温情，是神，但足显处子般的恬静，给人以清新吸净之美感。穿着装饰，有宝冠、耳环、项圈、璎珞花饰、手钏、，手镯、络腋、宝带等八饰，样样齐全。观音莹莹酥胸坦露，纤纤玉手自然下垂，丰腴温暖富有弹性。轻纱蔽体，轻纱蔽体，脚锣上碎铃环绕“漫腰束饰，赤了一双脚”，使人更感到菩萨的慈悯可亲。\n唐宋以来，历代绘画都喜欢用纱布反映仕女的披肩来表现绘画的技巧，唯独法海寺壁画的薄纱占的面积那么大，线条那么精细、均匀、工整、挺拔，堪称壁画中的一绝。披纱上的图案是六菱花瓣，每一花瓣都由40多根金线组成，沥沥贴金，闪闪发光，细如蛛丝，薄如蝉翼，好象水月观音在轻纱下微微呼吸。\n水月观音一组画面是一个完整的体系。背景是浩淼的云水，缀以紫竹林、红牡丹、清泉流水，衬托出“诸天无实体，水月皆虚空”的佛理。水月观音左下部是五十三参后获得正果、成为观音胁侍的善财童子。善财童子，头略抬起，凝眸欲语，双手合十，虔诚中又带着几分稚气，生活气息浓郁。画工精细，连一根眉毛也不放过，眉根生肉，更显出纯洁无邪的童心。观音图右下角绘有观音菩萨的坐骑金毛犼，又叫狻猊，似犬，凶猛食人，每与龙斗，口中喷火数丈，龙往往不能取胜。左上部绘有一只鹦鹉，传说安息国人不知佛法，阿弥陀佛化为鹦鹉教化国人。右上部绘有韦驮护法神。",[23,25,332,333,29,30,35,334,38,7],"壁画","宗教","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49aff56b059e667a9f0d7f368960c4be.jpg","450x450厘米",[244],658,{"id":340,"slug":341,"title":342,"dynasty":77,"author":252,"museum":207,"description":343,"tags":344,"thumbUrl":347,"material":89,"size":348,"collection":91,"collections":349,"showCount":350,"zanCount":351,"manualWeight":51,"mainColor":134},219334,"hai-tang-qin-tu-tu-hua-yan-219334","海棠禽兔图","华嵒的花鸟画丰富了传统的“黄家富贵，徐熙野逸”的审美情趣，寓真情实感于创作，使作品具有丰富的感情和个性，具有雅俗共赏的特征。此图是他晚年的代表作，画家运用拟人化的手法，将鹦鹉按捺不住的欣喜和黑兔胆小好奇的神态表现得生动传神。在画法上，华嵒从恽寿平淡雅清丽的没骨花卉入手，涉猎诸家，形成了鲜明的个人风格。此图结构新奇，笔法将宋人工笔花鸟之细腻工致与写意花鸟之秀逸洗练相结合，敷色活泼。海棠以胭脂及白粉点染，树叶颜色用石青、石绿，其间又有微带白黄色的大叶，颜色浓丽湿润，黑兔的墨色变化更为微妙丰富，浓淡之间表现出柔软疏松的质感，并与树木花卉的暖色调和谐统一，使整幅画面洋溢着花香鸟语的初春气氛。",[23,25,104,29,30,87,345,346,7,32],"海棠","兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd34c59b5ebbf048bf68fd04c4a04bed.jpg","纵135.2厘米，横52.8厘米",[91,48],620,3,{"id":353,"slug":354,"title":355,"dynasty":57,"author":58,"museum":191,"description":356,"tags":357,"thumbUrl":361,"material":362,"size":363,"collection":46,"collections":364,"showCount":365,"zanCount":366,"manualWeight":51,"mainColor":52},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，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。\n\n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。",[23,25,26,27,30,29,35,66,358,33,41,359,7,40,32,64,65,360,24],"舟","云","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","绢本","横572.8cm，纵27.1 cm",[46,48],613,9,{"id":368,"slug":369,"title":370,"dynasty":77,"author":222,"museum":207,"description":371,"tags":372,"thumbUrl":377,"material":288,"size":378,"collection":244,"collections":379,"showCount":380,"zanCount":351,"manualWeight":51,"mainColor":52},236166,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236166","雍正十二月行乐图","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。",[25,29,30,194,373,33,36,374,7,375,123,35,376],"行乐图","松树","池塘","中式园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa170ee7ea987eca05f818f0474a20d1.jpg","纵188.2厘米，横102.2厘米",[244,48],568,{"id":382,"slug":383,"title":384,"dynasty":77,"author":385,"museum":119,"description":386,"tags":387,"thumbUrl":391,"material":392,"size":393,"collection":91,"collections":394,"showCount":395,"zanCount":396,"manualWeight":51,"mainColor":134},220986,"yan-xi-yu-le-zhou-yun-shou-ping-220986","燕喜鱼乐轴","恽寿平","本幅以没骨法绘成，直接用色点染，再略加勾画叶脉筋络。全幅设色典雅，有脱俗的气质",[23,25,26,104,30,29,87,34,388,389,390,7],"柳","燕","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813b61c4d298e29291dcdde76707c2d.jpg","绢","120.5×61.2",[91,48],522,12,{"id":398,"slug":399,"title":400,"dynasty":99,"author":222,"museum":191,"description":401,"tags":402,"thumbUrl":405,"material":89,"size":69,"collection":244,"collections":406,"showCount":395,"zanCount":263,"manualWeight":51,"mainColor":52},214860,"mo-gu-kai-zhi-luo-shen-fu-tu-di-er-juan-yi-ming-214860","摹顾恺之洛神赋图（第二卷）","摹顾恺之洛神赋图（第二卷）是宋朝佚名画家的一幅作品。这幅画描绘了洛神，她是中国神话中的一位美丽的仙女，被认为是花的化身。洛神赋图是一组描绘洛神的图画，可能是以绘画的形式来记录洛神的故事。这幅画的风格典雅，线条流畅，色彩明快，极富表现力。",[23,62,25,27,63,29,35,403,404,33,7],"龙","舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e06b4414fc9a2b292ec17325cf42bd.jpg",[244],{"id":408,"slug":409,"title":410,"dynasty":156,"author":222,"museum":119,"description":411,"tags":412,"thumbUrl":415,"material":89,"size":416,"collection":91,"collections":417,"showCount":418,"zanCount":263,"manualWeight":51,"mainColor":52},216222,"hua-niao-tu-yi-ming-216222","花鸟图","一对锦鸡被描绘成在花朵和岩石间游动，而一对燕子和喜鹊则各自点缀着这一场景。雉鸡的羽毛鲜艳夺目，与盛开的鲜花交相辉映。这幅画的色彩斑斓和绚丽通过笔法的运用得到了加强。花和鸟的笔触相当细致，有一种优雅的品质。叶子的着色似乎是杂乱无章的，有几处已经模糊或剥落。这幅画没有标记，但仍有元代的题记。",[25,26,24,30,29,87,144,145,163,164,413,414,7],"百合","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ce90ed3be06a8274a00daaccbc1bec.jpg","167.6x101.9cm",[91],520,{"id":420,"slug":421,"title":422,"dynasty":77,"author":423,"museum":59,"description":424,"tags":425,"thumbUrl":427,"material":321,"size":322,"collection":69,"collections":428,"showCount":429,"zanCount":430,"manualWeight":51,"mainColor":134},288298,"he-hua-xiao-niao-tu-zhou-zhu-da-288298","荷花小鸟图轴","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,24,25,122,104,87,426,163,7,32],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc703fe503e21b896057d755c0c416262.jpg",[],519,2,{"id":432,"slug":433,"title":434,"dynasty":435,"author":436,"museum":59,"description":437,"tags":438,"thumbUrl":444,"material":89,"size":69,"collection":46,"collections":445,"showCount":429,"zanCount":446,"manualWeight":51,"mainColor":52},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","唐","王维","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[23,24,25,27,29,33,439,440,7,39,123,441,41,442,443],"雪","枯树","河流","雪景","小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[46],8,{"id":448,"slug":449,"title":450,"dynasty":18,"author":222,"museum":59,"description":451,"tags":452,"thumbUrl":454,"material":321,"size":322,"collection":69,"collections":455,"showCount":456,"zanCount":430,"manualWeight":51,"mainColor":457},228413,"shui-yue-guan-yin-xiang-yi-ming-228413","水月观音像","位于法海寺大殿内的壁画 距今已有六百多年",[25,30,29,333,35,359,7,453],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab14eeab9a7f06bbdb65fb5f0a0afc0.jpg",[],494,"37474F",{"id":459,"slug":460,"title":461,"dynasty":77,"author":462,"museum":119,"description":463,"tags":464,"thumbUrl":466,"material":303,"size":467,"collection":91,"collections":468,"showCount":469,"zanCount":446,"manualWeight":51,"mainColor":134},216219,"bi-tao-chun-niao-tu-zou-yi-gui-216219","碧桃春鸟图","邹一桂","碧桃春鸟图是清朝时期画家邹一桂的一幅名作。这幅画描绘了一只翠绿色的春天鸟儿，它正在一棵桃树上欢快地唱歌。画中的色彩鲜艳，线条流畅，构图精美，反映了邹一桂独特的画风。\n\n邹一桂（1630年～1708年）是清朝时期著名的画家，也是邹氏画派的创始人之一。他的作品擅长描绘自然景观，尤其擅长画鸟。邹一桂的碧桃春鸟图被认为是他的代表作之一，并被广泛收藏和喜爱。",[25,24,465,29,30,34,7,32],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf75f4e0b3c61e6c01028b990b23d999.jpg","29.2x21.6公分",[91],489,{"id":471,"slug":472,"title":473,"dynasty":18,"author":474,"museum":475,"description":476,"tags":477,"thumbUrl":478,"material":181,"size":479,"collection":46,"collections":480,"showCount":481,"zanCount":263,"manualWeight":51,"mainColor":134},217038,"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","私人收藏","幽涧行山图 是明朝画家姚绥的一幅杰作。这幅画描绘了一座山的全景，非常细腻地表现了山的各个部分，包括山顶、山谷、溪流、森林、花草、岩石等。画中还有许多人物，每个人物都有自己的故事和生活经历。\n\n姚绥是明朝时期的一位著名画家，他的画风非常独特，以精细、细腻而闻名。他的作品多描绘自然风景，充分展现了他对大自然的敬畏和喜爱。 幽涧行山图 是姚绥代表作之一，被认为是中国画史上的经典之作。",[23,25,26,33,122,31,104,256,81,35,40,38,163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99cb6e6d918b6eb7b845ae72dee47aa.jpg","101x53cm",[46],484,{"id":483,"slug":484,"title":485,"dynasty":99,"author":486,"museum":158,"description":487,"tags":488,"thumbUrl":492,"material":89,"size":69,"collection":111,"collections":493,"showCount":494,"zanCount":263,"manualWeight":51,"mainColor":52},218567,"song-xia-xian-yin-tu-ma-yuan-218567","松下闲吟图","马远","老松盘枝如铁铸，松针以浓墨攒簇，垂藤轻曳间，苍劲里藏着几分柔韵。松下石畔，素衣人斜倚，似在沉吟——案上无纸笔，却有松风满袖为侣。右侧疏林瘦石，一抹飞影掠过天际，是归鸟还是流云？留白处，天地俱寂。线条简劲见筋骨，墨色浓淡相衬，将文人的清寂与旷达，凝入这方圆幅。不必喧嚣，不必繁复，只这松、这人、这飞影，便足以让时光放缓，与山水对吟。",[24,25,489,122,35,179,163,7,40,490,491],"扇面","清寂","旷达","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d58c27d08d4106d2ba29dc444462bf0.jpg",[111],449,{"id":496,"slug":497,"title":498,"dynasty":77,"author":499,"museum":500,"description":501,"tags":502,"thumbUrl":504,"material":362,"size":505,"collection":91,"collections":506,"showCount":507,"zanCount":292,"manualWeight":51,"mainColor":134},222678,"si-ji-hua-niao-tu-ping-chen-mei-222678","四季花鸟图屏","陈枚","天津博物馆","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[23,25,26,30,29,227,7,503,414],"绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b9c1625db6482ffad4734737f73a34.jpg","139X41CM",[91],434,{"id":509,"slug":510,"title":511,"dynasty":99,"author":512,"museum":119,"description":513,"tags":514,"thumbUrl":518,"material":89,"size":519,"collection":46,"collections":520,"showCount":521,"zanCount":430,"manualWeight":51,"mainColor":52},214668,"shan-shui-tu-guo-zhong-shu-214668","山水图","郭忠恕","远处，两排大雁在天际尽头飞起；中间，两座山峰对峙，中间，一条河和一个湖缓缓浮现；附近，坡岸上有树木，河岸边隐约可见几座帐篷。湖面开阔而平静，一艘小独木舟，船头有一个渔夫在独自钓鱼，两只苍鹭，一只站在船边，另一只伸出翅膀盘旋，似乎在寻找水下的动静。",[25,24,33,7,39,515,440,67,38,516,517,29],"渔乐","山峦","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e63ec359e565f04c7e56a4c5ceb37a.jpg","53x72.2",[46],412,{"id":523,"slug":524,"title":525,"dynasty":77,"author":78,"museum":475,"description":526,"tags":527,"thumbUrl":530,"material":303,"size":531,"collection":91,"collections":532,"showCount":533,"zanCount":534,"manualWeight":51,"mainColor":52},219131,"xi-que-shuang-xi-tu-shen-quan-219131","喜鹊双喜图","虬枝盘曲间，梅蕊初绽如雪，几点淡红晕染枝头，似早春私语。一只喜鹊翘尾立于枝上，羽色浓淡相宜，墨羽如缎，白腹似雪，喙尖微抬，似欲鸣春；另一只栖于老干，回眸相顾，长尾垂落如墨线，与枝干的苍劲相映成趣。旁侧新竹数竿，青影摇曳，添几分生机。工笔细描见匠心，枝干皴擦显古拙，花瓣晕染含雅致，禽鸟神态毕肖。动静之间，春意流转，喜意暗生。整幅画韵致清和，既有自然野趣，又藏吉祥寓意，尽显传统花鸟之雅韵，观之令人心生愉悦。",[23,24,25,26,104,30,29,87,143,528,7,529],"竹","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe247e4c33f78d42b4640f989a2d41eb8.jpg","131x53.5cm",[91],391,7,{"id":536,"slug":537,"title":538,"dynasty":99,"author":539,"museum":191,"description":540,"tags":541,"thumbUrl":543,"material":89,"size":544,"collection":91,"collections":545,"showCount":546,"zanCount":351,"manualWeight":51,"mainColor":52},216925,"han-ya-tu-li-cheng-216925","寒鸦图","李成","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[23,24,25,26,27,122,31,440,67,7,542,442,33,163,32,64,65],"寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 横113.2厘米",[91],385,{"id":548,"slug":549,"title":550,"dynasty":18,"author":19,"museum":101,"description":551,"tags":552,"thumbUrl":554,"material":89,"size":69,"collection":244,"collections":555,"showCount":556,"zanCount":292,"manualWeight":51,"mainColor":52},219568,"yan-le-tu-chou-ying-219568","宴乐图","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[23,25,26,27,30,29,194,35,36,41,123,553,40,319,7,286],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[244,48],384,{"id":558,"slug":559,"title":560,"dynasty":18,"author":19,"museum":475,"description":561,"tags":562,"thumbUrl":565,"material":89,"size":566,"collection":244,"collections":567,"showCount":568,"zanCount":292,"manualWeight":51,"mainColor":52},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,25,26,210,30,29,194,28,33,35,36,40,38,39,37,7,67,563,334,564,66,163],"夕阳","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[244],376,{"id":570,"slug":571,"title":572,"dynasty":99,"author":573,"museum":119,"description":574,"tags":575,"thumbUrl":578,"material":89,"size":579,"collection":111,"collections":580,"showCount":581,"zanCount":5,"manualWeight":51,"mainColor":134},219198,"ying-tao-huang-que-tu-ma-shi-chang-219198","樱桃黄雀图","马世昌","画中樱桃正熟，禽鸟顾盼，一派初夏光景。",[23,24,25,26,210,30,29,87,576,577,7,301],"樱桃","黄雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce24ced8f0f9757eb0cf1f98628ecd12.jpg","27x25.3cm",[111,91],375,{"id":583,"slug":584,"title":585,"dynasty":18,"author":222,"museum":101,"description":586,"tags":587,"thumbUrl":588,"material":303,"size":69,"collection":46,"collections":589,"showCount":581,"zanCount":430,"manualWeight":51,"mainColor":134},217954,"ming-ren-shan-shui-hua-ce-yi-ming-217954","明人山水画册","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,25,26,122,29,210,33,39,7,67,163,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0798af0135642660cfeaaa1dabecdcc.jpg",[46],{"id":591,"slug":592,"title":593,"dynasty":139,"author":594,"museum":59,"description":595,"tags":596,"thumbUrl":599,"material":321,"size":322,"collection":69,"collections":600,"showCount":601,"zanCount":11,"manualWeight":51,"mainColor":52},288331,"xie-sheng-zhen-qin-tu-huang-quan-288331","写生珍禽图","黄荃","图中画了鹡鸰、麻雀、鸠、龟、昆虫等动物二十余件，排列无序，但每一件动物都刻画得十分精确、细微，甚至从透视角度观之也无懈可击。",[23,24,25,27,30,29,87,7,529,597,598,32],"昆虫","龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05a94c2863cccdf9561bc75fe1e17b4.jpg",[],371,{"id":603,"slug":604,"title":189,"dynasty":99,"author":190,"museum":59,"description":605,"tags":606,"thumbUrl":612,"material":321,"size":322,"collection":69,"collections":613,"showCount":614,"zanCount":5,"manualWeight":51,"mainColor":52},288330,"rui-he-tu-zhao-ji-288330","描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。",[23,24,25,26,27,29,30,7,607,36,608,609,195,610,64,611],"仙鹤","祥云","宫殿","瘦金体","祥瑞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a2bced096b89031018940195e15452.jpg",[],362,{"id":616,"slug":617,"title":618,"dynasty":99,"author":619,"museum":620,"description":621,"tags":622,"thumbUrl":624,"material":625,"size":69,"collection":46,"collections":626,"showCount":627,"zanCount":351,"manualWeight":51,"mainColor":134},219195,"xiao-xiang-ba-jing-yuan-pu-gui-fan-mu-xi-219195","潇湘八景-远浦归帆","牧溪","京都国立博物馆","淡墨晕染的烟水间，远岫如黛隐现于薄雾，帆影点点似随波轻漾，渐融于空濛天色。近岸老树虬枝舒展，苍劲中藏着几分悠然，与远处归帆遥遥相对。画面以极简之笔勾勒辽阔潇湘，虚实相生间，尽现“远浦归帆”的恬淡意境——归船缓缓，烟水茫茫，仿佛能闻风过水面的轻响，望旅人归心的悠然。禅意浸润在每一处留白里，让观者心随帆影，沉入这静谧辽远的天地间，恍若置身潇湘烟水，忘却尘嚣。",[23,623,25,24,27,122,33,39,67,7,40],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188a3955e9fa72b921b2f108a9fd5c88.jpg","水墨,纸本",[46,111],359,{"id":629,"slug":630,"title":631,"dynasty":99,"author":632,"museum":119,"description":633,"tags":634,"thumbUrl":637,"material":392,"size":638,"collection":111,"collections":639,"showCount":640,"zanCount":5,"manualWeight":51,"mainColor":52},221443,"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[23,25,24,26,104,30,29,87,635,346,7,440,167,636],"兽","土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","纵193.7厘米、横103.4厘米",[111,91,48],358,{"id":642,"slug":643,"title":644,"dynasty":645,"author":646,"museum":207,"description":647,"tags":648,"thumbUrl":649,"material":362,"size":650,"collection":651,"collections":652,"showCount":653,"zanCount":263,"manualWeight":51,"mainColor":134},221049,"you-chun-tu-zhan-zi-qian-221049","游春图","隋","展子虔","图中展现了水天相接的情形，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。\n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。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。\n山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。\n下端一角，便是坡陀花树，围绕山庄。\n描绘出明媚春光和游人在山水中纵情游乐的神态。\n各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。\n在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。\n《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。\n有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。\n早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。\n在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。\n他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。\n另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。\n历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。\n所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。",[23,25,26,27,28,29,33,35,36,37,38,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a9f8ced13bacd0b0f77ddd3245cb51.jpg","纵43厘米，横80.5厘米。","书法精选",[651],350,{"id":655,"slug":656,"title":657,"dynasty":99,"author":658,"museum":119,"description":659,"tags":660,"thumbUrl":665,"material":89,"size":666,"collection":91,"collections":667,"showCount":653,"zanCount":351,"manualWeight":51,"mainColor":52},219395,"hua-niao-zhou-xiao-rong-219395","花鸟轴","萧瀜","旧传为十一世纪辽画家萧瀜所作，但构图与北京故宫所藏吕纪〈桂菊山禽〉类似。加之在右幅石块上发现一「四明吕廷振印」之残印，推论此幅作品可能实为吕纪作品。图中描绘三只山鹧鸟俯盼于激流旁的岩石。上方舞动的竹叶的竹干，与下方的流水、及石上与空中鹊鸟的动向相互应和，形成一种吕纪花鸟特有的优雅却又互动频繁的构图。其中山鹧俗称拖尾练，常被误认为绶带鸟，而其中「绶」与「寿」谐音，而「竹」与「祝」谐音，用以表现祝寿之吉祥意。",[23,24,25,87,104,29,528,38,126,7,661,662,238,663,664],"山鹧","鹊鸟","祝寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f2fe32238fe90f0171dc8b50979108.jpg","145x83",[91],{"id":669,"slug":670,"title":671,"dynasty":139,"author":672,"museum":119,"description":673,"tags":674,"thumbUrl":675,"material":89,"size":676,"collection":91,"collections":677,"showCount":678,"zanCount":351,"manualWeight":51,"mainColor":52},216758,"zhu-shi-jin-jiu-tu-huang-ju-cai-216758","竹石锦鸠图","黄居寀","古木巨石旁，荆竹丛生，一弯溪水潺湲流过。一群斑鸠悠闲地在此休憩：有的展翅翱翔，有的在树枝上梳理羽毛作日光浴，有的低首翘尾地站在溪旁饮水，有的站在巨石上，摆出鞠躬、鼓颈的姿势，向下方的斑鸠“咕－咕－咕－”地鸣唱示好。\n斑鸠俗称“粉鸟”，因为颈部羽色黑底白点有若珍珠，因此也名为“珠颈斑鸠”或“锦鸠”。斑鸠们平常多栖息在空旷的平野或树林，但因生性机敏，接近相当不易。在这幅作品里，画家以精妙的画笔捕捉这一幕斑鸠群集的画面，至为难得。此外，纵横乖张的古树枝丫、浓淡对比强烈的斑驳巨石、虚渺无际的溪畔，更为这幕自然增添不少奇幻诡谲的气氛。",[23,25,26,87,30,29,528,82,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb10bc776e6b793817d89e43e76fbdf3.jpg","23.6 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45.7公分",[91],343,{"id":680,"slug":681,"title":682,"dynasty":77,"author":683,"museum":101,"description":684,"tags":685,"thumbUrl":693,"material":89,"size":69,"collection":244,"collections":694,"showCount":695,"zanCount":534,"manualWeight":51,"mainColor":134},218432,"wan-guo-lai-chao-ban-hua-wang-jun-fu-218432","万国来朝版画","王君甫","祥云缭绕的宫殿之下，万国使者簇拥而至，构成喧腾热闹的朝贺图景。不同服饰的人物或携奇珍、或奏乐舞，神态各异却皆含恭谨；瑞兽与祥云交织，添几分祥瑞之气。线条工细流畅，设色明艳雅致，凝清代外交盛况于一纸。画面层次丰富而错落有致，人物繁而不乱，每处细节——使者的异域衣冠、手中珍玩器物，皆藏对盛世的期许与民间巧思。这幅图景不仅描摹外邦来朝盛景，更折射当时大国气象与文化自信，尽显传统版画的精湛技艺与深厚底蕴，让往昔荣光在纸间流转生辉。",[23,24,25,686,687,29,30,194,35,36,608,688,7,689,690,273,691,692],"版画","木刻","车驾","仪仗","器物","异兽","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351671075a325173ad4852fd1aab53ec.jpg",[244],336,{"id":697,"slug":698,"title":699,"dynasty":99,"author":222,"museum":59,"description":700,"tags":701,"thumbUrl":705,"material":69,"size":69,"collection":91,"collections":706,"showCount":707,"zanCount":534,"manualWeight":51,"mainColor":52},223631,"lian-chi-shui-qin-tu-zhou-dui-zhou-yi-ming-223631","莲池水禽图轴对轴","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。",[23,24,25,26,104,29,30,623,453,702,703,161,704,7,375],"荷叶","莲","鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab72c6cd475fe4f0cd76844911ed7c4.jpg",[91],334,{"id":709,"slug":710,"title":711,"dynasty":77,"author":423,"museum":158,"description":712,"tags":713,"thumbUrl":714,"material":181,"size":715,"collection":91,"collections":716,"showCount":717,"zanCount":11,"manualWeight":51,"mainColor":134},218897,"hu-shi-shuang-niao-tu-zhou-zhu-da-218897","湖石双鸟图轴","此画中湖石的勾勒简洁，寥寥几笔圆转的皴法，显出灵动之势。石尖和石旁坡地上各蹲立一只小鸟，给画面平添一股生气。小鸟缩头弓背的形态，流溢出嘲讽的神气。作者用饱满的软毫，中锋运转，笔笔藏锋，圆浑含蓄。全图形体简约而寓意深晦，有很强的形式感。在创作上他取法自然，笔墨简练，大气磅礴，独具新意，创造了高旷纵横的风格。",[25,26,104,122,163,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0533c58e6d213b70b15fc5e48b8b42a2.jpg","纵136厘米，横48.7厘米",[91],328,{"id":719,"slug":720,"title":721,"dynasty":18,"author":722,"museum":207,"description":723,"tags":724,"thumbUrl":727,"material":728,"size":729,"collection":91,"collections":730,"showCount":731,"zanCount":263,"manualWeight":51,"mainColor":52},222398,"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","吕纪","该画所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画中造型严密，布置合理，使鸟、树、花儿粗细两相映衬，而色彩的明艳夺目更是增加了该画的艺术气息。\n该画描绘的是秋天的情景，画中有一棵高大而茂盛的桂花树，树干苍健，树上绿叶茂密，桂花簇聚。\n桂树上栖落着几只八哥，有两只正隔着树枝对唱，一只正翘首远眺。\n在低一些的树枝上，有一只蓝色绶带正朝着树下鸣叫，它黑白相间的羽翼之间，长着蓝色的羽毛，嘴和爪子为红色。\n树下的三只绶带，正在争食一只草虫，它们翘起高高的羽翎。\n桂树下长着一些野草，还有一些形状各异的石头，石后几株菊花正开得鲜艳，颜色有红的、黄的、白的。\n明代画院花鸟画是以南宋院体为基础并发展的，讲究设色浓艳，笔势劲健且奔放，明代画家吕纪的《桂菊山禽图》就体现了这样的画风。\n吕纪工笔重彩花鸟画创作的时候，承袭五代 工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[23,24,25,26,104,30,29,87,725,726,7,163,165,238,529],"桂","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[91,48],312,{"id":733,"slug":734,"title":76,"dynasty":139,"author":140,"museum":253,"description":735,"tags":736,"thumbUrl":738,"material":89,"size":739,"collection":91,"collections":740,"showCount":741,"zanCount":351,"manualWeight":51,"mainColor":134},220047,"bai-niao-chao-feng-tu-xu-xi-220047","构图开阔舒展，右侧古木荫翳，灵凤独立石上，翎羽妍丽夺目。百禽翔游栖止各尽其态，或振翅穿林、或浮波弄影、或凝立枝梢，品类繁富灵动鲜活。汀渚花木错落，烟水澹澹，赤日悬于淼茫之上，晕开融融暖意。\n\n设色古雅温润，勾勒兼具工致与野逸，将百朝灵瑞的吉庆之意，融于苍润悠然的自然之境，既见写生妙趣，亦托太平祥瑞之思，淡远雅致，余韵悠长。",[23,24,25,27,30,29,87,7,85,84,41,83,123,38,737],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dbcbe061745c03e7b73b79d4def2e8.jpg","34.3 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淡黄色的太阳花瓣，粉红色的花瓣，娇嫩多彩，倒映着水花和芬芳的花瓣。\n水中的鸳鸯成双成对，在花间的叶子底下嬉戏玩耍。 发色抢眼，华丽，勾勒出画面。\n喜鹊在空中栖息飞翔，盘旋三圈，与莲花杆上的三人和声合唱。",[23,25,26,24,104,30,29,87,453,702,759,7],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[91,48],304,{"id":766,"slug":767,"title":768,"dynasty":77,"author":769,"museum":119,"description":770,"tags":771,"thumbUrl":774,"material":29,"size":775,"collection":69,"collections":776,"showCount":777,"zanCount":11,"manualWeight":51,"mainColor":134},222738,"xian-e-chang-chun-tu-huang-ci-me-yu-yu-er-mu-dan-lang-shi-ning-222738","仙萼长春图黄刺么与鱼儿牡丹","郎世宁","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,24,25,26,210,29,30,87,772,773,7,301],"黄刺玫","鱼儿牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5d6ad2b6dcc4434e46f4033608090.jpg","宽28.4公分，高33.7公分",[],286,{"id":779,"slug":780,"title":781,"dynasty":77,"author":222,"museum":475,"description":782,"tags":783,"thumbUrl":785,"material":89,"size":786,"collection":91,"collections":787,"showCount":788,"zanCount":263,"manualWeight":51,"mainColor":52},218955,"he-li-shi-zhu-tu-yi-ming-218955","鹤立石柱图","振翅的鹤，白羽层叠如凝雪，墨羽缀于翼尖似泼墨，长颈曲转间自有灵韵。双爪紧扣嶙峋石柱，石柱立于翻涌的浪涛之上，岩纹与水纹交织出苍劲古意。深褐底色衬得鹤羽愈发明净，动静相生间，似有清唳破风而来，尽显生灵与天地相融的傲然之态。笔意细腻处见羽毛纤毫，粗犷处显山石磅礴，于方寸间藏万千气象，足见匠心独运。",[25,26,30,29,104,7,84,163,784,87],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5174cd1ea8ffbe0f8da17cfa3f06a65b.jpg","171x89cm",[91],285,{"id":790,"slug":791,"title":792,"dynasty":18,"author":222,"museum":793,"description":794,"tags":795,"thumbUrl":796,"material":89,"size":69,"collection":244,"collections":797,"showCount":798,"zanCount":534,"manualWeight":51,"mainColor":52},219589,"ying-wu-shi-nv-tu-yi-ming-219589","鹦鹉仕女图","圣路易斯艺术博物馆","仕女发髻簪饰精巧，面庞柔丽含笑，朱色坠耳衬出温婉气质。青缎衣衫间绣朱红云纹，腰束锦带垂曳飘饰，配色沉雅鲜亮，尽显裁衣考究。她抬臂托举鹦鹉，指尖轻拢衣袂，姿态娴静柔缓。\n\n掌间鹦鹉翎羽红绿相映，灵动鲜活，将闺中女子的悠然与小生灵的俏皮相融。古绢底色晕染出岁月厚重，笔触工细写实，把深闺日常的闲雅意趣，藏在眉眼笑意与禽鸟互动间，静中生趣，尽显古典仕女画含蓄柔美的意蕴风骨。",[25,26,24,104,30,29,35,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46f589fcafbb38f6a42e918129a45e1a.jpg",[244,48],284,{"id":800,"slug":801,"title":802,"dynasty":99,"author":486,"museum":119,"description":803,"tags":804,"thumbUrl":805,"material":303,"size":806,"collection":46,"collections":807,"showCount":808,"zanCount":351,"manualWeight":51,"mainColor":134},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,25,24,26,27,122,29,31,33,123,41,38,39,37,40,7,564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[46,48],280,{"id":810,"slug":811,"title":812,"dynasty":139,"author":140,"museum":59,"description":813,"tags":814,"thumbUrl":816,"material":321,"size":322,"collection":69,"collections":817,"showCount":818,"zanCount":430,"manualWeight":51,"mainColor":52},288264,"yu-tang-fu-gui-tu-xu-xi-288264","玉堂富贵图","画中上方玉兰初吐芳华，海棠飞艳溢彩，秀石之后，几丛牡丹姹紫嫣红，一只野雉正倘徉其间。该图构图方法颇具特色。从整幅图中来看，所有画面被牡丹、玉兰，海棠，禽鸟和假山石充溢，十分紧密，有明显的装饰性，使观者一望而生富丽之感。",[23,25,24,26,104,87,29,30,227,815,7,238],"玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66fe9d017d489145ac64737a1045253a.jpg",[],274,{"id":820,"slug":821,"title":822,"dynasty":77,"author":823,"museum":176,"description":824,"tags":825,"thumbUrl":830,"material":89,"size":831,"collection":91,"collections":832,"showCount":833,"zanCount":351,"manualWeight":51,"mainColor":134},218975,"teng-hua-shan-que-tu-jiang-ting-xi-218975","藤花山雀图","蒋廷锡","描绘缠绕椿树生长的紫藤花，另有白头翁、兰花、灵芝及湖石等元素。画作右下角款「臣蒋廷锡恭画」，左上方有康熙皇帝御题唐代岑参（715-770）〈石上藤〉一诗。该作曾录于《石渠宝笈》，后辗转流出清宫，成为阿部房次郎（1868-1937）的收藏。",[23,25,26,104,30,29,87,826,827,7,163,41,828,125,126,829],"藤花","山雀","兰花","蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8205a0f0caa95b529902b560707fb7c9.jpg","纵212.5横97.1cm",[91,48],270,{"id":835,"slug":836,"title":837,"dynasty":18,"author":222,"museum":838,"description":839,"tags":840,"thumbUrl":841,"material":89,"size":842,"collection":244,"collections":843,"showCount":844,"zanCount":430,"manualWeight":51,"mainColor":52},218278,"ba-xian-tu-dui-fu-yi-ming-218278","八仙图对幅","美国大都会艺术博物馆","这幅画的主角是吕洞宾、韩湘子、张果老和何仙姑。其中，张果老倒骑毛驴，而南极则骑着仙鹤漂浮在空中。",[24,25,26,104,29,30,35,7,690,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4836b19ce99b951c2196e0bdabb8b82a.jpg","139.7x78.7",[244],258,{"id":846,"slug":847,"title":848,"dynasty":99,"author":190,"museum":849,"description":850,"tags":851,"thumbUrl":852,"material":197,"size":853,"collection":111,"collections":854,"showCount":855,"zanCount":430,"manualWeight":51,"mainColor":52},221335,"tao-jiu-tu-zhao-ji-221335","桃鸠图","日本民间","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。\n此图桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。流传日本已久，长期以来被作为徽宗的真迹，受到良好的保护，现在是日本的国宝级文物。\n本图有“大观丁亥御笔天”的题记，丁亥年是1107年，这一年徽宗26岁，是画家早期的作品。\n从这幅画来看，描法纤细，傅染鲜润，与徐熙（五代）的水墨画要素和徐崇嗣的色彩为中心的没骨法花鸟比较接近。总的看来，色彩的表现给人以强烈的视觉感受，但仔细观察就会发现细部的轮廓线仍然非常明确。\n此册页在传为宋徽宗的作品中比较特别。桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽。传其为画家二十六岁时的作品。\n赵佶观察事物细致入微，这幅《桃鸠图》，画中的桃花与枝叶勾勒精工，栖息在树上的鸠鸟动态自然而生动，用生漆点睛，富有神采，整体色彩华丽，洋溢着悠扬的神韵，此画被誉为折枝花鸟画的典型。",[23,25,26,87,30,29,34,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19169b4c41d86b4cbbb34e3bf4af4222.jpg","28.5X27厘米",[111,91,48],257,{"id":857,"slug":858,"title":859,"dynasty":77,"author":769,"museum":207,"description":860,"tags":861,"thumbUrl":866,"material":89,"size":867,"collection":244,"collections":868,"showCount":869,"zanCount":263,"manualWeight":51,"mainColor":52},215038,"ma-shu-tu-lang-shi-ning-215038","马术图","阿穆尔萨纳和先登上准噶尔汗国的达瓦齐因利益冲突而相互争斗，在他们失败后，阿穆尔萨纳要求加入清廷并拜访乾隆皇帝。乾隆皇帝对阿穆尔萨纳主动加入清朝感到欣喜若狂。阿穆尔萨纳投奔清廷后，康熙皇帝非常高兴，他对准噶尔帝国的内部情况有了更多的了解，并有信心利用准噶尔帝国的动乱完成其祖父康熙皇帝和父亲雍正皇帝的 未竟之业。考虑到阿姆尔-萨纳还没有感染水痘，在寒冷的冬季，听众在夏宫举行。",[23,24,25,29,35,553,862,7,863,864,865],"马术","历史画","郊野","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c5d061082897e962ce93759d1385c0.jpg","223.4x426.2",[244],254,{"id":871,"slug":872,"title":873,"dynasty":77,"author":874,"museum":59,"description":875,"tags":876,"thumbUrl":877,"material":69,"size":69,"collection":69,"collections":878,"showCount":879,"zanCount":263,"manualWeight":51,"mainColor":52},229041,"xi-huang-shang-ren-hua-niao-tu-ce-pu-ru-229041","羲皇上人花鸟图册","溥儒","此作为工笔小帧，虬曲梅枝缀满初绽花苞，粉白柔瓣轻晕胭脂色，深浅层叠间漾开融融春意。\n\n一只禽鸟振翅俯身，羽色晕染细腻写实，翅尖微张、爪部轻抬，将探花一瞬的灵动意态定格。古旧绢底晕开沉褐底色，愈发衬得花鸟鲜活清隽。笔致秀逸温婉，既得院体花鸟精工之妙，又裹挟文人画疏澹雅逸，将春日闲趣藏入古雅底色，把禽鸟探春的幽恬意韵勾勒入微，淡而不寡，静中生趣。",[25,26,210,29,30,87,7,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88269039c0cef8c5cb52798546158853.jpg",[],247,{"id":881,"slug":882,"title":883,"dynasty":99,"author":884,"museum":119,"description":885,"tags":886,"thumbUrl":889,"material":89,"size":890,"collection":46,"collections":891,"showCount":892,"zanCount":5,"manualWeight":51,"mainColor":52},218230,"shang-lin-tu-juan-zhao-bo-ju-218230","上林图卷","赵伯驹","赵伯驹（生年不详，约卒于西元一一六二年），字千里，宋太祖七世孙，赵大年之子。仕至浙东兵马钤辖。善画山水、花果、翎毛及人物，楼阁界画尤妙。上林苑乃秦朝旧苑，汉武帝扩建。周围三百里，离宫七十所，规模宏伟。苑中饲养禽兽多种,，春秋二季皇帝时常至此围猎。本卷青绿设色，画上林苑帝王围猎情景。人物众多，车辇仪仗无一不备。",[23,25,26,27,28,29,33,35,36,41,7,123,516,887,888],"植被","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4585d7f14f3b12fabf2d53658317cb.jpg","44x1169.4",[46],244,{"id":894,"slug":895,"title":896,"dynasty":99,"author":897,"museum":119,"description":898,"tags":899,"thumbUrl":901,"material":69,"size":69,"collection":111,"collections":902,"showCount":903,"zanCount":11,"manualWeight":51,"mainColor":52},221186,"shi-liu-wen-niao-ma-lin-221186","石榴文鸟","马麟","马麟马世荣之孙，马远之子，马远是宋光宗、宋宁宗两朝画院待诏，马麟画承家学， 用笔圆劲，轩昂洒落，画风秀润处过于乃父。 ​",[23,25,26,30,29,87,900,7,165],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e0f84a2d62c330aaeff7eb6de993c8.jpg",[111,91,48],238,{"id":905,"slug":906,"title":907,"dynasty":18,"author":908,"museum":59,"description":909,"tags":910,"thumbUrl":911,"material":69,"size":69,"collection":91,"collections":912,"showCount":913,"zanCount":351,"manualWeight":51,"mainColor":52},238075,"song-he-ling-xiao-zhou-wang-wei-lie-238075","松鹤凌霄轴","王维烈","王维烈字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。\n王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[25,26,104,30,29,87,179,84,123,238,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd83a04879ea1f1f5ef9c405bd25556.jpg",[91],233,{"id":915,"slug":916,"title":917,"dynasty":99,"author":897,"museum":918,"description":919,"tags":920,"thumbUrl":922,"material":89,"size":923,"collection":91,"collections":924,"showCount":925,"zanCount":11,"manualWeight":51,"mainColor":52},219276,"xue-an-yuan-yang-tu-ma-lin-219276","雪岸鸳鸯图","耶鲁大学艺术博物馆","枯木虬枝横斜，皴擦间藏着岁月的肌理，寒梅疏花点点，似是雪夜里悄然绽放的星子。滩头双鸳相偎，绒羽层叠如软云，翅尖墨色晕染，静卧间漫出暖融的依偎。枝上雀鸟敛翅，瞳仁如豆，似在聆听风过梅梢的轻响。雪岸清寂，却因这几处生灵的动静相映，添了几分温润的生气。淡赭铺就的寒汀，与浓墨点染的枝干相衬，工致笔触里藏着写意的疏朗，宋人的雅致与对生命的细腻观照，尽在这方寸画卷里流转，每一处留白都似凝着冬日的清寒，却又裹着一丝不易察觉的暖。",[23,25,24,30,29,87,759,143,81,144,439,921,106,7],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a755de7d0ae42e6354319de9befc494.jpg","188.5cmx99.8cm",[91,48,111],226,{"id":927,"slug":928,"title":929,"dynasty":99,"author":930,"museum":931,"description":932,"tags":933,"thumbUrl":936,"material":181,"size":937,"collection":91,"collections":938,"showCount":939,"zanCount":5,"manualWeight":51,"mainColor":134},218906,"bai-yan-tu-ma-ben-218906","百雁图","马贲","檀香山艺术博物馆","老愚离群影久孤，客来笑示百雁图。揩眵试数失两箇，莫喻画意翻令呼。得非长门报秋使，或是大窖传书奴。不然一举千里高鸿俱，其余淟泪碌琐徒，且唼且息翔且呼。营营郑圃田之稷，睢睢齐海隅之菰。遑知尔更衔尔芦，瓠肥卒至充人厨。小而曰鶀亦就笯，迩闻泽梁弛禁官罢虞，麋鹿鱼鳖同少苏，羽仪好在春云。河中马贲元佑、绍圣间人，长于百雁百鸦百鹿百牛等图，虽极繁伙而位置不乱。此卷尤为杰出也，可不宝哉！王逢并识。",[23,25,26,27,122,30,7,934,935],"芦苇","群鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d77751cddde9611521a50fab81cbde3.jpg","579x45cm",[91],220,{"id":941,"slug":942,"title":943,"dynasty":99,"author":632,"museum":207,"description":944,"tags":945,"thumbUrl":946,"material":288,"size":947,"collection":111,"collections":948,"showCount":949,"zanCount":5,"manualWeight":51,"mainColor":52},221445,"han-que-tu-juan-cui-bai-221445","寒雀图卷","本幅署款“崔白”二字，有清高宗弘历题诗一首。卷后明文彭题跋。\n图绘枯木及9只麻雀飞动或栖止其间的情景。9只小雀依飞鸣动静之态散落树间，自然形成三组。构图巧妙，布局得当，在动与静之间既有分割又有联系。\n作者以干湿兼用的墨色、松动灵活的笔法绘麻雀及树干。麻雀用笔干细，敷色清淡。树木枝干多用干墨皴擦晕染而成，无刻划痕迹，明显区别于黄筌画派花鸟画的创作技法。尽管此图在形势、风格上还较为工致优雅，但在北宋花鸟画中占主导地位的平和、富丽的特色，在崔白的作品中已不见，反映了北宋宫廷花鸟画在审美感受上进入了新的阶段。崔白新创的花鸟画改变了流传百年的黄筌画派的一统格局，推动了宋代花鸟画的发展。",[23,24,25,26,27,87,30,7,440,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c651618a9378a8dc159bf2a2ceb5781.jpg","纵25.5厘米，横101.4厘米",[111,91,48],217,{"id":951,"slug":952,"title":953,"dynasty":18,"author":954,"museum":59,"description":955,"tags":956,"thumbUrl":959,"material":321,"size":322,"collection":69,"collections":960,"showCount":961,"zanCount":366,"manualWeight":51,"mainColor":52},287613,"si-shi-hua-niao-tu-zhou-zhi-mian-287613","四时花鸟图","周之冕","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,25,27,29,30,87,143,528,227,957,34,7,529,238,958],"芙蓉","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg",[],216,{"id":963,"slug":964,"title":965,"dynasty":99,"author":966,"museum":158,"description":967,"tags":968,"thumbUrl":970,"material":89,"size":971,"collection":91,"collections":972,"showCount":973,"zanCount":351,"manualWeight":51,"mainColor":52},219174,"zhu-que-tu-wu-bing-219174","竹雀图","吴炳","此图写棘竹丛生，枝桠横出，枝头有一雀鸟正在悠闲地啄理羽毛。整幅场景景物聚于下侧，可见南宋构图新风的影响。图中竹枝用双钩技法，雀鸟在用颜色没骨画出后，重点部位再用墨线描出。这是吴炳传世佳作中的代表作。",[24,25,26,30,29,87,528,969,7,32],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20dd6d46a7daa28f75681df47a33321.jpg","纵25厘米，横25厘米",[91],211,{"id":975,"slug":976,"title":977,"dynasty":99,"author":632,"museum":59,"description":978,"tags":979,"thumbUrl":980,"material":321,"size":322,"collection":69,"collections":981,"showCount":982,"zanCount":11,"manualWeight":51,"mainColor":52},287576,"shuang-xi-tu-cui-bai-287576","双喜图","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[23,24,25,104,30,29,7,346,440,87,635,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ec422a7f31392c01473ad0cdcb93a1.jpg",[],210,{"id":984,"slug":985,"title":986,"dynasty":77,"author":78,"museum":158,"description":987,"tags":988,"thumbUrl":990,"material":303,"size":991,"collection":91,"collections":992,"showCount":993,"zanCount":11,"manualWeight":51,"mainColor":134},218903,"hua-niao-tu-zhou-shen-quan-218903","花鸟图轴","沈铨善绘花鸟翎毛，用笔细腻传神，设色富贵浓艳。他的绘画多以描绘松、梅、竹、鹿、鹤、雉等寓意祥瑞富贵的题材为多。是图设色名丽脱俗，极富装饰性。琵琶树下，繁花斗艳，一对锦鸡嬉戏其间，树梢果实累累，绿叶掩映，群鸟相鸣，给人喜庆祥和的视觉感受。此作绘于乾隆二十七年（壬午，1762），作者时年八十一岁。",[24,25,30,29,87,7,41,989,301,123],"花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab98048035316f1f40ef1a094497f236.jpg","纵171.6厘米，横95.9 厘米",[91],209,{"id":995,"slug":996,"title":997,"dynasty":18,"author":222,"museum":918,"description":998,"tags":999,"thumbUrl":1001,"material":89,"size":69,"collection":91,"collections":1002,"showCount":1003,"zanCount":263,"manualWeight":51,"mainColor":52},216906,"lian-chi-cang-lu-tu-yi-ming-216906","莲池苍鹭图","莲池苍鹭图是明朝时期的一幅著名图画，作者不详。这幅图画描绘了一个山间池塘，池塘中有许多莲花，并有一只苍鹭在池塘中游荡。图画中还有许多树木和山峰，构成了一幅优美的山水画。莲池苍鹭图被认为是明朝时期山水画的代表作之一，其中融合了中国传统的山水画风格和新兴的写意山水画风格，反映了明朝时期的艺术特点。",[23,25,29,30,104,87,453,702,1000,7],"苍鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08681f58d681525cfd1a7c86c9d4cc8.jpg",[91],207,{"id":1005,"slug":1006,"title":1007,"dynasty":77,"author":385,"museum":59,"description":1008,"tags":1009,"thumbUrl":1010,"material":321,"size":322,"collection":69,"collections":1011,"showCount":1012,"zanCount":11,"manualWeight":51,"mainColor":134},239444,"hua-niao-ce-yun-shou-ping-239444","花鸟册","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[25,26,210,29,30,87,7,167,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19250735f901fd0882f83c6edac72376.jpg",[],206,{"id":1014,"slug":1015,"title":1016,"dynasty":1017,"author":1018,"museum":59,"description":1019,"tags":1020,"thumbUrl":1023,"material":321,"size":322,"collection":1024,"collections":1025,"showCount":1026,"zanCount":11,"manualWeight":51,"mainColor":52},225618,"rembrandt-harmensz-van-rijn-0207-lun-bo-lang-225618","Rembrandt Harmensz.van Rijn - 0207","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。",[1021,29,35,7,1022],"油画","明暗对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c81820f2d9795594b1a6e1439271023.jpg","油画精选",[1024],204,{"id":1028,"slug":1029,"title":1030,"dynasty":99,"author":190,"museum":158,"description":1031,"tags":1032,"thumbUrl":1037,"material":259,"size":1038,"collection":111,"collections":1039,"showCount":1026,"zanCount":51,"manualWeight":51,"mainColor":52},221334,"liu-ya-lu-yan-tu-zhao-ji-221334","柳鸦芦雁图","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。\n画卷的右半部分，高大的柳树枝上停着三只鸟鸦，其中两只背靠偎依，静观自得，另有一只向下俯视而鸣，似在呼唤躲藏于树根部的一只乌鸦。\n画卷的左半部分，一道清澈的水滩上，芦竹高耸，蓼花低垂，两雁傍水而饮，一雁趋前，作欲饮之状，另有一雁，好像已经饮完水，正啮咬湖中的摹花茎，姿态各不一致，形象生动有趣。\n图上钤有“宣和中秘”和“紫宸殿御书宝”两印。图后的赵佶落款，系后人勾填，右上角“紫宸殿御书宝”及“御书”葫芦印亦是后人描画的。卷后有南宋荣传辰、邓谏从题跋。另有邓易从、范逾跋，系后人伪作。卷首有清高宗弘历题“神韵天然”引首，并有弘历题诗。清梁清标题签。",[23,24,25,26,27,30,29,1033,1034,934,1035,1036,7,32],"柳树","乌鸦","大雁","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc8c5e72610db5404dd3907fbf5fc8a.jpg","纵34厘米，横223.2厘米",[111,91,48],{"id":1041,"slug":1042,"title":1043,"dynasty":18,"author":1044,"museum":59,"description":1045,"tags":1046,"thumbUrl":1048,"material":69,"size":69,"collection":69,"collections":1049,"showCount":1050,"zanCount":351,"manualWeight":51,"mainColor":52},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","垂柳柔条轻曳，桃枝缀满繁花，引百鸟穿梭啼鸣。孔雀身披彩翎，羽斑环环相扣明丽夺目，信步于湖石之侧，气度雍容不凡。牡丹或素洁似雪，或秾艳若霞，与苍古湖石、翠色草木交织成趣，仙鹤亭亭而立更添清贵。\n整幅画笔致工细，设色妍雅柔和，将春日园林的富贵生机铺陈眼前，把翎毛花卉的灵动雅致糅合无间，尽显吉祥富丽的美好意涵，是极具代表性的工笔花鸟佳作。",[23,24,25,26,1047,29,30,87,85,227,41,958,123,989,529,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg",[],202,{"id":1052,"slug":1053,"title":1054,"dynasty":77,"author":1055,"museum":1056,"description":1057,"tags":1058,"thumbUrl":1062,"material":89,"size":1063,"collection":69,"collections":1064,"showCount":1065,"zanCount":11,"manualWeight":51,"mainColor":52},214432,"xiu-yuan-tu-3-wang-yun-214432","休园图-3","王云","旅顺博物馆","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,25,26,30,29,194,40,1059,41,1036,7,35,319,1060,888,1061],"回廊","园林","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f04a94cbad1ffb2d8f40ee56dc85b8.jpg","纵54厘米，横129.5厘米",[],199,{"id":1067,"slug":1068,"title":1069,"dynasty":99,"author":1070,"museum":119,"description":1071,"tags":1072,"thumbUrl":1073,"material":89,"size":1074,"collection":111,"collections":1075,"showCount":1076,"zanCount":430,"manualWeight":51,"mainColor":52},220440,"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","李嵩","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n李嵩（1166-1243），宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190―1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。",[23,25,26,104,29,194,30,35,36,37,7,33,41,123,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[111,244,48],197,{"id":1078,"slug":1079,"title":1080,"dynasty":77,"author":1081,"museum":59,"description":1082,"tags":1083,"thumbUrl":1084,"material":69,"size":69,"collection":69,"collections":1085,"showCount":1086,"zanCount":351,"manualWeight":51,"mainColor":134},230215,"hua-niao-tu-ce-yu-zhi-230215","花鸟图册","余穉","此作工致秀雅，以桃花翠竹绘就春日小景。枝头桃花柔媚绽放，粉白花瓣晕染匀净，尽显娇妍之态，间杂翠绿竹叶，挺括舒展，鲜润清雅。\n\n三只春燕情态各异，两只红襟燕栖于花枝，羽翼丝缕毕现，绒羽蓬松柔软，神色悠然；一只白燕翩跹掠飞，灵动轻盈，动静相映成趣。整体设色明丽柔和，笔触细腻入微，将春日融融的生机与雅致融为一体，兼具写实之真与古典雅致之美，尽显清逸温婉的花鸟意趣。",[25,30,29,87,34,528,7,32,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f1730fb5283ee2b7dc13a5bfb558b7.jpg",[],196,{"id":1088,"slug":1089,"title":1090,"dynasty":18,"author":19,"museum":1091,"description":1092,"tags":1093,"thumbUrl":1094,"material":362,"size":1095,"collection":46,"collections":1096,"showCount":1097,"zanCount":430,"manualWeight":51,"mainColor":134},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","美国纳尔逊阿特金斯艺术博物馆","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,25,26,27,28,29,30,65,64,33,39,35,40,38,37,36,41,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[46,48],193,{"id":1099,"slug":1100,"title":1101,"dynasty":99,"author":222,"museum":207,"description":1102,"tags":1103,"thumbUrl":1104,"material":1105,"size":1106,"collection":111,"collections":1107,"showCount":1108,"zanCount":11,"manualWeight":51,"mainColor":52},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,25,27,30,29,63,35,66,33,404,403,7,41,123,36,553,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[111,244,48],192,{"id":1110,"slug":1111,"title":1112,"dynasty":18,"author":222,"museum":475,"description":1113,"tags":1114,"thumbUrl":1115,"material":89,"size":69,"collection":91,"collections":1116,"showCount":1117,"zanCount":430,"manualWeight":51,"mainColor":52},216749,"hai-tang-fei-qin-tu-yi-ming-216749","海棠飞禽图","海棠花是一种常见的中国花卉，通常被认为是爱情、美好愿望和幸福的象征。这幅画的画风精细，笔法优美，极富艺术魅力。",[24,25,26,30,29,87,345,7,301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131241bc6542bdd047d08b2abfb54967.jpg",[91],189,{"id":1119,"slug":1120,"title":1121,"dynasty":77,"author":423,"museum":59,"description":424,"tags":1122,"thumbUrl":1124,"material":321,"size":322,"collection":69,"collections":1125,"showCount":1126,"zanCount":11,"manualWeight":51,"mainColor":134},288173,"hu-shi-ju-qin-tu-li-zhou-zhu-da-288173","湖石聚禽图立轴",[23,24,25,26,104,122,87,7,163,64,1123,32],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c97905d89105cc7edd24a3f909cf39.jpg",[],186,{"id":1128,"slug":1129,"title":1130,"dynasty":77,"author":1131,"museum":158,"description":1132,"tags":1133,"thumbUrl":1142,"material":303,"size":69,"collection":244,"collections":1143,"showCount":1126,"zanCount":366,"manualWeight":51,"mainColor":134},218255,"shi-nv-ce-wu-jia-you-218255","仕女册","吴嘉猷","细腻笔触晕染出闺阁的温婉时光。仕女们或临窗研墨，或凭栏观鸟，或围坐品茗，或抚琴寄怀。庭院花木扶疏，轩窗屏风雅致，每一处细节都藏着东方生活的诗意。衣袂褶皱、器物纹理、人物神态皆被精心勾勒，尽显古代女性的娴静灵秀。一幅幅日常场景串联成流动画卷，将清人闺阁的雅致情趣与审美意趣悄然铺展，引人沉醉于那份古典的温柔与从容。笔墨间流淌的不仅是生活片段，更是东方美学里独有的温婉与雅致，让观者仿佛踏入时光回廊，触摸到古代仕女的细腻心境。",[23,25,210,30,29,316,66,319,36,1134,241,1135,7,1136,1137,1138,1139,1140,1141,690,1060],"轩窗","花木","抚琴","品茗","研墨","温婉","娴静","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbf079b3eb908aacb932a649ab3bd75.jpg",[244],{"id":1145,"slug":1146,"title":410,"dynasty":18,"author":722,"museum":101,"description":1147,"tags":1148,"thumbUrl":1151,"material":89,"size":1152,"collection":91,"collections":1153,"showCount":1154,"zanCount":11,"manualWeight":51,"mainColor":52},216730,"hua-niao-tu-lv-ji-216730","吕纪明朝画家，也被称为吕笃简。他是著名的花鸟画家，并且在当时期间担任过朝廷画家。吕纪的花鸟画精细细腻，注重画面的组合构图，对后世的花鸟画产生了很大的影响。他的著名作品有《花鸟图》和《四季花卉图》。",[23,25,30,29,87,1033,162,7,1149,1150,81],"水面","花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc9c824b65ade19907e1c12b75fb4b1.jpg","200x102.8cm",[91],185,{"id":1156,"slug":1157,"title":1158,"dynasty":435,"author":436,"museum":1159,"description":1160,"tags":1161,"thumbUrl":1164,"material":259,"size":1165,"collection":69,"collections":1166,"showCount":1167,"zanCount":11,"manualWeight":51,"mainColor":134},232622,"jiang-gan-xue-ji-tu-juan-wang-wei-232622","江干雪霁图卷","藏于日本民间","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。\n王维（701－761），字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。",[23,24,25,26,27,122,31,33,1162,1163,440,7,888],"雪山","江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627ae19f708849d303e0326ebd7204c5.jpg","纵31.3厘米，横207.3厘米",[],183,{"id":1169,"slug":1170,"title":1171,"dynasty":18,"author":19,"museum":119,"description":1172,"tags":1173,"thumbUrl":1175,"material":128,"size":1176,"collection":69,"collections":1177,"showCount":1178,"zanCount":51,"manualWeight":51,"mainColor":52},228437,"shang-lin-fu-tu-juan-chou-ying-228437","上林赋图卷","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[23,25,24,26,27,28,29,30,33,35,36,374,7,123,41,748,1174,319,38],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9816e974a23c3473ddacef5f4392ab.jpg","44.8x1208",[],180,{"id":1180,"slug":1181,"title":1182,"dynasty":77,"author":1183,"museum":59,"description":1184,"tags":1185,"thumbUrl":1186,"material":69,"size":69,"collection":69,"collections":1187,"showCount":1188,"zanCount":11,"manualWeight":51,"mainColor":134},230172,"hua-niao-hua-shi-er-kai-10-yu-zhi-230172","花鸟画十二开-10","余稚","此作设色明丽清雅，工致写实。柔婉桃枝缀满粉英，嫩蕊轻绽，与旁侧劲挺翠竹相映，柔刚相济，晕开融融春意。三只春燕刻画入微，两只栖于花枝，黑亮绒羽莹润细腻，红颈点点鲜活灵动，似在私语春景；另一只振翅掠空，身姿轻盈舒展，尽现翩跹之态。\n\n画师笔触细腻传神，将花瓣肌理、禽鸟绒羽一一摹绘，敷色温婉秀润，无半点艳俗之感。构图疏密相宜，枝桠错落舒展，留白恰到好处，将暮春柔暖生机尽数铺陈，尽显娴静雅致的中式春日意趣，是工笔花鸟里隽秀动人的佳作。",[24,25,30,29,210,87,7,34,1036,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af12c534f45c29139f1d53485b1c0e.jpg",[],177,{"id":1190,"slug":1191,"title":1192,"dynasty":99,"author":222,"museum":59,"description":1193,"tags":1194,"thumbUrl":1195,"material":321,"size":322,"collection":69,"collections":1196,"showCount":1197,"zanCount":51,"manualWeight":51,"mainColor":134},269050,"ke-si-zhao-ji-hua-niao-fang-zhou-yi-ming-269050","缂丝赵佶花鸟方轴","此作将缂丝工艺与文人意趣相融，下方织就清逸花鸟景致：靛蓝雀鸟栖于茶花枝上，翎毛纤毫毕现，灵动如生。浅粉茶花或盛放或含苞，嫩梢抽芽点缀枝间，粉蝶翩跹萦绕，晕开春日柔婉生机，写实细腻里暗藏温婉诗意。上方瘦金题笔秀挺劲健，诗画呼应，尽显宋代内敛雅致的审美意韵，静赏之间，可窥见宋时风物里的隽永雅致。",[25,226,87,104,29,7,238,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5ebf148360aefe44bdffc6be5ec38f.jpg",[],176,{"id":1199,"slug":1200,"title":1201,"dynasty":99,"author":222,"museum":253,"description":1202,"tags":1203,"thumbUrl":1205,"material":89,"size":1206,"collection":244,"collections":1207,"showCount":1208,"zanCount":51,"manualWeight":51,"mainColor":134},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,25,26,27,62,29,63,30,35,66,33,39,36,41,1204,123,691,7],"云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[244],175,{"id":1210,"slug":1211,"title":410,"dynasty":18,"author":1212,"museum":119,"description":1213,"tags":1214,"thumbUrl":1216,"material":89,"size":69,"collection":91,"collections":1217,"showCount":1218,"zanCount":51,"manualWeight":51,"mainColor":52},219462,"hua-niao-tu-lu-zhi-219462","陆治","虬曲苍劲的老梅盘错伸展，柔粉新花缀满枝桠，垂拂的柳丝轻曳，晕开春日的软柔生机。两只白羽鹦鹉或栖或飞，姿态悠然闲适，绿羽鹦鹉俯身探向花枝，翠色翎毛鲜妍亮眼，鲜活灵动。\n\n画作兼取院体工致与文人雅意，墨笔勾勒梅骨古拙苍劲，禽鸟晕染细腻写实，设色柔丽雅致。将花木的清隽幽淡与禽鸟的鲜活灵韵相融，动静交织间，晕开春日独有的悠然闲情，尽显明丽雅致的花鸟意趣。",[25,26,30,29,87,144,1215,7,143,165,145,32],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450a7cb42a9f747df8719efb27c47.jpg",[91],172,{"id":1220,"slug":1221,"title":1222,"dynasty":435,"author":436,"museum":119,"description":1223,"tags":1224,"thumbUrl":1226,"material":362,"size":1227,"collection":46,"collections":1228,"showCount":1218,"zanCount":430,"manualWeight":51,"mainColor":52},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[23,25,26,27,122,31,64,65,439,33,440,37,38,39,1225,40,7],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[46],{"id":1230,"slug":1231,"title":1232,"dynasty":18,"author":1233,"museum":119,"description":1234,"tags":1235,"thumbUrl":1237,"material":181,"size":1238,"collection":91,"collections":1239,"showCount":1240,"zanCount":11,"manualWeight":51,"mainColor":134},218849,"xing-hua-xi-que-tu-qian-gu-218849","杏花喜鹊图","钱谷","杏花开于春日，枝头上飞来一只喜鹊，寓有喜报春讯之意。画花写鸟之笔墨雅淡润厚，并有沈周文征明之遗韵。",[25,26,104,29,87,1236,7,32],"杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34acb04865ee01aff2df0f861c9af.jpg","116.6x34.3cm",[91],171,{"id":1242,"slug":1243,"title":1244,"dynasty":99,"author":222,"museum":207,"description":1245,"tags":1246,"thumbUrl":1247,"material":197,"size":1248,"collection":111,"collections":1249,"showCount":1250,"zanCount":430,"manualWeight":51,"mainColor":52},223519,"mei-zhu-shuang-que-tu-yi-ming-223519","梅竹双雀图","绿竹丛中逶迤伸出白梅两枝，清丽冷艳。两只鸲鹆栖于枝头，翘首顾盼。鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。梅花用白粉和淡黄色勾填，层次丰富。竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。",[23,25,26,87,30,29,143,528,969,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F478d67e9c8453c0f58a076b0bb58b8c1.jpg","26x26.5厘米",[111,91,48],168,{"id":1252,"slug":1253,"title":410,"dynasty":77,"author":78,"museum":20,"description":1254,"tags":1255,"thumbUrl":1257,"material":69,"size":69,"collection":69,"collections":1258,"showCount":1259,"zanCount":5,"manualWeight":51,"mainColor":52},223165,"hua-niao-tu-shen-quan-223165","沈铨（1682—1760）， 其画远师宋代黄家画派，近承明代吕纪，工写花卉翎毛，禽兽，设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画面注重写实，画风谨严工细，造型准确生动。",[23,25,26,104,30,29,87,1256,7,32],"月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe00ca506998e033f25ccdeadf9498bce.jpg",[],167,{"id":1261,"slug":1262,"title":1263,"dynasty":18,"author":19,"museum":119,"description":1264,"tags":1265,"thumbUrl":1267,"material":128,"size":1268,"collection":69,"collections":1269,"showCount":1259,"zanCount":11,"manualWeight":51,"mainColor":134},222217,"zhao-meng-fu-xie-jing-huan-cha-tu-juan-chou-ying-222217","赵孟頫写经换茶图卷","画中，画匠出身的仇英尚“古意”，作品以宋代李公麟白描入手，并将色彩溶于线条之中，纤细柔和的画出了松林、竹篱间铺纸作书的赵孟頫，以及与之对坐的禅师，另有一书童手持茶叶。整个画面宁静淡然，秀雅温润，充满禅意。\n画后面的文徵明《心经》是以王羲之的书法名作《黄庭经》的笔法写成，而赵孟頫在求佛问道的过程中也曾多次抄写《黄庭坚》并有作品流传至今。如此看来，文徵明此处所书的《心经》，几乎可以说是赵孟頫风格的再现。",[23,25,26,27,30,29,35,41,123,1266,7,64,32,65],"草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c7765f2bce81c38906b328ef48f04.jpg","纵22厘米、横311厘米",[],{"id":1271,"slug":1272,"title":1273,"dynasty":77,"author":78,"museum":475,"description":1274,"tags":1275,"thumbUrl":1277,"material":197,"size":1278,"collection":91,"collections":1279,"showCount":1280,"zanCount":51,"manualWeight":51,"mainColor":52},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,24,25,26,27,30,29,7,87,41,123,453,607,529,238,1033,374,1266,125,126,85,161,1276],"花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","45cm*1600cm",[91,48],166,{"id":1282,"slug":1283,"title":1284,"dynasty":99,"author":190,"museum":119,"description":1285,"tags":1286,"thumbUrl":1289,"material":128,"size":1290,"collection":111,"collections":1291,"showCount":1292,"zanCount":51,"manualWeight":51,"mainColor":52},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[23,25,26,27,30,63,122,87,7,453,1287,934,1288,163,64,32],"莲蓬","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[111,91,131],164,{"id":1294,"slug":1295,"title":1296,"dynasty":18,"author":722,"museum":253,"description":1297,"tags":1298,"thumbUrl":1299,"material":89,"size":1300,"collection":91,"collections":1301,"showCount":1302,"zanCount":51,"manualWeight":51,"mainColor":52},218959,"yuan-yang-hua-niao-tu-lv-ji-218959","鸳鸯花鸟图","这幅画描绘了夏天溪边成双成对的鸟儿，包括白头鹅、鸳鸯、红嘴蓝鹊等，其形态准确真实，着色精妙。这幅画的作者是吕纪，题目是南宋的，也就是说，这是吕纪早年的作品。",[23,25,24,30,29,374,759,7,87,238,67,1149,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[91],162,{"id":1304,"slug":1305,"title":1306,"dynasty":99,"author":1307,"museum":475,"description":1308,"tags":1309,"thumbUrl":1310,"material":89,"size":1311,"collection":91,"collections":1312,"showCount":1313,"zanCount":51,"manualWeight":51,"mainColor":457},216667,"san-bai-tu-wang-shen-216667","三百图","王诜","王诜是宋朝时期的一位著名的绘画家，他是宋朝最伟大的画家之一。他的作品具有极高的艺术价值，被广泛收藏和珍藏。王诜以其精细的画风和生动的写实风格而闻名，他创作的作品涵盖了各种题材，包括人物画、山水画和花鸟画。",[25,26,24,30,29,7,934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36792841b89168ee95409f74824b325c.jpg","131.5x82.5cm",[91],160,{"id":1315,"slug":1316,"title":1317,"dynasty":99,"author":222,"museum":119,"description":1318,"tags":1319,"thumbUrl":1320,"material":1321,"size":1322,"collection":111,"collections":1323,"showCount":1324,"zanCount":430,"manualWeight":51,"mainColor":134},218670,"qiu-shan-yu-ji-tu-yi-ming-218670","秋山雨霁图","雨霁后的秋山，似被洗去尘嚣。云雾如轻纱漫笼峰峦，在谷间缓缓流转，若隐若现的山影透着清润的轮廓。近坡上树木疏朗，枝叶带着湿意舒展，浅滩溪流潺潺，石间水痕依稀，犹存雨落余韵。墨色淡雅却层次分明，干笔皴擦勾勒山石肌理，湿墨晕染晕开云雾空濛，将秋山初晴的静谧与生机凝于一纸。那朦胧间的悠远清寂，恰是宋人山水中独有的意境——不刻意雕琢，却于简淡中藏着天地的灵秀，引人沉浸于这刚醒的秋意里，忘乎尘嚣。",[23,25,122,31,33,256,359,41,7,126,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaad32c24dfc8fad734affdf00c5c629.jpg","绢本,水墨","28.9x50.4cm",[111,46],155,{"id":1326,"slug":1327,"title":1328,"dynasty":99,"author":118,"museum":59,"description":1329,"tags":1330,"thumbUrl":1333,"material":89,"size":1334,"collection":46,"collections":1335,"showCount":1336,"zanCount":351,"manualWeight":51,"mainColor":52},218593,"feng-yu-gui-zhou-tu-xia-gui-218593","风雨归舟图","画面墨气淋漓，骤雨如丝斜织，远山隐入烟霭，近树被风揉得枝叶翻卷。蓑衣客躬身疾行，斗笠遮不住风雨，脚步却向着归途匆匆；江畔小舟半隐雾中，舟子撑篙破雨而来，船篷上似有雨珠滚落。墨色浓淡相济，湿笔晕染出天地苍茫，干笔勾勒出人物的急切与树石的坚韧。风雨的喧嚣仿佛透过绢素传来，归人的匆忙与自然的浩渺相映，既有生活的烟火气，又藏着山水间的悠远意境。寥寥几笔便将骤雨归舟的情景写尽，湿墨晕开的雨雾里，似能触到那份湿润的诗意，以及归心似箭的温暖底色。",[25,122,33,31,358,35,41,516,7,1331,1332],"风雨","蓑衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeefa85c6c7e634a1e82deccf9bee42a.jpg","58x25",[46],154,{"id":1338,"slug":1339,"title":1340,"dynasty":18,"author":311,"museum":838,"description":1341,"tags":1342,"thumbUrl":1343,"material":89,"size":1344,"collection":46,"collections":1345,"showCount":1346,"zanCount":430,"manualWeight":51,"mainColor":52},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,25,26,27,122,29,33,30,31,65,32,37,38,40,36,39,7,35,67,515,564,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[46,48],153,{"id":1348,"slug":1349,"title":1350,"dynasty":1017,"author":1351,"museum":59,"description":1352,"tags":1353,"thumbUrl":1360,"material":321,"size":322,"collection":1024,"collections":1361,"showCount":1362,"zanCount":430,"manualWeight":51,"mainColor":1363},225712,"avenue-bij-arles-fan-gao-225712","Avenue bij Arles","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。",[1021,1354,41,1355,1356,1357,1358,7,1359],"后印象派","房屋","田野","道路","蓝天","乡村景致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd1697763f7389fe0ac2c3774b8b3fb.jpg",[1024],152,"2A56C6",{"id":1365,"slug":1366,"title":1367,"dynasty":139,"author":672,"museum":119,"description":1368,"tags":1369,"thumbUrl":1370,"material":392,"size":1371,"collection":91,"collections":1372,"showCount":1373,"zanCount":430,"manualWeight":51,"mainColor":457},221151,"shan-zhe-ji-que-tu-huang-ju-cai-221151","山鹧棘雀图","山鹧棘雀图是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,24,25,30,29,87,7,440,163,1036,167,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5a20f43ca35824f3daa158e61bf297.jpg","纵97厘米，横53.6厘米",[91,48],151,{"id":1375,"slug":1376,"title":1377,"dynasty":99,"author":1378,"museum":59,"description":1379,"tags":1380,"thumbUrl":1384,"material":362,"size":1385,"collection":111,"collections":1386,"showCount":1387,"zanCount":351,"manualWeight":51,"mainColor":52},221303,"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,24,25,26,27,29,30,87,635,346,7,144,145,1381,1382,123,1383],"浆果","草木","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[111,91,48],148,{"id":1389,"slug":1390,"title":1391,"dynasty":18,"author":222,"museum":119,"description":1392,"tags":1393,"thumbUrl":1394,"material":392,"size":69,"collection":69,"collections":1395,"showCount":1396,"zanCount":11,"manualWeight":51,"mainColor":134},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","富春山居图子明卷","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,25,26,27,122,33,31,64,32,62,256,257,41,39,37,38,40,7,515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],147,{"id":1398,"slug":1399,"title":1400,"dynasty":99,"author":190,"museum":101,"description":1401,"tags":1402,"thumbUrl":1404,"material":89,"size":1405,"collection":91,"collections":1406,"showCount":1407,"zanCount":51,"manualWeight":51,"mainColor":52},219349,"bai-ying-tu-zhao-ji-219349","白鹰图","图为一只白鹰站在湖石上，爪子上系着绳索。 这幅画是根据宋徽宗爱画白鹰奇石的传说.",[23,25,24,26,104,30,29,7,1403,528,163,87],"禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f082a50222716196107d33d5784d0f.jpg","141.7x59.5厘米",[91,48],146,{"id":1409,"slug":1410,"title":1411,"dynasty":99,"author":486,"museum":59,"description":1412,"tags":1413,"thumbUrl":1414,"material":303,"size":1415,"collection":244,"collections":1416,"showCount":1407,"zanCount":430,"manualWeight":51,"mainColor":134},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[23,24,25,26,27,122,29,35,33,179,7,163,38,32,64,65,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[244],{"id":1418,"slug":1419,"title":1420,"dynasty":18,"author":1421,"museum":101,"description":1422,"tags":1423,"thumbUrl":1427,"material":89,"size":1428,"collection":244,"collections":1429,"showCount":1430,"zanCount":351,"manualWeight":51,"mainColor":52},219564,"huo-lang-tu-cui-zi-zhong-219564","货郎图","崔子忠","明代流传至今的《货郎图》绘者如计盛、吕文英、崔子忠、姜隐，还有诸佚名的《货郎图》，虽风格不一，或设色或白描，但大部分的货郎都是挑着华丽的货担，货架精雕细琢、所售器物五花八门，孩子们前簇后拥，玩着猴子、蟋蟀、皮影、书籍、花枝，不亦乐乎，场景往往热闹非凡。",[23,25,30,29,104,1424,35,1425,1426,374,123,83,7,690,41],"风俗画","孩童","货郎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73c1b2b4649dfef47e2ac975b98f223.jpg","纵205横125厘米",[244,48],145,{"id":1432,"slug":1433,"title":1434,"dynasty":99,"author":190,"museum":207,"description":1435,"tags":1436,"thumbUrl":1437,"material":197,"size":1438,"collection":111,"collections":1439,"showCount":1440,"zanCount":51,"manualWeight":51,"mainColor":52},221365,"dai-sheng-tu-zhao-ji-221365","戴胜图","宋徽宗赵佶（1082年11月2日-1135年6月4日） [6] ，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 [1] 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， [1] 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 [2] 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。 [3] 南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,24,25,26,30,29,87,7,238,301,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[111,91,48],144,{"id":1442,"slug":1443,"title":384,"dynasty":77,"author":385,"museum":59,"description":1008,"tags":1444,"thumbUrl":1446,"material":321,"size":322,"collection":69,"collections":1447,"showCount":1448,"zanCount":430,"manualWeight":51,"mainColor":134},290536,"yan-xi-yu-le-zhou-yun-shou-ping-290536",[25,24,104,26,30,29,87,34,390,7,64,32,1445],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20aff2a060a96207e9cbb6a8febec6d9.jpg",[],143,{"id":1450,"slug":1451,"title":1452,"dynasty":77,"author":1453,"museum":158,"description":1454,"tags":1455,"thumbUrl":1456,"material":303,"size":1457,"collection":46,"collections":1458,"showCount":1459,"zanCount":430,"manualWeight":51,"mainColor":134},219922,"hu-tian-chun-se-tu-wu-li-219922","湖天春色图","吴历","此图描绘江南湖畔堤边的初春风光。画面上，远山清淡，湖水平静，渺无人烟，春色宜人。湖岸处柳色新绿，带雨含烟，丰姿绝妙，燕雀跃于湖面柳枝之间，又有土堤斜引，其上绿草如茵。溪水潺潺，鸟声婉转音色清新，绿柳迎风，全画面春意盎然，和谐舒畅。其构图与表现风格在当时亦十分新颖和独特。此幅是画家山水画中的代表作品，体现了典型的吴历个人风格。画家早年曾师法古人，又曾吸取西画的表现手法，风格与清初“四王”相似又有所不同，他注重实景取材，构图严谨，所以具有独特的面貌。",[25,26,24,104,29,31,33,67,38,7,564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8370438109745994edfcc2de0eb2f4f9.jpg","纵123.5 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常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,25,122,31,33,39,515,7,563,67,921,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3db900b82dc4e896d746b5cf1c4d8f.jpg",[111],137,{"id":1496,"slug":1497,"title":1498,"dynasty":99,"author":1499,"museum":59,"description":1500,"tags":1501,"thumbUrl":1503,"material":89,"size":1504,"collection":91,"collections":1505,"showCount":1494,"zanCount":430,"manualWeight":51,"mainColor":52},218557,"zhen-qin-tu-li-di-218557","珍禽图","李迪","画面中两只禽鸟栖息于枝间，翎羽纤毫毕现，墨色晕染层次分明，黑褐斑纹与浅白羽毛相映成趣。上方禽鸟颔首敛翅，姿态娴静；下方者展翅欲动，羽翼柔润中透着劲挺。枝叶扶疏，浅金色叶片与棕褐枝干交织，古朴绢本底色衬出物象温润质感。构图疏密有致，动静相宜，每道线条皆见功底：羽毛的蓬松、枝干的纹理刻画入微，似能闻林间轻响，观禽鸟灵动之态。笔墨间藏着对自然的细腻体察，于方寸间尽显生机与雅致，让人沉醉于这份古朴而鲜活的意趣里。",[23,24,25,26,489,30,29,87,7,165,1502],"叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232d7931170a1c143b987fbb2c17089a.jpg","28x32",[91],{"id":1507,"slug":1508,"title":1509,"dynasty":99,"author":486,"museum":207,"description":1510,"tags":1511,"thumbUrl":1513,"material":288,"size":1514,"collection":111,"collections":1515,"showCount":1516,"zanCount":430,"manualWeight":51,"mainColor":52},221529,"mei-shi-xi-fu-tu-ma-yuan-221529","梅石溪凫图","本幅款署“馬遠”。钤藏印：“ 潞王之寶”、“茅林心賞”、“阿蒙”、“于騰私印”。\n图中画山崖侧立，腊梅倒垂，薄雾蒙蒙的涧水中，一群野鸭正在游戏。山石以斧劈皴法画之，方硬峭拔，与用笔轻快、毛羽松蓬的野鸭形成鲜明的对比。倒垂曲折的枝条是马远特有的画法，故有“拖枝马远”之称。画面呈典型的对角线式构图，岩石、梅树都偏居画面的左上部分，梅树枝条的走势更强调了此种布局的形式感，右下方的野鸭既起到了平衡画面的作用，又是全图的点睛之笔，一幅“春江水暖鸭先知”的景象，无限生趣，跃然绢素。",[23,25,26,210,122,29,31,143,163,38,1512,7,87,32],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae794f0f7f856fe10e8845520e5badc4.jpg","纵26.7厘米，横28.6厘米",[111,91,48],136,{"id":1518,"slug":1519,"title":1520,"dynasty":99,"author":1521,"museum":1522,"description":1523,"tags":1524,"thumbUrl":1526,"material":89,"size":69,"collection":91,"collections":1527,"showCount":1516,"zanCount":11,"manualWeight":51,"mainColor":1528},218889,"mei-hua-shuang-que-tu-tang-zheng-zhong-218889","梅花双鹊图","汤正仲","上海龙美术馆","虬干盘结如铁，皴擦间尽现老木苍劲之姿；新梢斜逸若剑，挺秀中暗藏生机。素蕊攒枝，以圈花点蕊之法写就，清疏淡雅如覆薄雪，暗香似欲溢出纸面。双鹊栖于枝间，一俯一仰顾盼有情，羽翼细墨勾勒与梅枝粗放形成呼应，添几分灵动暖意。整幅画以墨骨立形，淡彩敷色，既承扬派墨梅清逸，又融自家笔意沉厚。寒梅高洁品格与双鹊吉祥意趣交织，冬日清寂中晕开一抹生机，尽显宋人花鸟画雅致韵致与文人情怀。",[24,25,26,104,30,29,87,143,1525,7,1480,67],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15447dc3a3314b0bcbd372dc5a108d12.jpg",[91],"F48FB1",{"id":1530,"slug":1531,"title":1532,"dynasty":77,"author":222,"museum":59,"description":1533,"tags":1534,"thumbUrl":1537,"material":321,"size":322,"collection":69,"collections":1538,"showCount":1539,"zanCount":51,"manualWeight":51,"mainColor":134},263687,"ke-si-chou-ying-hou-chi-bi-fu-tu-juan-yi-ming-263687","缂丝仇英后赤壁赋图卷","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,27,226,25,26,28,29,33,35,36,39,7,38,1535,440,123,319,1536,32,64],"亭榭","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":1541,"slug":1542,"title":1543,"dynasty":1464,"author":1544,"museum":1545,"description":1546,"tags":1547,"thumbUrl":1549,"material":1550,"size":69,"collection":69,"collections":1551,"showCount":1539,"zanCount":11,"manualWeight":51,"mainColor":134},220600,"song-ying-zhou-qi-bai-shi-220600","松鹰（轴）","齐白石","中央美术学院美术馆","右上狂草长题与左侧苍松对角铺陈，虚实相映，章法奇崛沉稳。\n老松以枯笔写出虬曲主干，浓淡墨色分出嶙峋肌理，松针劲挺利落，尽显风霜淬炼的苍古之姿。\n石上雄鹰是画面焦点，焦墨勾出如钩利喙与锐利鹰眼，神彩凛凛；泼墨积墨晕染羽翮，块面层次分明，将猛禽雄悍桀骜的气度展露无遗，钢爪紧扣顽石，尽显睥睨寰宇的威严。\n整作以书入画，文人笔意与写生意趣相融，以朴拙老辣的笔墨寄寓凌云壮气，尽显写意花鸟的雄浑风骨。",[23,25,26,104,122,1479,374,1548,7,635],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede21b825405a236afb47189b88ee67.jpg","纸本墨笔",[],{"id":1553,"slug":1554,"title":1555,"dynasty":77,"author":385,"museum":1556,"description":1557,"tags":1558,"thumbUrl":1565,"material":1566,"size":1567,"collection":46,"collections":1568,"showCount":1569,"zanCount":430,"manualWeight":51,"mainColor":134},221002,"hua-dao-xi-yang-tu-yun-shou-ping-221002","花岛夕阳图","日本京都国立博物馆","恽寿平山水画初学元黄公望、王蒙，深得冷澹幽隽之致。又以没骨法画花卉、禽兽、草虫，自谓承徐崇嗣没骨花法。创作态度严谨，认为“惟能极似，才能传神。”“每画一花，必折是花插之瓶中，极力描摹，必得其生香活色而后已”。他画法不同一般，是“点染粉笔带脂，点后复以染笔足之”，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成为一代宗匠。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北，史载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派'之目”。",[23,25,29,122,27,33,563,516,124,41,1559,1560,38,7,31,934,1561,748,1562,1033,374,1563,1564],"小船","茅屋","沙洲","近景","平坡","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2703852885af6a04ae01bf1fbdb64d9d.jpg","纸本 设色","26cmx111cm",[46,48],134,{"id":1571,"slug":1572,"title":965,"dynasty":156,"author":1573,"museum":176,"description":1574,"tags":1575,"thumbUrl":1577,"material":181,"size":1578,"collection":91,"collections":1579,"showCount":1569,"zanCount":351,"manualWeight":51,"mainColor":134},219062,"zhu-que-tu-wang-yuan-219062","王渊","画家在这幅画中使用了水墨，做了黑白的勾勒，描绘了竹叶的起伏、花朵和湖中不平整的石头。\n这幅画在构图和技法上与印第安纳波利斯艺术博物馆收藏的王原的《花竹山禽图》相似，但《花竹山禽图》的笔触更显年轻，可能是后来的摹本。这幅画上还刻有 摹黄筌竹雀图 的字样，构图与台北故宫的黄居寀画的鹧鸪和麻雀相似，仍保留了唐代画树下花鸟的传统，所以这幅画也许确实是仿黄筌的原作。",[24,25,1576,30,63,87,528,144,272,123,83,7],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eec035eb38ac09eb11650ff2dee6cbc.jpg","139.3x49.9cm",[91],{"id":1581,"slug":1582,"title":1583,"dynasty":99,"author":619,"museum":1584,"description":1585,"tags":1586,"thumbUrl":1589,"material":181,"size":1590,"collection":69,"collections":1591,"showCount":1592,"zanCount":51,"manualWeight":51,"mainColor":134},219189,"xiao-xiang-ba-jing-ping-sha-luo-yan-mu-xi-219189","潇湘八景-平沙落雁","出光美术馆","烟霭轻笼的天地间，远山如黛晕染在薄纱般的雾色里，几抹淡影似云似烟，模糊了天与地的边界。近岸沙渚上，三两只雁影静立，羽翼的轮廓在朦胧中化开，仿佛刚落定的归客，与周遭的空寂融为一体。天际有雁阵掠过，纤细的墨线在虚白中牵起一缕灵动，不扰清宁，只添悠远禅意。\n\n极简笔墨勾勒出无尽空寂，淡墨晕染的层次藏着自然的呼吸，每一处留白都是心境的延伸。清旷之境里，喧嚣被滤去，唯有安宁漫上心尖，似与天地精神相往来，让人在静默中触摸到禅意的温度。",[23,25,24,122,33,7,124,1587,27,1588],"平沙","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192cedb0f91bed94851114d42cfc8076.jpg","33x109.9厘米",[],132,{"id":1594,"slug":1595,"title":1596,"dynasty":18,"author":1476,"museum":1597,"description":1598,"tags":1599,"thumbUrl":1601,"material":259,"size":1602,"collection":69,"collections":1603,"showCount":1604,"zanCount":11,"manualWeight":51,"mainColor":134},231544,"huang-ju-dan-gui-tu-shen-zhou-231544","黄菊丹桂图","美国克利夫兰艺术博物馆","沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。\n王渊（公元13世纪-14世纪中叶），元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。工于花鸟、人物、山水。天历年间曾与唐棣在南京龙翔寺曾画过壁画，尤精于花鸟，堪称元代花鸟画巨擘。\n《黄菊丹桂图》明沈周仿自元画家王若水之作，图绘菊花，桂树，芙蓉，翠竹。并一双飞鸟巨石，画面静雅，傅色清新，所绘繁多而布置深稳，是石田习古佳作。",[23,25,29,104,30,31,81,726,144,163,238,7,1600],"丹桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69bac105908ae029d92cf2cc1b6e776.jpg","288.5X106.3\u002F397.1x127.4厘米",[],129,{"id":1606,"slug":1607,"title":1608,"dynasty":18,"author":1609,"museum":207,"description":1610,"tags":1611,"thumbUrl":1613,"material":1614,"size":1615,"collection":91,"collections":1616,"showCount":1604,"zanCount":11,"manualWeight":51,"mainColor":52},222447,"guan-mu-ji-qin-tu-juan-lin-liang-222447","灌木集禽图卷","林良","林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、锦鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。这幅长卷即为集禽图巨构。\n面画开道为三只麻雀，正展翅飞向丛林，迎面枝头有翠鸟、黄鹂啁啾，似示欢迎。步入林丛枝杈交错，白头翁在枝头成双鸣叫，山喜鹊与山鹧引颈对唱，小山雀则静歇枝上。密林深处展现阔叶灌木和粗劲竹丛，有寒鸦、鹡鸰、麻雀、白头翁、鹌鹑等，成双结对地和鸣、嬉玩，追逐其间。接着斜出几株老松，针叶茂密，成群斑鸠在此活动，一派家族欢聚气氛，然松林深处却有一只苍鹰在窥视，于平和中增添了一分杀气。结尾是荻岸水滨，一对鸬鹚在水面觅食，两只乌鸦涉水行进，另有翠鸟飞栖苇丛间，境界又变为空阔悠闲。\n作品布局采用平面散点的结构手法，移步换形，层层展开，疏密相间，动静结合。禽鸟动态逼真，情状各异，枝叶纵横交错，杂而不乱。古木老树、枯枝落叶已显现出萧索秋意，然群鸟骚动不拘的活泼天性，却使丛林依然充满蓬勃生机。\n此图画法以水墨为主，略施淡彩。禽鸟勾染相间，工写结合，洗练准确，笔简神完。灌木丛林用写意法，然也放而有度，不离规矩。全幅气势宏阔，景象万千，为林良存世的精品巨制。",[23,24,25,26,27,122,1479,87,1612,529,7,301],"灌木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba587401db7e2d99d630e876f2bb9c0b.jpg","纸本，淡设色","纵34厘米，横1211.2厘米",[91,131],{"id":1618,"slug":1619,"title":1620,"dynasty":99,"author":486,"museum":119,"description":1621,"tags":1622,"thumbUrl":1630,"material":197,"size":1631,"collection":111,"collections":1632,"showCount":1604,"zanCount":11,"manualWeight":51,"mainColor":134},221520,"shan-jing-chun-xing-tu-ma-yuan-221520","山径春行图","《山径春行图》描绘了一个怡然自得的文人，一手捋着胡须，一手移动衣袖，慢步进行在春天的山径上，面向远方。似乎在触景生情吟咏赞美春天的诗句。随风飘动的柳枝，雀跃嬉戏的小鸟，生机勃发的山径两旁的桃花，既是在描写春天的自然景色，也是在借景抒发文人此时此刻内心充满诗意的喜悦之情。鸟语花香春意盎然而又显得闲适恬静的画面气氛，是文人内在修养和心理活动的生动写照，是对春天来临所唤起的生命之美的赞叹。",[23,24,25,1623,122,29,1624,1625,31,33,35,1033,7,1626,1627,41,125,748,1628,317,1629],"山水画","边角构图","兼工带写","小径","春景","童子","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","纵27.4厘米，横43.1厘米",[111,46,244,131],{"id":1634,"slug":1635,"title":1636,"dynasty":18,"author":19,"museum":119,"description":1637,"tags":1638,"thumbUrl":1639,"material":89,"size":1640,"collection":244,"collections":1641,"showCount":1642,"zanCount":351,"manualWeight":51,"mainColor":52},218532,"guan-bang-tu-chou-ying-218532","观榜图","明清时代之考试主要分三级，初级为院试，及格者通称生员，亦称秀才。二级为乡试，中者为举人，榜首称解元。最高一级为会试，举人均可参加，中者称贡士，榜首称会元。贡士得入殿廷由皇帝面试，殿试成绩最高者为状元，次名称榜眼，三名称探花。画中观榜人潮汹涌，高中者兴奋地登马而去，落榜首，则满脸沮丧，由人搀扶，颓然而返。",[23,25,26,27,30,29,194,35,36,37,41,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee18be5368280214a5e995327e5a302.jpg","34.4x638",[244],128,{"id":1644,"slug":1645,"title":1646,"dynasty":18,"author":19,"museum":119,"description":1647,"tags":1648,"thumbUrl":1649,"material":89,"size":1650,"collection":244,"collections":1651,"showCount":1652,"zanCount":351,"manualWeight":51,"mainColor":52},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[23,25,24,26,30,29,194,35,36,33,41,7,359,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 148.4",[244,48],126,{"id":1654,"slug":1655,"title":1656,"dynasty":99,"author":1657,"museum":918,"description":1658,"tags":1659,"thumbUrl":1660,"material":89,"size":1661,"collection":111,"collections":1662,"showCount":1652,"zanCount":11,"manualWeight":51,"mainColor":134},219887,"yue-xia-yu-she-tu-zhao-ling-rang-219887","月下渔舍图","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”。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。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。",[25,29,33,31,440,7,37,38,334,515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64745e0ff99130ce0f92eb82148afe6.jpg","26.7x26.7",[111],{"id":1664,"slug":1665,"title":1666,"dynasty":99,"author":222,"museum":119,"description":1667,"tags":1668,"thumbUrl":1669,"material":197,"size":1670,"collection":69,"collections":1671,"showCount":1672,"zanCount":351,"manualWeight":51,"mainColor":52},223516,"tao-hua-shan-niao-tu-yi-ming-223516","桃花山鸟图","此图采用双钩填彩法，用线工整挺秀、生动流畅、柔中带刚，画家追求的不是线的形式变化，而是对质感的表达。花瓣密集写实，鸟的羽毛细而柔，尾羽敷红色，有透明感。画面色彩雅致，鲜花轻敷淡染，一点也不矫揉造作。",[23,24,25,26,30,29,87,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8e8efee647a398a24f78c3f1f84561.jpg","纵23.8厘米横24.4厘米",[],125,{"id":1674,"slug":1675,"title":1676,"dynasty":18,"author":1476,"museum":59,"description":1677,"tags":1678,"thumbUrl":1681,"material":321,"size":322,"collection":69,"collections":1682,"showCount":1683,"zanCount":430,"manualWeight":51,"mainColor":134},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,24,25,1576,27,33,1679,31,64,65,32,123,41,1355,38,39,40,748,1680,865,7,37,1480,67],"文人画","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],124,{"id":1685,"slug":1686,"title":1687,"dynasty":99,"author":1307,"museum":207,"description":1688,"tags":1689,"thumbUrl":1693,"material":288,"size":1694,"collection":69,"collections":1695,"showCount":1683,"zanCount":11,"manualWeight":51,"mainColor":134},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,25,26,27,122,29,31,30,33,1690,1691,123,41,38,39,1225,1692,37,7,124,64,65,32],"渔村","小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":1697,"slug":1698,"title":1699,"dynasty":99,"author":1700,"museum":253,"description":1701,"tags":1702,"thumbUrl":1705,"material":89,"size":1706,"collection":111,"collections":1707,"showCount":1683,"zanCount":51,"manualWeight":51,"mainColor":52},218629,"pan-che-tu-jiang-can-218629","盘车图","江参","寒林覆雪，枝桠虬曲如铁线，在凛风中舒展筋骨。山峦以淡墨晕染，层叠间透着清寂，山脚却藏烟火暖意——几辆盘车缓行于雪泥道上，牛蹄踏雪留痕，车轮碾过碎雪，车旁人物裹衣呵气，似在抵御严寒。远处村落隐于林麓，屋舍错落，炊烟轻袅，与苍茫山色相映。笔墨细腻处见功力：枯树皴擦显苍劲，盘车结构精准，人物动态鲜活；而雪景朦胧与山峦雄浑，又营造出阔远意境。整幅画于萧瑟冬日，融旅途艰辛与人间烟火于一炉，写实功底见古画本色，诗意留白引观者遐思，尽显冬日山水间的生活韵致与苍茫之美。",[25,24,26,29,31,33,123,440,67,564,1703,1704,35,7],"车","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1548d14d9bbde0476e8e9f354f0095f2.jpg","30x24",[111],{"id":1709,"slug":1710,"title":1711,"dynasty":156,"author":1712,"museum":1713,"description":1714,"tags":1715,"thumbUrl":1717,"material":259,"size":1718,"collection":651,"collections":1719,"showCount":1720,"zanCount":263,"manualWeight":51,"mainColor":134},220843,"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","赵孟頫","湖州博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[23,64,65,27,26,122,32,39,7,38,1716,726,359],"孤松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[651],123,{"id":1722,"slug":1723,"title":1724,"dynasty":99,"author":632,"museum":119,"description":1725,"tags":1726,"thumbUrl":1732,"material":89,"size":1733,"collection":111,"collections":1734,"showCount":1720,"zanCount":51,"manualWeight":51,"mainColor":52},220144,"qiu-pu-rong-bin-tu-cui-bai-220144","秋蒲蓉宾图","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鹡鸰腾跃，翡翠静静停留，两鸿雁振翅凌空，意在千里。无画家款印，旧传为崔氏之作。崔白(约西元十一世纪)，安徽凤阳人，字子西。宋仁宗至神宗时为画院画家。精工画花卉翎毛，尤以枯荷凫雁得名，但亦精于道释、人物、鬼神。据说他作画时从不起稿，画长直坚挺的线条，无须使用直尺界画，操笔立就。",[23,623,1727,29,1728,1729,1730,1035,957,1731,453,529,83,702,7],"工笔花鸟","写实","写生","细腻笔触","蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0742ff18547c75d91c9eaba1ab1932e4.jpg","本幅 149.1x95.5公分、全幅 133公分",[111,91],{"id":1736,"slug":1737,"title":657,"dynasty":18,"author":1738,"museum":119,"description":1739,"tags":1740,"thumbUrl":1741,"material":89,"size":1742,"collection":48,"collections":1743,"showCount":1720,"zanCount":51,"manualWeight":51,"mainColor":52},219418,"hua-niao-zhou-bian-wen-jin-219418","边文进","此图绘竹、梅、雀，经营位置错落有致，鸟之姿态生动富情趣；用笔学宋朝院体勾勒填彩，设色妍丽生动。以梅竹、百雀为主题，象征吉祥瑞应。",[25,26,104,30,29,87,528,7,67,126,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4928cc9b3bf2e52344cbbd9dc5bf5f65.jpg","160.1x74.2公分",[48],{"id":1745,"slug":1746,"title":1747,"dynasty":139,"author":1748,"museum":101,"description":1749,"tags":1750,"thumbUrl":1757,"material":89,"size":1758,"collection":91,"collections":1759,"showCount":1720,"zanCount":430,"manualWeight":51,"mainColor":52},219002,"ku-mu-shui-qin-tu-huang-quan-219002","枯木水禽图","黄筌","这幅画描绘了湖岸边的寒冷冬景，大雁、白天鹅、野鸡和各种水鸟在三棵巨树下觅食、嬉戏，空旷荒凉的场景也让人不禁想起过去的繁华。这幅画被认为是五代时期西蜀画家黄荃的作品，但实际上它接近于元代罗稚川的风格。",[23,25,24,26,30,29,104,106,161,7,1751,1149,1752,67,1753,123,1754,529,1755,1756],"白鹅","岸边","枯枝","水泊","水畔","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928b9b088db206fb252396d6d64c69ee.jpg","纵148横107厘米",[91,46],{"id":1761,"slug":1762,"title":1763,"dynasty":18,"author":722,"museum":119,"description":1764,"tags":1765,"thumbUrl":1766,"material":89,"size":1767,"collection":91,"collections":1768,"showCount":1769,"zanCount":430,"manualWeight":51,"mainColor":52},222397,"xing-hua-kong-que-tu-lv-ji-222397","杏花孔雀图","此画属于吕纪工笔花鸟画的代表作品，右方署款「吕纪」，钤盖「四明吕廷振印」一方。画中描绘一对孔雀在杏花树下栖息的景况。位于画面中央的孔雀单脚伫立于岩石上，回首注视绽放的红色牡丹，另一只孔雀则蜷伏石上，观察地面景况。画中的孔雀、杏花、牡丹等象征着吉祥意味。杏花以白色、粉赭色系颜料敷染，牡丹花及孔雀则使用浓重的赭红色，与石青、石绿的颜料搭配，充满着富贵绮丽的装饰性。",[23,25,26,104,29,30,87,1236,85,227,163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7b2db4a8d4bb0924c74e8de14dc43d.jpg","纵203.4厘米，横110.6厘米",[91,48],122,{"id":1771,"slug":1772,"title":1773,"dynasty":18,"author":1738,"museum":119,"description":1774,"tags":1775,"thumbUrl":1776,"material":89,"size":1777,"collection":91,"collections":1778,"showCount":1779,"zanCount":430,"manualWeight":51,"mainColor":52},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[23,25,30,29,104,87,179,528,143,144,7,163,414,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[91,48],121,{"id":1781,"slug":1782,"title":1783,"dynasty":99,"author":1784,"museum":475,"description":1785,"tags":1786,"thumbUrl":1787,"material":181,"size":1788,"collection":91,"collections":1789,"showCount":1779,"zanCount":11,"manualWeight":51,"mainColor":52},216207,"qi-xiao-tu-liang-kai-216207","栖鸮图","梁楷","栖鸮图是中国宋朝画家、书法家梁楷的名作。这幅画描绘了一只美丽的栖鸮鸟停在树枝上，身躯优美，栩栩如生。\n\n梁楷是宋朝最伟大的画家之一，他在画鸟时细致入微，把鸟的形态、羽毛和神情都写得栩栩如生。他的作品常常被视为中国画的精品，在世界艺术史上享有极高的地位。",[25,122,1479,32,7,528,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c4639fd1e32157af0aa83de738b753.jpg","78x29cm",[91],{"id":1791,"slug":1792,"title":1793,"dynasty":99,"author":190,"museum":59,"description":1794,"tags":1795,"thumbUrl":1798,"material":321,"size":322,"collection":69,"collections":1799,"showCount":1800,"zanCount":430,"manualWeight":51,"mainColor":52},287892,"xie-sheng-ling-mao-tu-zhao-ji-287892","写生翎毛图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,24,25,27,29,30,87,7,272,1796,238,301,1797],"荔枝","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991c70342fcdd1f954ce69e99322aad5.jpg",[],120,{"id":1802,"slug":1803,"title":1804,"dynasty":156,"author":1573,"museum":207,"description":1805,"tags":1806,"thumbUrl":1808,"material":288,"size":1809,"collection":91,"collections":1810,"showCount":1800,"zanCount":11,"manualWeight":51,"mainColor":52},221839,"hua-zhu-jin-ji-tu-zhou-wang-yuan-221839","花竹锦鸡图轴","元代的花鸟画不及宋代昌盛，但却有新的面貌。一部分画家继承了北宋院画刻画严谨的传统并加以变化，发展了勾勒、点染相结合的写生技法，画风朴实拙茂又不失精微细密；另一部分画家则彻底摆脱院体工整妍巧的写生风格，以萧散简逸为宗，充分体现了赵孟頫以书法入画的艺术主张。但总体来看，元代花鸟画的气格是宁静、沉着和庄严的，既不变形又不放纵，体现了“法不逾矩”的特点。活跃于元代中后期的王渊是继承北宋院画的代表画家。",[23,156,25,26,104,30,29,87,1807,528,163,7,83,126,41],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[91,48],{"id":1812,"slug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：“白门李氏珍藏”、“米舫平生之真赏”。\n裱边有狄平子题记二则，钤“狄平子”印等。\n此图是朱耷8岁所作。\n风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。\n此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。\n八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[23,25,26,104,122,1479,87,163,1858,7,32],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919edce87f0eaaf6b6bab59b57d7634d.jpg",[],{"id":1862,"slug":1863,"title":1864,"dynasty":99,"author":1865,"museum":59,"description":1866,"tags":1867,"thumbUrl":1868,"material":321,"size":322,"collection":69,"collections":1869,"showCount":1870,"zanCount":51,"manualWeight":51,"mainColor":134},289110,"zhu-jiu-tu-li-an-zhong-289110","竹鸠图","李安忠","李安忠，南宋画家。钱塘（今浙江杭州）人，生卒年不详。宋徽宗宣和（1119-1125）时为画院祗候，历官成忠郎。南渡后绍兴（1131-1162）间复职画院，赐金带。",[24,25,489,87,30,29,7,528,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf7aff72457c41858438cb9ffdc6b09.jpg",[],115,{"id":1872,"slug":1873,"title":1874,"dynasty":99,"author":222,"museum":207,"description":1875,"tags":1876,"thumbUrl":1877,"material":288,"size":1878,"collection":69,"collections":1879,"showCount":1870,"zanCount":11,"manualWeight":51,"mainColor":52},233199,"bai-tou-cong-zhu-tu-ye-yi-ming-233199","白头丛竹图页","图绘小竹数竿，清翠嫩绿，两只白头鹎栖于枝头，一只低头梳理羽毛，一只遥视前方。竹用双钩填彩画法，笔墨缜密严谨，色调沉着。山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有毛绒的质感。",[25,24,26,489,30,29,87,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e20b9236c841784d4114a5d6f05f27.jpg","纵25.4厘米，横28.9厘米",[],{"id":1881,"slug":1882,"title":1883,"dynasty":99,"author":1884,"museum":59,"description":1885,"tags":1886,"thumbUrl":1887,"material":69,"size":69,"collection":69,"collections":1888,"showCount":1870,"zanCount":11,"manualWeight":51,"mainColor":134},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[23,24,25,26,27,63,122,31,33,35,39,40,7,41,126,36,38,32,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],{"id":1890,"slug":1891,"title":1892,"dynasty":77,"author":222,"museum":59,"description":1893,"tags":1894,"thumbUrl":1898,"material":321,"size":322,"collection":69,"collections":1899,"showCount":1900,"zanCount":51,"manualWeight":51,"mainColor":134},234412,"qing-ren-lv-cai-shen-xiang-zhou-yi-ming-234412","清人绿财神像轴","画面核心的绿财神身覆翠色，忿怒面容暗含慈悲，踞坐白狮宝座，宝冠披帛华丽庄严，尽显护法尊神的威仪。虚空云海间环布诸位化现圣尊，层次分明；下方雪域山林间，信众牵驼持礼，列队朝奉，烟火供品俱全，融肃穆神性与鲜活世情于一体。\n\n以矿物彩料敷色，青蓝底色衬得诸像明丽厚重，铁线描流畅勾勒衣袂飘逸、瑞兽雄健，精准恪守藏传造像仪轨，又以细腻笔触铺陈出佛国盛景，尽显清代藏式唐卡富丽庄严的独特风韵。",[25,104,28,29,30,333,35,635,1895,553,1896,7,359,33,1897,286],"大象","狮子","供品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51485349796cab9064d6a260e9da4fb8.jpg",[],114,{"id":1902,"slug":1903,"title":1904,"dynasty":99,"author":966,"museum":59,"description":1905,"tags":1906,"thumbUrl":1907,"material":69,"size":69,"collection":69,"collections":1908,"showCount":1900,"zanCount":51,"manualWeight":51,"mainColor":52},227964,"pi-pa-xiu-yan-tu-tuan-shan-ye-wu-bing-227964","枇杷绣眼图团扇页","画面中枇杷垂枝，圆实饱满的果子晕染出暖黄熟色，果皮绒毛似可触感，叶片正反层次分明，筋脉勾勒细致，一片残叶添了自然错落的意趣。绣眼鸟栖于枝桠，墨绿羽色莹润光泽，身形小巧灵动，垂首望向满枝鲜果，将禽鸟的娇憨馋态刻画入微。\n\n整幅工笔细腻写实，设色雅致柔和，疏密构图恰到好处，静美的果枝与鲜活的禽鸟相映，定格了初夏果熟禽来的清逸小景，把藏在日常里的诗意娓娓道来，淡而愈真，静中生趣。",[489,30,29,87,211,7,25,24,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7715eb3815a372e3b5e1f25007e64c6c.jpg",[],{"id":1910,"slug":1911,"title":1912,"dynasty":18,"author":722,"museum":1556,"description":1913,"tags":1914,"thumbUrl":1916,"material":197,"size":1917,"collection":69,"collections":1918,"showCount":1900,"zanCount":11,"manualWeight":51,"mainColor":52},222394,"si-ji-hua-niao-tu-qiu-lv-ji-222394","四季花鸟图-秋","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n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。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,25,30,29,87,81,1915,1149,7,227,162],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1873779d421c2c6c0dad9edf14f98573.jpg","176.0×100.8",[],{"id":1920,"slug":1921,"title":1922,"dynasty":18,"author":1738,"museum":1923,"description":1924,"tags":1925,"thumbUrl":1926,"material":288,"size":1927,"collection":91,"collections":1928,"showCount":1900,"zanCount":430,"manualWeight":51,"mainColor":52},221940,"bai-he-tu-juan-bian-wen-jin-221940","百鹤图卷","四川省博物馆","此图笔墨精炼，色调明快，绘白鹤近百只，皆丹顶白毛黑尾长腿，或空中盘旋、或水中嬉戏、或伏地栖息、或飞鸣啄食、或舒翼理毛……神态各异，莫不栩栩如生，各臻其妙。鹤群栖息之处鲜花绽放、松树遒劲、水流奔腾、湖石耸立，群鹤和睦，情景融融。",[23,25,27,30,29,87,84,374,34,123,41,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94bd1c5f39208d59af0aa9219a8508f.jpg","25.4*241.33cm",[91,48],{"id":1930,"slug":1931,"title":1932,"dynasty":156,"author":1933,"museum":119,"description":1934,"tags":1935,"thumbUrl":1936,"material":128,"size":1937,"collection":46,"collections":1938,"showCount":1900,"zanCount":11,"manualWeight":51,"mainColor":134},221759,"qiu-jiang-dai-du-tu-zhou-sheng-mao-221759","秋江待渡图轴","盛懋","《秋江待渡图》以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。\n盛懋创作山水画大多采用深远法、或是高远法，画作清淡素雅，笔法笔墨却也显得较为圆熟。《秋江待渡图》以其浓淡交融的笔墨展现了极为幽静的远山近水景致，构图均衡，树木近景与远山远景形成了上下两段景致，看上去隔着成片留出“空白”的江水却也没有绝然分开的感觉。",[23,25,122,31,104,64,33,41,123,39,7,1149,748,1752,934,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83624ed7642a9ada118ca442a0f4a1e.jpg","纵112.5厘米，横46.3厘米",[46,131],{"id":1940,"slug":1941,"title":1942,"dynasty":156,"author":1933,"museum":119,"description":1943,"tags":1944,"thumbUrl":1945,"material":89,"size":1946,"collection":46,"collections":1947,"showCount":1900,"zanCount":11,"manualWeight":51,"mainColor":134},218388,"song-ren-yuan-hua-ce-shan-shui-sheng-mao-218388","宋人院画册-山水","近处林木扶疏，枝干盘曲间，新绿与苍劲交织，生机隐现。水面平展如镜，一叶扁舟轻泊岸畔，船中人似伴流云静水，独享片刻悠然。远山如黛，以淡墨晕染出朦胧层次，云雾轻缠峰峦，将视野引向天际的悠远。笔墨兼具工致与写意，绢本的温润质感，更衬出画面的古雅韵致。整体意境清旷淡远，如一首静默的山水短章，藏着文人对自然的眷恋，于静谧中流淌着岁月的安然与从容。",[25,489,29,33,39,1225,7,67,748,1149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58769b723ca1095e59ebae7b52a1713d.jpg","35.2x63.4",[46],{"id":1949,"slug":1950,"title":1951,"dynasty":435,"author":1952,"museum":119,"description":1953,"tags":1954,"thumbUrl":1956,"material":89,"size":1957,"collection":244,"collections":1958,"showCount":1959,"zanCount":11,"manualWeight":51,"mainColor":52},221114,"yan-le-tu-zhou-zhou-fang-221114","演乐图轴","周昉","大松下五位士人围长案雅聚，童子张琴，仕女抱阮或备茶，人物器用俱以中锋细笔钩勒，顿起顿收，转折挺劲，如画树的枝桠。画上无作者款印，旧传周昉作。按周昉（活动于八世纪末）是陕西长安人，唐代著名人物画家，画史称其人物善于刻画个别的性格，并能掌握特定环境下的情态。本幅构图似是取自其他作品拼凑而成，如士人围坐的构图便是摹仿传世十八学士的一段。",[23,25,26,104,30,29,35,318,374,7,1955],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21b1bfe7ff31574b4855b09db89917a.jpg","165.6x84.4",[244,48],113,{"id":1961,"slug":1962,"title":1963,"dynasty":99,"author":619,"museum":1964,"description":1965,"tags":1966,"thumbUrl":1970,"material":89,"size":69,"collection":69,"collections":1971,"showCount":1959,"zanCount":51,"manualWeight":51,"mainColor":134},219193,"xiao-xiang-ba-jing-yan-si-wan-zhong-mu-xi-219193","潇湘八景-烟寺晚钟","富山纪念馆","烟岚弥漫的潇湘之畔，淡墨晕染出一片空濛。薄雾中，林树错落，寺宇隐现，浓墨点染的枝叶在朦胧里摇曳，似与雾气共舞。远处飞鸟轻掠，融入苍茫，静谧无声。虽无钟鸣具象，却在这空灵氛围中，仿佛听见晚钟穿透烟霭的悠远余韵，涤荡心尘。牧溪以极简笔墨，将自然之境与禅意相融，淡处见真，空里藏情。每一笔淡墨都似时光的痕迹，每一缕烟岚都承载着东方美学的含蓄深邃，尽显潇湘烟景的淡泊与宁静，让人在朦胧中感知心境的悠远与超脱。",[23,25,122,1479,1967,41,7,33,1968,1969],"烟霭","渲染","朦胧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff345a478c64a9b36297fa0e4606f44eb.jpg",[],{"id":1973,"slug":1974,"title":1975,"dynasty":77,"author":1976,"museum":119,"description":1977,"tags":1978,"thumbUrl":1980,"material":303,"size":1981,"collection":91,"collections":1982,"showCount":1983,"zanCount":430,"manualWeight":51,"mainColor":134},218916,"feng-huang-wu-tong-tu-yang-da-zhang-218916","凤凰梧桐图","杨大章","设色画梧桐竹石，众鸟翔集。凤凰、白鹤、鸳鸯双栖其下，色彩鲜艳，呈现一片祥瑞之气。当时宫廷绘画喜好吉祥，本幅题材与画风即属此类。",[25,26,104,30,29,87,86,1979,84,123,41,529,1382,7],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff067e5de5237cf8c1c1b5a25bd6bdb9b.jpg","337.3x122.6cm",[91],111,{"id":1985,"slug":1986,"title":1987,"dynasty":77,"author":769,"museum":119,"description":1988,"tags":1989,"thumbUrl":1991,"material":288,"size":1992,"collection":91,"collections":1993,"showCount":1994,"zanCount":11,"manualWeight":51,"mainColor":134},222778,"bai-gu-tu-lang-shi-ning-222778","白鹘图","乾隆十六年，郎世宁六十二岁作山涧里，一湾小瀑，松干横空而出，一白鹘踏枝上，似闻声惊起。画白鹘以白粉精细描绘，松石配景全然中国写意笔墨，清代白鹘图为大学士忠勇公傅恒所进。郎世宁六十二岁作。\n图中白鹘栖息于涧松之上,于传统画法中,参用光影透视,遂使画面突出于绢上 落款：乾隆十六年间五月初十日大学士忠勇公傅恒进百鹘一架，命海西臣郎世宁绘图。",[23,24,25,26,30,29,7,374,123,1990,32],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa618ea27a0bd8af02383347a6e3a0f11.jpg","纵121.7×横64公分",[91,48],110,{"id":1996,"slug":1997,"title":1998,"dynasty":77,"author":78,"museum":101,"description":1999,"tags":2000,"thumbUrl":2001,"material":89,"size":2002,"collection":91,"collections":2003,"showCount":1994,"zanCount":430,"manualWeight":51,"mainColor":52},219043,"que-tu-tu-shen-quan-219043","鹊兔图","画面上是初春的小河，凉风习习，梅花和茶花盛开，三只野兔和三只鸟已经感受到春天的气息，出来觅食和活动。这幅画的风格与沈铨的风格不同，尤其是画的野草和流水，与沈铨的美术风格不一致，这幅画不是沈铨的作品。",[23,25,29,30,87,635,346,7,143,81,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c22d6c57cb0a16f7d500ffac33a3533.jpg","纵140横63.8厘米",[91],{"id":2005,"slug":2006,"title":538,"dynasty":99,"author":486,"museum":59,"description":2007,"tags":2008,"thumbUrl":2009,"material":89,"size":69,"collection":91,"collections":2010,"showCount":1994,"zanCount":11,"manualWeight":51,"mainColor":52},218548,"han-ya-tu-ma-yuan-218548","枯枝虬曲如铁线，从绢本深褐底色中挣出清劲骨力，枝桠间寒鸦三两：或敛翅栖于梢头，墨羽浓淡晕染出绒绒暖意；或振翅欲飞，翅尖的墨痕似带起微凉的风。远处坡岸简笔勾勒，留白处恍若覆雪，荒寒之意漫开。\n\n马远以边角之景造阔远之境，此图疏枝横斜间，寒鸦的灵动破开冬日沉寂。线条挺健如老松，墨韵含蓄似淡诗，将霜天清寂与生命鲜活揉作一处。展卷时，仿佛能嗅到冷冽空气里的松针香，又被寒鸦轻啼牵起一丝暖意——宋人笔墨的雅致与深情，尽在这方寸绢素中流转。",[23,24,25,26,210,122,31,7,1480,67,163,33,1149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea5df84a8c9f6ef5813d9284515ec0.jpg",[91],{"id":2012,"slug":2013,"title":2014,"dynasty":18,"author":311,"museum":101,"description":2015,"tags":2016,"thumbUrl":2017,"material":89,"size":2018,"collection":244,"collections":2019,"showCount":2020,"zanCount":11,"manualWeight":51,"mainColor":52},219791,"xian-shan-ji-xue-tu-wei-tang-yin-219791","仙山积雪图(伪)","以淡赭晕染层叠雪山，留白造境尽显雪域寥廓空寂。红衣胡商与褐驼形成鲜亮色彩反差，醒目亮眼。人物虬髯胡服，牵驼徐行，骆驼憨拙生动，抬蹄缓移，将塞外羁旅的苦寒苍茫尽显笔底。\n\n线条简括写意，舍弃繁复皴擦，以极简色调烘托荒寒辽远的异域氛围，写意间藏质朴厚重，把行者的孤寂与天地的浩渺相融，淡远清旷，尽显萧瑟冷寂的雪域行旅意趣。",[23,25,104,29,35,635,33,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd0633bdf79276409a6fb09df39c2199.jpg","纵109.9、横38.9厘米",[244],108,{"id":2022,"slug":2023,"title":2024,"dynasty":77,"author":423,"museum":59,"description":424,"tags":2025,"thumbUrl":2026,"material":321,"size":322,"collection":69,"collections":2027,"showCount":2028,"zanCount":51,"manualWeight":51,"mainColor":134},283660,"gu-bai-shuang-qin-tu-zhou-zhu-da-283660","古柏双禽图轴",[23,25,24,104,122,87,67,7,163,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0311e7b30ddf2cabaf3bd0c4bbc710bd.jpg",[],107,{"id":2030,"slug":2031,"title":2032,"dynasty":1017,"author":2033,"museum":2034,"description":2035,"tags":2036,"thumbUrl":2038,"material":2039,"size":2040,"collection":69,"collections":2041,"showCount":2028,"zanCount":51,"manualWeight":51,"mainColor":457},231574,"mu-dan-he-jin-si-que-ge-shi-bei-zhai-231574","牡丹和金丝雀","葛饰北斋","美国国会图书馆","这幅《牡丹和金丝雀》就是十分典型的葛饰北斋晚期花鸟画。 画面以亮丽的深蓝色为背景，前面是四朵开放得十分热烈的粉色牡丹，中间的花蕊灵动嫩白，在周围绿色的花叶衬托下显得更加娇妍欲滴。葛饰北斋将俯冲向牡丹的金丝雀画在了中央。金丝雀张开双翅，羽翼丰满光滑，富有活力，与平日养在精美鸟笼中的金丝雀截然不同。\n葛饰北斋一直被称为日本美术史上最奇特、最有才气的画家之一。他自称“画狂人”，一生留下了大量的作品，创作一直持续到他90岁去世时的前三个月。他的才能不仅在人们熟悉的风景画领域，在读本插图、花鸟画，甚至《百物语》这种妖怪画等领域都有崭新的表现。他的很多画作都令人耳目一新，深受江户市民的欢迎。",[23,2037,687,29,87,227,7],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3363479890ca007e42afefe258fccd82.jpg","布面油画","19.2 x 17.4 cm",[],{"id":2043,"slug":2044,"title":2045,"dynasty":18,"author":2046,"museum":119,"description":2047,"tags":2048,"thumbUrl":2050,"material":89,"size":2051,"collection":91,"collections":2052,"showCount":2028,"zanCount":51,"manualWeight":51,"mainColor":52},216213,"xie-sheng-tu-shang-xi-216213","写生图","商喜","商喜是明朝时期的一位著名画家。他的写生图是指他在观察实物的基础上进行的写生画。这些画作经常描绘自然风景、动物、人物等，体现出商喜对于自然现象的敏锐观察力和细腻的描绘能力。商喜的写生图具有浓郁的生活气息和生动的感染力，为后世留下了宝贵的艺术瑰宝。\n\n商喜的写生图作品较多，涵盖了多种题材。其中，他的花鸟画尤其出色，作品中常常出现各种花卉和鸟类，每一幅画作都能够流露出自然的美丽与生机。此外，商喜还绘制了许多人物画，其中有写实的肖像画，也有富有想象力的设计人物。他的人物画作品体现了商喜对人物形态和神态的细致捕捉，能够生动地展现人物的个性和心理。商喜的写生图作品为后世留下了深刻的印象，为中国画的发展做出了重要贡献。",[25,26,30,29,87,635,271,2049,7,528,145,1955],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae66413060d9efa0846a06cffbc58a1.jpg","84.6x61.8cm",[91],{"id":2054,"slug":2055,"title":2056,"dynasty":99,"author":1499,"museum":2057,"description":2058,"tags":2059,"thumbUrl":2062,"material":259,"size":2063,"collection":69,"collections":2064,"showCount":2065,"zanCount":430,"manualWeight":51,"mainColor":52},232874,"pan-tao-qing-niao-tu-juan-li-di-232874","蟠桃青鸟图卷","美国弗瑞尔美术馆","此幅重色画蟠桃青鸟，用笔应物象形，禽鸟造形精确，蟠桃用没骨画法，枝叶安排妥帖，整体观之，明代宫廷画家所作的可能性大一些。 李迪，生卒年不详。",[23,24,25,26,27,30,29,87,2060,7,41,2061],"桃子","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9c8c8a18311cb4fc28befe1cd47b8a.jpg","38.3x193.2cm",[],106,{"id":2067,"slug":2068,"title":2069,"dynasty":139,"author":1748,"museum":101,"description":2070,"tags":2071,"thumbUrl":2072,"material":89,"size":69,"collection":91,"collections":2073,"showCount":2065,"zanCount":430,"manualWeight":51,"mainColor":52},219025,"ban-jiu-tu-huang-quan-219025","斑鸠图","画的是一棵顶部断裂的枯树干，一只鸽子站在树干上，蓬松的羽毛中夹杂着白色的毛发，盯着树根处发芽的树枝，绿叶红花。",[23,24,25,26,210,30,29,87,7,144,145,301,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51e04c34bcf36d6653aa90ca568823.jpg",[91],{"id":2075,"slug":2076,"title":2077,"dynasty":77,"author":823,"museum":119,"description":2078,"tags":2079,"thumbUrl":2081,"material":89,"size":2082,"collection":91,"collections":2083,"showCount":2065,"zanCount":11,"manualWeight":51,"mainColor":52},218778,"si-rui-qing-deng-tu-jiang-ting-xi-218778","四瑞庆登图","蒋廷锡（西元一六六九－一七三二年），江苏常熟人。字扬孙，号酉君，又号西谷。官至文华殿大学士，工画花卉草虫，以逸笔写生，没骨花鸟画继承恽寿平风格。\n画两棵高梁结满穗粒，并点缀有白头翁、菊花和泉石。画法承恽氏之风，虽用笔工致，但不板滞，兼有写生之趣。此时蒋氏五十五岁，调任礼部侍郎，同年又调任户部。蒋氏鲜少在画上落款处加官职，此图以端正楷书写上礼部右侍郎等字，应是应制之作。而四瑞写各种祥瑞事物，应是称颂雍正皇帝继承帝位是顺天应民之意。",[25,29,30,87,104,144,7,2080,1915,164,32],"高粱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73b7e62a8dadfcb098962fa2d8a6e8a.jpg","185.2x87.2cm",[91],{"id":2085,"slug":2086,"title":2087,"dynasty":99,"author":2088,"museum":475,"description":2089,"tags":2090,"thumbUrl":2092,"material":303,"size":69,"collection":244,"collections":2093,"showCount":2065,"zanCount":51,"manualWeight":51,"mainColor":52},218541,"zhong-xing-rui-ying-tu-chen-ju-zhong-218541","中兴瑞应图","陈居中","苍莽绢素间，人马奔涌如沸，旌旗翻卷似火，甲胄冷光与衣袍艳色在青绿底色上跃动。左侧群鸟振翅惊飞，羽翼划破暮霭；右侧峭岩劲松静立，与奔涌的动势形成奇妙张力。笔锋细腻处，鞍马筋肉、人物神情历历可辨；设色古朴中，山水悠远衬出叙事沉厚。奔突的队列藏着热望，翻飞的翎羽似携吉兆，将历史壮阔与人心祈盼凝作绢上流转的光影——每一处细节都在诉说那段岁月里，对“中兴”的期盼与激昂，让沉厚的过往在笔墨间鲜活如初。",[25,30,29,35,553,7,33,41,2091],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0604cba49667b67c7ec636b0895bcd.jpg",[244,48],{"id":2095,"slug":2096,"title":2097,"dynasty":435,"author":2098,"museum":475,"description":2099,"tags":2100,"thumbUrl":2101,"material":362,"size":2102,"collection":46,"collections":2103,"showCount":2104,"zanCount":51,"manualWeight":51,"mainColor":52},221101,"jing-ji-rui-xue-tu-li-si-xun-221101","京畿瑞雪图","李思训","本幅无款识，右裱边项子京题：“唐云麾将军李思训画京畿瑞雪图，宋宣和御府藏物也，定为神品第一。\n古胥山樵项圣谟获于梅花和尚塔前，得秘玩焉，百金亦勿与易。\n” 扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。\n这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。\n正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。\n在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。\n有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[23,28,29,194,33,36,41,123,442,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2334ec9cbe1a44a99cc3ae230e4e85.jpg","纵42.7cm，横45.2cm",[46,48],105,{"id":2106,"slug":2107,"title":2108,"dynasty":99,"author":222,"museum":59,"description":2109,"tags":2110,"thumbUrl":2111,"material":288,"size":2112,"collection":69,"collections":2113,"showCount":2114,"zanCount":430,"manualWeight":51,"mainColor":52},223374,"feng-huang-tu-zhou-yi-ming-223374","凤凰图轴","图上一只蓝翎凤凰立于花丛中，红冠鲜艳，眼神威严、犀利，羽毛七彩斑斓，尾翎修长，单脚站立彰显百鸟之王的尊贵；四周牡丹盛开，花团锦簇，丹顶鹤、鸳鸯数只陪伴左右。此幅无款无印，应出自宫廷画家之手，宫廷风格甚浓。",[23,24,25,104,30,29,87,86,84,759,227,41,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b738fbba9f87096a63c79173451352a.jpg","92x43cm",[],104,{"id":2116,"slug":2117,"title":2118,"dynasty":99,"author":2119,"museum":119,"description":2120,"tags":2121,"thumbUrl":2124,"material":89,"size":2125,"collection":111,"collections":2126,"showCount":2127,"zanCount":51,"manualWeight":51,"mainColor":52},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,24,25,26,27,29,30,33,37,38,1704,41,2122,2123,7,40],"农舍","农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[111,46],103,{"id":2129,"slug":2130,"title":2131,"dynasty":18,"author":222,"museum":119,"description":2132,"tags":2133,"thumbUrl":2135,"material":89,"size":2136,"collection":48,"collections":2137,"showCount":2127,"zanCount":51,"manualWeight":51,"mainColor":52},219353,"hua-niao-tu-xing-hua-shuang-ya-yi-ming-219353","花鸟图-杏花双鸭","此幅绘柳岸池塘，杏花繁茂，双燕翻飞，翠鸟窥机、二鸭嬉戏。",[25,29,30,87,1236,2134,1033,7,1149,1915,1629],"双鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08be92aa3800553c043da2d21b1ba09.jpg","161.5x80.1",[48],{"id":2139,"slug":2140,"title":2141,"dynasty":156,"author":1573,"museum":158,"description":2142,"tags":2143,"thumbUrl":2144,"material":181,"size":2145,"collection":91,"collections":2146,"showCount":2127,"zanCount":51,"manualWeight":51,"mainColor":134},218762,"zhu-shi-ji-qin-tu-wang-yuan-218762","竹石集禽图","王渊（生卒年不详），字若水，号澹轩，钱塘（今浙江杭州）人。元代后期职业画家，擅画水墨花鸟、竹石、山水等。\n此图又名《花竹禽雀图》，以墨笔描绘园中禽雀栖息翱翔的场景。画面以一雄一雌的两禽为主体，雄禽立于湖石之上，炯炯有神，展现出胸部美丽斑斓的羽毛；辞禽于湖石下仰头回眸。在石后杜鹃盛开、竹枝生长，竹稍鸟群或栖息欲飞、或翻飞腾跃。\n技法上，王渊充分发挥墨彩的效果，通过运用浓淡枯湿的不同墨色，将水墨皴染和细笔勾勒等多种手法相结合，生动写实地表现出湖石、花朵、竹枝、禽鸟的不同质感，呈现出禽鸟的丰富神态，绘画细腻写实，是元代水墨画中的典型作品。",[23,25,24,26,104,122,30,32,528,82,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5497a6ceb9b1d521898be3b33cd857fc.jpg","纵137.5 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厘米",[91],{"id":2148,"slug":2149,"title":2150,"dynasty":18,"author":954,"museum":119,"description":2151,"tags":2152,"thumbUrl":2153,"material":89,"size":2154,"collection":91,"collections":2155,"showCount":2156,"zanCount":11,"manualWeight":51,"mainColor":52},218791,"ba-bai-chang-chun-tu-zhou-zhi-mian-218791","八百长春图","群鸟聚于虬枝间，动静交织成趣。或振翅俯冲，羽翼翻飞带起风意；或引颈相鸣，喙张似闻啁啾之声；或敛翼静栖，黑亮羽色衬暖褐底色，浓淡墨痕晕染出羽毛层次。虬枝蜿蜒，叶芽点缀其间，野趣盎然。整幅画面鲜活生动，鸟的姿态各异却和谐相融，似捕捉了林间一瞬的热闹场景，墨色与绢本底色相映成辉，尽显自然生机与笔墨意趣。",[23,25,24,26,104,30,87,7,67,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fd7ed05d03aaa2f92e4f07cd2b388aa.jpg","111.8x50cm",[91],102,{"id":2158,"slug":2159,"title":2160,"dynasty":99,"author":1657,"museum":59,"description":2161,"tags":2162,"thumbUrl":2164,"material":89,"size":69,"collection":48,"collections":2165,"showCount":2156,"zanCount":11,"manualWeight":51,"mainColor":52},218660,"he-ting-na-liang-tu-zhao-ling-rang-218660","荷亭纳凉图","亭畔柳丝轻垂如帘，半掩着凭栏闲坐的身影。池中荷叶片片叠翠，粉白的花影在微风里轻晃，似与远处烟霭中的山峦遥遥对语。远山以淡墨晕染，隐在薄云与江雾间，江天浩渺处，几只水鸟掠过，更添空寂。近景的石径、矮墙与草木，笔墨细腻却不繁冗，色彩温润如旧时光里的浅茶。整幅画没有燥热的夏意，只有风过荷塘的清凉与文人的从容——仿佛能听见荷叶上的露水滴落，也能看见那人眼中的江天辽阔。宋人的雅致与诗意，就这样凝在这一方圆幅里，淡而悠长，静而生动。",[23,24,25,26,29,30,33,35,40,426,453,41,7,2163],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79a4b33df725714b75d1cedff8520f.jpg",[48],{"id":2167,"slug":2168,"title":2169,"dynasty":77,"author":2170,"museum":207,"description":2171,"tags":2172,"thumbUrl":2174,"material":2175,"size":2176,"collection":244,"collections":2177,"showCount":2178,"zanCount":430,"manualWeight":51,"mainColor":134},238287,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238287","喻兰仕女清娱图册","喻兰","此图册共八幅。从精美的器皿、工巧的家具、华丽的服饰可知作者表现的是富贵人家女子，通过女子在室内品茗、吹箫、梳妆、投壶等行乐活动，说明了优越的生活环境不仅保障了她们衣食无忧，亦为她们提供了种种休闲条件，从而令她们具有多方面的修养。",[24,25,26,210,29,30,35,66,7,318,1955,286,2173],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f754f2a14cd591c9ca80e5a781de197.jpg","纸本、设色","每开纵17厘米，横22.7厘米",[244,48],101,{"id":2180,"slug":2181,"title":2182,"dynasty":18,"author":1476,"museum":59,"description":2183,"tags":2184,"thumbUrl":2185,"material":321,"size":322,"collection":69,"collections":2186,"showCount":2187,"zanCount":430,"manualWeight":51,"mainColor":134},228824,"san-zi-tu-shen-zhou-228824","三梓图","此图绘梓树三棵，树下二高士漫步对谈，三树排列得当，用笔浑然无迹，人物几笔勾勒，极显“粗沈”之功力。",[23,25,26,104,122,31,65,32,35,67,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50afdc956c6c0467cbc2cece7598519d.jpg",[],100,{"id":2189,"slug":2190,"title":2191,"dynasty":77,"author":769,"museum":119,"description":770,"tags":2192,"thumbUrl":2196,"material":29,"size":775,"collection":69,"collections":2197,"showCount":2187,"zanCount":51,"manualWeight":51,"mainColor":134},222752,"xian-e-chang-chun-tu-07b-lang-shi-ning-222752","仙萼长春图-07b",[23,24,25,26,210,29,30,87,7,2193,2194,2195],"麻雀","豆花","稷穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d348e9e77d0b308e8a29479ec471bb0.jpg",[],{"id":2199,"slug":2200,"title":2201,"dynasty":99,"author":2202,"museum":59,"description":2203,"tags":2204,"thumbUrl":2205,"material":321,"size":322,"collection":69,"collections":2206,"showCount":2207,"zanCount":51,"manualWeight":51,"mainColor":52},289008,"qiu-shan-xing-lv-tu-guo-xi-289008","秋山行旅图","郭熙","峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,25,104,1623,122,31,33,36,37,38,39,7,1480,67,123,564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5d5cac4d9e5299c3b085ebe490c758.jpg",[],99,{"id":2209,"slug":2210,"title":2211,"dynasty":18,"author":1609,"museum":101,"description":2212,"tags":2213,"thumbUrl":2216,"material":89,"size":69,"collection":91,"collections":2217,"showCount":2207,"zanCount":11,"manualWeight":51,"mainColor":52},219052,"lu-yan-tu-lin-liang-219052","芦雁图","墨色浓淡交织间，苇丛恣肆舒展，叶片如剑划破虚灵的背景，尽显野逸之趣。雁群姿态憨然，或低头啄食，或翘首顾盼，羽毛以淡墨晕染，绒质感呼之欲出，兼工带写的笔法将水禽的灵动与野趣凝于尺幅。画面不着艳色，却于水墨淋漓中透出秋江芦岸的清寂与生机，笔力雄健又不失细腻，尽显写意花鸟的奔放与传神，仿佛能听见苇叶沙沙，雁鸣轻啼，将自然之趣定格成永恒的诗意图景。",[23,25,122,1479,87,934,2214,7,2215,163],"雁","岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef142504755ac0f39ccbabbb50b7aca.jpg",[91],{"id":2219,"slug":2220,"title":2221,"dynasty":99,"author":539,"museum":59,"description":2222,"tags":2223,"thumbUrl":2225,"material":321,"size":322,"collection":69,"collections":2226,"showCount":2227,"zanCount":51,"manualWeight":51,"mainColor":457},289659,"han-lin-qi-lv-tu-li-cheng-289659","寒林骑驴图","此为张大千氏大风堂旧藏，在大立轴上画文人骑驴行于郊野，前后有童仆相随。",[23,25,104,122,33,1756,440,2224,7,635,163,31],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a41e40e74bbef65a72e644fd95d8972.jpg",[],98,{"id":2229,"slug":2230,"title":2231,"dynasty":99,"author":1700,"museum":475,"description":2232,"tags":2233,"thumbUrl":2238,"material":89,"size":2239,"collection":46,"collections":2240,"showCount":2227,"zanCount":430,"manualWeight":51,"mainColor":52},217869,"qiu-lin-die-zhang-tu-jiang-can-217869","秋林叠嶂图","秋林叠嶂图描绘的是一片秋天的山林，这片山林位于海拔较高的地方，因此能看到远处的秋天的山林。这幅画的画面非常宁静，令人感到非常舒适。画中有许多树木，其中有许多松树，还有一些枫树。这些树木都长得非常茂盛，充满了生机。画中还有许多山峰，山峰之间相互倚靠，形成了一道道叠嶂。画中还有几只鸟儿，它们在枫树的枝头上唱着歌。\n\n总的来说，这幅秋林叠嶂图是一幅非常优秀的山水画作品，江参的画风独特，山水画作品非常出名。这幅画的描绘的秋天的山林非常真实，令人感觉非常自然，是一幅非常美丽的画作。",[25,1623,2234,2235,374,2236,7,38,36,2237],"秋林","叠嶂","枫树","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1988e2d8ba1187067f488aa5793dcca.jpg","168.7x96.3cm",[46],{"id":2242,"slug":2243,"title":2244,"dynasty":77,"author":769,"museum":207,"description":2245,"tags":2246,"thumbUrl":2248,"material":288,"size":2249,"collection":91,"collections":2250,"showCount":2251,"zanCount":430,"manualWeight":51,"mainColor":134},236270,"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[25,24,26,104,30,29,2247,35,553,7,33,440,126,1266,441,286],"中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","纵259厘米，横171.6厘米",[91,46,244,48],97,{"id":2253,"slug":2254,"title":2255,"dynasty":18,"author":175,"museum":253,"description":2256,"tags":2257,"thumbUrl":2259,"material":303,"size":2260,"collection":46,"collections":2261,"showCount":2251,"zanCount":51,"manualWeight":51,"mainColor":134},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,25,26,27,122,29,33,31,515,39,7,67,38,123,2258,1225,40,41],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[46,48],{"id":2263,"slug":2264,"title":267,"dynasty":77,"author":2265,"museum":101,"description":2266,"tags":2267,"thumbUrl":2268,"material":303,"size":2269,"collection":244,"collections":2270,"showCount":2251,"zanCount":430,"manualWeight":51,"mainColor":52},218513,"shi-nv-tu-wang-zhao-xiang-218513","王兆祥","描绘了一个女人在喂养一只八哥，她的身体很轻盈，展示了她的三寸金莲。",[25,26,104,63,29,35,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960305f61098ea3cba367f9a0d72cb95.jpg","136.8x61.8",[244],{"id":2272,"slug":2273,"title":2274,"dynasty":435,"author":436,"museum":59,"description":2275,"tags":2276,"thumbUrl":2278,"material":321,"size":322,"collection":69,"collections":2279,"showCount":2280,"zanCount":51,"manualWeight":51,"mainColor":457},288455,"jiang-shan-xue-ji-tu-wang-wei-288455","江山雪霁图","图绘峰峦层叠，长松杂树，瀑布由山腰奔腾而下，隐入林中。中景山脚平陂，古木耸立，房舍寺院；左侧白雪覆山，小径曲折通向远处，农夫相间往来，石岩之前溪流潺缓，注入冬湖，近岸又有板桥一座。近景高树参天，坡石伏岸，竹篱房舍隐见。此图构思成熟，笔法谨严认真，多以细秀圆润笔作皴画石，一丝不苟，再加以平衬染渲，点缀勾提。显示出一种清静、纯洁、寒意袭人的气氛。细微处，可见篱栅圈地，旅人穿山而行，更是增添了一种盎然生机。",[25,27,1623,122,442,440,1756,7,2277],"萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec14c9886abbd9d04a89c8b10683b62.jpg",[],96,{"id":2282,"slug":2283,"title":2284,"dynasty":18,"author":1609,"museum":119,"description":2285,"tags":2286,"thumbUrl":2287,"material":181,"size":2288,"collection":91,"collections":2289,"showCount":2280,"zanCount":11,"manualWeight":51,"mainColor":52},218845,"ying-tu-lin-liang-218845","鹰图","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意没骨技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[25,26,24,104,122,1479,87,7,1548,1753,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d271fc592f2aaf9b0f31185b041e211.jpg","133.4x80.5cm",[91],{"id":2291,"slug":2292,"title":2293,"dynasty":18,"author":19,"museum":119,"description":2294,"tags":2295,"thumbUrl":2298,"material":89,"size":2299,"collection":46,"collections":2300,"showCount":2280,"zanCount":51,"manualWeight":51,"mainColor":134},214585,"lin-song-yuan-liu-jing-ce-gao-feng-yuan-hu-chou-ying-214585","临宋元六景册-高峰远湖","明代画家仇英的临宋元六景册是一件著名的绘画作品，其中的高峰远湖图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了仇英对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，仇英运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的高峰远湖是一幅清新而美丽的山水画，它体现了仇英对自然的热爱和对传统文化的尊重。\n\n总的来说，仇英的临宋元六景册是一件精美的绘画作品，其中的高峰远湖图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了仇英对自然的热爱和对传统文化的尊重。",[25,26,210,62,29,30,33,2296,2297,39,7,40],"高峰","远湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c93acfe478b7285b0a2f003b964b0.jpg","29.2x47.1cm",[46],{"id":2302,"slug":2303,"title":2304,"dynasty":18,"author":2305,"museum":119,"description":2306,"tags":2307,"thumbUrl":2308,"material":89,"size":2309,"collection":46,"collections":2310,"showCount":2311,"zanCount":351,"manualWeight":51,"mainColor":52},217059,"xun-mei-tu-zhu-duan-217059","寻梅图","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[25,26,33,104,31,122,29,35,37,38,163,7,179,143,40,256,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[46],95,{"id":2313,"slug":2314,"title":2315,"dynasty":77,"author":2316,"museum":1056,"description":2317,"tags":2318,"thumbUrl":2319,"material":181,"size":2320,"collection":91,"collections":2321,"showCount":2311,"zanCount":51,"manualWeight":51,"mainColor":134},216113,"song-ying-tu-gao-qi-pei-216113","松鹰图","高其佩","高其佩的指画，墨法得力于吴镇，形象近于吴伟，以减笔写意法见长，尤喜画虎、画钟馗。在技巧方面，他在《述画诗》中道：“吾画从吾手，甲骨掌背俱，手落尚无物，物成手却无。”可见他的指画运用了手的各个部分。他的指画有“叱石成羊”之妙，人物形象极为生动，面部用尖指甲细勾，简练传神，画衣纹指尖指甲并用，顿挫自如，冠靴用指掌涂抹，墨色浑然；花鸟画则随意点染的浓淡干湿墨色，飞动不露笔痕的粗细线条，蹲鹰的蓬松羽毛，老树的苍劲之质均表现得十分出色。\n高其佩以指画在画坛独树一帜，指画作品清、奇、简淡浑厚，而神韵尤在指墨之外，其艺术成就，对后世影响很大。在他之后，出现了很多知名指画家，其中包括他的徒弟“扬州八怪”的罗聘，李鱓和黄慎亦擅指画，清晚期著名的指画家就有一百多人，现代国画大师潘天寿、钱松岩等都深受其影响。他的指画创作则信手一挥，倾刻数十幅，令人惊讶，一生的作画数量极为惊人。主要作品有：《饱虎图》、《雁行图》、《怒容钟馗图》、《梧桐喜鹊图》、《虬松莫岫图》、《高冈独立图》、《稻穗螳螂图》、《松阴小琪图》、《指画人物》册等。",[23,25,24,122,1479,31,104,67,374,1548,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff940dda9a789d8da923f8b9917eaad90.jpg","172x90cm",[91],{"id":2323,"slug":2324,"title":2325,"dynasty":156,"author":1573,"museum":1556,"description":2326,"tags":2327,"thumbUrl":2328,"material":197,"size":2329,"collection":91,"collections":2330,"showCount":2331,"zanCount":51,"manualWeight":51,"mainColor":52},221840,"lian-ji-ling-tu-wang-yuan-221840","莲鹡鸰图","此图是唐绘手鉴《笔耕园》60幅册页中的一幅。王渊花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，得写生之妙，时称“绝艺”。天机溢发，肖古而不泥古。",[23,24,25,26,30,29,87,453,7,702,1287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8dcc488c7d4ab10557e1ad0364ca7b.jpg","29.9×36cm",[91,48],94,{"id":2333,"slug":2334,"title":2335,"dynasty":99,"author":2336,"museum":793,"description":2337,"tags":2338,"thumbUrl":2339,"material":89,"size":2340,"collection":111,"collections":2341,"showCount":2331,"zanCount":51,"manualWeight":51,"mainColor":52},219105,"cang-ying-bu-zhi-tu-huang-ju-shi-219105","苍鹰捕雉图","黄居宩","画在山坡上，青竹高大，桃枝顶绿叶萌芽，桃花盛开； 下方，一只老鹰将野鸡按在脚下，野鸡五颜六色的羽毛在被捕获后瞬间炸开。 ，张开的喙似乎受到惊吓并尖叫着求救。",[23,24,25,26,104,30,29,87,143,528,163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[111,91],{"id":2343,"slug":2344,"title":2345,"dynasty":99,"author":222,"museum":59,"description":2346,"tags":2347,"thumbUrl":2348,"material":181,"size":2349,"collection":46,"collections":2350,"showCount":2331,"zanCount":430,"manualWeight":51,"mainColor":457},218618,"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[25,26,489,30,122,29,38,7,41,163,87,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[46,111],{"id":2352,"slug":2353,"title":2354,"dynasty":99,"author":222,"museum":253,"description":2355,"tags":2356,"thumbUrl":2361,"material":89,"size":1206,"collection":244,"collections":2362,"showCount":2331,"zanCount":430,"manualWeight":51,"mainColor":134},218235,"luo-shen-fu-tu-yi-ming-218235","洛神赋图","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[23,24,25,26,27,29,30,35,66,2357,39,38,41,1204,2358,7,2359,2360],"洛神","仙禽异兽","怅惘","神话场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg",[244],{"id":2364,"slug":2365,"title":2366,"dynasty":77,"author":2367,"museum":59,"description":2368,"tags":2369,"thumbUrl":2371,"material":321,"size":322,"collection":46,"collections":2372,"showCount":2373,"zanCount":51,"manualWeight":51,"mainColor":134},235658,"shan-shui-ping-yuan-jiang-235658","山水屏","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[25,26,104,194,29,30,31,33,36,1355,41,123,7,38,2370,1704],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[46],93,{"id":2375,"slug":2376,"title":2377,"dynasty":156,"author":2378,"museum":207,"description":2379,"tags":2380,"thumbUrl":2381,"material":197,"size":2382,"collection":46,"collections":2383,"showCount":2373,"zanCount":51,"manualWeight":51,"mainColor":52},220818,"guan-shan-xiao-si-tu-zhou-wang-meng-220818","关山箫寺图轴","王蒙","王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。\n他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。\n《画史绘要》中说：“王蒙山水师巨然，甚得用墨法”。",[23,25,26,104,33,29,31,194,516,36,38,41,2370,7,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1601b0cd43037b968c1bf32d6a8e7830.jpg","纵161.7cm，横56cm",[46,48],{"id":2385,"slug":2386,"title":2387,"dynasty":99,"author":222,"museum":119,"description":2388,"tags":2389,"thumbUrl":2390,"material":1321,"size":2391,"collection":91,"collections":2392,"showCount":2373,"zanCount":430,"manualWeight":51,"mainColor":52},218910,"ku-mu-zhu-shi-tu-yi-ming-218910","枯木竹石图","在这幅画中，用飞白的方法在画面上画了一个石块，墨色淡而笔力强。三两根竹子站在岩石的背面，叶子用优雅而厚实的笔画着，仿佛是春山上的云朵。在一棵寒冷的树枝上，栖息着一种山鸟，它的羽毛非常精致。仔细观察笔触和墨迹，艺术家已经开始形成与赵孟𫖯的相似性。",[23,25,26,24,122,31,87,106,528,163,7,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae588fde6c3ba57b3dc0a96ffdc698.jpg","107.9x51.1厘米",[91],{"id":2394,"slug":2395,"title":2396,"dynasty":18,"author":2397,"museum":119,"description":2398,"tags":2399,"thumbUrl":2401,"material":89,"size":2402,"collection":46,"collections":2403,"showCount":2373,"zanCount":11,"manualWeight":51,"mainColor":52},214741,"qiu-lin-shu-wu-tu-zhao-zuo-214741","秋林书屋图","赵左","这幅画表现的是一个男人独自坐在森林下的书房里，云雾笼罩着远处的山。构图很简单，将河流和天空留白，加上一些水墨，这幅画的特点是柔和和优雅。",[25,1623,122,31,104,32,2234,2400,41,123,38,748,7],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c65d9c974db8e736b5c1f04d0b6cde.jpg","103.1x51.4",[46],{"id":2405,"slug":2406,"title":2407,"dynasty":77,"author":2408,"museum":59,"description":2409,"tags":2410,"thumbUrl":2413,"material":69,"size":69,"collection":69,"collections":2414,"showCount":2415,"zanCount":11,"manualWeight":51,"mainColor":134},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","石涛","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[25,26,27,29,33,31,65,32,64,34,39,7,36,37,38,40,41,123,124,2411,2412],"人家","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],91,{"id":2417,"slug":2418,"title":2419,"dynasty":99,"author":190,"museum":2420,"description":2421,"tags":2422,"thumbUrl":2423,"material":303,"size":2424,"collection":91,"collections":2425,"showCount":2415,"zanCount":430,"manualWeight":51,"mainColor":52},219085,"qu-yu-tu-zhao-ji-219085","鸜鹆图","南京博物院","枯松虬枝如铁，松针细劲如丝，三只鸜鹆各呈姿态——枝上者振翅欲起，喙微张似唤侣；空中双鸟俯冲而下，羽翼翻飞间尽显灵动。鸟羽的绒质感与松皮的粗糙纹理形成鲜明对比，笔致工细却不失生趣。旁侧瘦金书题跋笔锋挺劲，与画面的苍劲灵动相映成趣，加之错落的朱印，更添古朴雅致。整幅画作将写实工笔与文人意趣融于一体，动静相宜，形神兼备，尽显宋代院体画的精妙与雅致。",[25,24,26,30,87,7,374,1753,122,29,64,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5e3b05c779fc2ee02230a1b9ba12cd.jpg","纵88.2横52厘米",[91],{"id":2427,"slug":2428,"title":2429,"dynasty":77,"author":385,"museum":207,"description":2430,"tags":2431,"thumbUrl":2432,"material":2433,"size":2434,"collection":46,"collections":2435,"showCount":2436,"zanCount":51,"manualWeight":51,"mainColor":134},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,25,26,210,122,29,33,36,37,39,7,41,123,124,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纸本，设色","纵27.5cm，横35.2cm",[46,131],90,{"id":2438,"slug":2439,"title":2440,"dynasty":156,"author":2441,"museum":207,"description":2442,"tags":2443,"thumbUrl":2445,"material":362,"size":2446,"collection":46,"collections":2447,"showCount":2436,"zanCount":11,"manualWeight":51,"mainColor":52},220783,"lu-hua-han-yan-tu-wu-zhen-220783","芦花寒雁图","吴镇","《芦花寒雁图》是元代画家吴镇创作的一幅绢本墨笔画，现收藏于北京故宫博物院。\n《芦花寒雁图》以平远法绘秋日水滨景色，水面微波荡漾，蒹葭苍苍，一双芦雁振翅飞起，渔父于舟头仰首凝视。画面空灵寒寂，形成了平淡清远的境界。图中以平行置景的手法表现空阔无际的水泊，以浓淡变化的水墨表现远近层次，平中见奇。\n此图中心部分画了一个大的芦苇塘，时已深秋，两岸芦花在随风摆动。塘中画一正在行驶的小船，船头一艄公须髯飘拂，一边划桨，一边昂首望天，他显然听到了寒空雁叫，才把目光转向天空。上部空中，有两只孤雁，正背着小船的方向飞去。\n自屈原《渔父》及《庄子》中的渔父形象在文学作品中出现后，渔父成了清高孤洁、避世脱俗、浪迹江湖的隐士化身。渔父形象的大量出现并形成一种风气是在元代。由于元代在中国历史上是蒙古民族入主中原并统治全中国的朝代，其民族歧视政策使大量文人都采取古典绘画的人文意蕴了不与之合作的态度。在这种社会背景下，渔父清高、避世、逍遥的人生为许多隐退文人所仿效，这其中，吴镇对渔父最为情有独钟。\n吴镇在元至顺元年（公元1330年）所绘的《芦花寒雁图》是其一系列“渔隐”主题作品中的一幅，在画中适当变化了《寒林重汀图》中的构画元素。\n《芦花寒雁图》中双雁起飞，渔父仰首观望，通过细致描绘周边环境，巧妙地把渔父安排于水面一个较突出的位置。 此图画幅不大，却意境深远。画面采用三段式构图，平行的披麻皴。横向铺开，除了渔父和寒雁外，《芦花寒雁图》中的大多物象都能在《寒林重汀图》中找到，可见董源对吴镇的影响。\n此图技法上用柔润的线条勾写物象，笔法灵活，疏简秀逸，自然平淡，苍润华滋，具有文人的书卷气。图中山石、坡地直接用大笔，连扫带染，使得皴笔与渲染的墨色自然地交融在一起。再加以披麻皴，罩一层水墨，略分浓淡，以区分山石的凹凸向背。在水域的处理上，更是用湿笔淡墨层层铺陈。在用墨上，饱蘸水分，将江南湿润的空气流动在画中。",[23,25,26,104,122,31,32,39,1225,2444,7,33],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33051a230060350c9af21019672658.jpg","纵83.3厘米，横27.8厘米",[46,131],{"id":2449,"slug":2450,"title":2451,"dynasty":99,"author":897,"museum":2452,"description":2453,"tags":2454,"thumbUrl":2455,"material":1321,"size":2456,"collection":111,"collections":2457,"showCount":2436,"zanCount":51,"manualWeight":51,"mainColor":52},220312,"xi-yang-qiu-se-tu-ma-lin-220312","夕阳秋色图","根津美术馆","《夕阳秋色图》画面上的淡云浅山已经褪色，水流处一片苍茫。这种岁月的沧桑，在画墨的点线之中且隐且行，既刻录了时间的优雅，又释放出历史的气味。\n宋理宗赵昀在欣赏《夕阳秋色图》时忘乎所以，把一切朝中繁杂置之脑后，流连画中苍茫山水、江南秋色。在几只燕子嬉戏的场景里，忽然想起活泼可爱的周汉公主。在膝下无子的岁月里，这位掌上明珠得到理宗的万般宠爱。",[25,33,29,31,563,748,41,7,1149,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcd624d868e1bf9f63b27d62406ca745.jpg","51.3X26.6厘米",[111,131],{"id":2459,"slug":2460,"title":2461,"dynasty":139,"author":594,"museum":59,"description":2462,"tags":2463,"thumbUrl":2465,"material":321,"size":322,"collection":69,"collections":2466,"showCount":2467,"zanCount":51,"manualWeight":51,"mainColor":52},288974,"ping-po-shan-niao-tu-huang-quan-288974","苹婆山鸟图","竹石花雀学刁光胤与滕昌佑、山水松石学李升、人物龙水学孙位、画鹤学薛稷，皆能脱去古人格律，自创新意。而且，黄筌一家具擅绘画，其弟唯亮，子居宝、居实、居寀，其中尤以黄居寀的成就最大，黄氏父子的花鸟画，在当时人们普遍认为其风格特点是“黄家富贵”。宋人沈括在《梦溪笔谈》中明确指出：“诸黄(指黄氏一家)画花妙在傅色，用笔极新细，殆不见墨迹，但以轻色染成，谓之写生”。\n入秋的山林，一颗颗绯红了脸颊的苹果，悬挂在枝叶间。芬芳的气味、鲜艳的色彩，招来了不少「小过客」们在此停留，留下了许多的斑点与啮痕。一只娇小的粉红鹦嘴，也忍不住好奇地飞了上来。它轻巧地停落在弯细的枝桠上，仰着圆小的脸蛋，摇着细长的尾巴，淘气地又蹦又跳的，好不开心！\n粉红鹦嘴旧名黄头，是种可爱、善斗的小鸟。而吸引粉红鹦嘴的苹果树，传统名为「林檎（禽）」或「来禽」。名称的由来，据说是因为它的果实（即苹果）味道甘醇、甜美，因此常常能吸引许多鸟禽来此聚集的缘故。至于画名以「苹婆」（即柰，又名凤眼珠）相称，应是古人误题了，两者事实上并不相同。\n这幅精巧的「苹婆山鸟」，旧传为五代画家黄筌（活动于903-965）所作。黄筌是中国花鸟画史里，开创工笔细致风格的大师，对五代到北宋初期的画坛影响深远。这幅画作虽非大师亲笔，可是无论是特写式的取景方式或是精辟入理的写实趣味，都明显受到黄筌的影响，是一幅宋代杰出的花鸟画小品。",[25,489,30,29,87,7,2464],"苹婆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ea7a4296d2a431f72d4200daacb413.jpg",[],89,{"id":2469,"slug":2470,"title":2471,"dynasty":18,"author":722,"museum":119,"description":2472,"tags":2473,"thumbUrl":2474,"material":89,"size":2475,"collection":91,"collections":2476,"showCount":2467,"zanCount":11,"manualWeight":51,"mainColor":52},218790,"hua-hui-ling-mao-tu-lv-ji-218790","花卉翎毛图","吕纪（约 1429-1505），字廷振，浙江鄞县人。花鸟初学边文进（15 世纪），后又广摹唐宋名家，艺事益能精进。明孝宗弘治（1488-1505）间与林良（约1424-1500 后）同值仁智殿， 任锦衣卫指挥使。\n本幅画春暖花开时节，杏花临水绽放，柳树迎风摇曳， 八哥、山鸟停憩、飞翔于其间。溪中游鱼成群，隔岸两对鸳鸯，景致富丽而怡人。画中并无作者款印，布局与笔意，饶有吕纪之精神面貌，研判应出自传承吕氏风格的宫廷画家之手。",[23,25,24,30,29,87,1797,238,759,165,989,1149,1915,7,1033],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1048483f5027abb6034036a7b9aeaaa.jpg","193.2x116cm",[91],{"id":2478,"slug":2479,"title":2480,"dynasty":77,"author":2481,"museum":59,"description":2482,"tags":2483,"thumbUrl":2484,"material":321,"size":322,"collection":69,"collections":2485,"showCount":2486,"zanCount":430,"manualWeight":51,"mainColor":134},288138,"hua-niao-tu-ye-ren-yi-288138","花鸟图页","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,25,489,30,29,87,7,1256,64,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60e23a255768ce7e9fd81450f398093.jpg",[],88,{"id":2488,"slug":2489,"title":2490,"dynasty":77,"author":2408,"museum":59,"description":2491,"tags":2492,"thumbUrl":2493,"material":69,"size":69,"collection":46,"collections":2494,"showCount":2486,"zanCount":11,"manualWeight":51,"mainColor":134},234647,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234647","原济金陵十景图册","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[25,122,65,210,33,39,7,1149,516,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6020bc5a26b64366dfa9a8384032aebb.jpg",[46],{"id":2496,"slug":2497,"title":2498,"dynasty":435,"author":2499,"museum":119,"description":2500,"tags":2501,"thumbUrl":2503,"material":181,"size":2504,"collection":131,"collections":2505,"showCount":2486,"zanCount":51,"manualWeight":51,"mainColor":134},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,25,26,27,122,31,64,65,32,33,2502,41,123,38,40,163,37,7],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[131],{"id":2507,"slug":2508,"title":2509,"dynasty":1017,"author":2510,"museum":59,"description":2511,"tags":2512,"thumbUrl":2513,"material":321,"size":322,"collection":69,"collections":2514,"showCount":2515,"zanCount":11,"manualWeight":51,"mainColor":52},290027,"hua-niao-tu-ping-feng-shou-ye-song-rong-shou-ye-guang-xin-290027","花鸟图屏风","狩野松荣、狩野光信","狩野光信面對新興漢系畫家的競爭，不得不奔走於豐臣家與德川家之間以取得更多委託，並透過狩野長信 (1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[23,25,241,87,30,29,179,227,957,84,1548,85,7,33,126,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],87,{"id":2517,"slug":2518,"title":2519,"dynasty":645,"author":646,"museum":207,"description":2520,"tags":2521,"thumbUrl":2522,"material":2523,"size":2524,"collection":69,"collections":2525,"showCount":2515,"zanCount":51,"manualWeight":51,"mainColor":134},232939,"you-chun-tu-juan-zhan-zi-qian-232939","游春图卷","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，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。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。下端一角，便是坡陀花树，围绕山庄。描绘出明媚春光和游人在山水中纵情游乐的神态。各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。\n早期的山水画通常会呈现出“人大于山和水不容泛、树木若伸臂布指”的状态，这说明了早期山水画的不成熟，在构图方面体现了较为幼稚的特点。《游春图》的章法布置则突破了以往的画风束缚，形成了十分有特色的构图方式，结构层次颇有特点。它的画面的右上部主要是山峦的表现，绘有大量的崇山峻岭，展现了一副山峦起伏、峰回百转的形态。若在之前，这个画面可能就算是完成了整个景观背景的塑造。但是展子虔并没有到此为止，在画面的右下方，他在画面中画上了山间小径，小径则是由低矮的树木、草丛组成，曲径通幽，旖旎风光、透逛山路，成为了右上方巍峨高山的延伸部分。这样，高山便成为了山路的背景，山路又成为了高山的细节铺垫和展现。这就使得整个画面比前期山水画更显全面、沉稳、丰富。而在画面的左侧，观者可以看到展子虔在此绘有一处低矮的小山丘。这一小山丘能够与右侧上方的崇山峻岭遥遥相对，形成鲜明的对比。在画面的中问，则有大片江河，形成一道波光粼粼的天堑，并与湖水、天空融会在一起，使得整个画面形成湖天一色、山河并举的形象。值得一提的是，画面并未只以山川与河流为主，而是在细节之处加以点缀：江河之中有小船点缀其中，船中有三四位神态各异、姿态不同的人物，将人声、山河画面融合在一起，并通过山川、河流、船舶、人物等形象构造出整个画面的图片比例。\n深究整个《游春图》，可以发现该画以山川、水系为主体，将人物、古刹、船舶、阁楼等融于山水，成为画面中的重要景观。这些景观相互配合，运用其形象的客观物象来表达画面事物之间的大小、高低、远近等的关系。合理地处理画面关系，使得展子虔对画面的比例、深度等都能有十分准确的把握，并根据其特点，进行处理和变化。也正是由于这种十分合理的处理和变化，才能够使得山水画的构造变得更加符合现实，使得该画变化成了“超然物外”的穿插构图，形成隋代山水画的新格局，使得中国山水人物画的表现形式和审美取向变得更加成熟。\n运笔成熟，表现独特。展子虔在绘画创作上十分敢于并善于创新，尤其善于在细节处用笔。在观者欣赏《游春图》的时候，不难发现它无处不是点缀着代表盎然生气的绿色。例如，画面就有很多还没有完全长满枝芽的树木，这些枝芽就是展子虔运用独特的勾画技巧形成的，即青绿勾填技法。这种技法不仅仅使得他的创作变得“细密精致而臻丽”，更让他的这种创作方法成为了中国山水画的重要技法之一。\n在绘画山川石木的时候，展子虔善于运用细节，运用细笔勾勒它们的轮廓。以青绿色以及其他明丽的色彩来展现画面。例如，他在刻画《游春图》的山石树木之时，善于将山石树木的线条不用刻意有粗细、明暗的变化，它们不用刻意地添加皱祈，也照样能体现出古朴苍劲、俊朗豪迈的形象。而在描绘人物的时候，展子虔也习惯运用细节来展现人物的形态、神态等，虽然画面中的人物形象没有过大改变，但是人物神情却可以是各有特色，每个人的衣着外观都十分飘逸流畅，也使得观者有“观人于微，，的感受。另外，他还善于运用“点花”的方法，勾勒细节，例如对枝芽的处理，他也会运用粉点点上，形成芽苞初放的形象。而在绘画人物上，作者也是用了这种点染的方法，让细小如豆的人马等都形态毕现。\n青绿重彩，工细巧整。在隋代之前，魏晋时期的山水画不仅仅在构图、形状、用笔等方面都比较单一，而且在整个画面的用色方面也都十分单一。而在隋代展子虔的《游春图》中，其形状不仅仅充满变化，而且在用色上也更加丰富和大胆。展子虔为了改变以往单调而简单的填色方式，将自己大胆的想象和细致的技法运用到画面中。《游春图》以青绿色为主色调，并在此基础上，形成细工精琢的用色方法。例如，在画面右上部分，作者开始运用青绿着色，展现了初春山林间盎然的生机。而在右下部分，表现山间小路时，作者却用泥金来表现，展现了山林中春寒未退的山色。这样两类用色，使整个画面的表现力更加丰富。同时，在绘画树木之时，展子虔更加注重细节的刻画。在对树叶设色时，它不仅仅运用色填或者色染，而且还运用点彩的形式，来展现含苞初放的春日娇态。\n《游春图》除了对画面中的不同物象进行了十分具有特点的用色之外，在敷色上增加各种晕染等方法，使不同对象在色彩表达上显得更加统一而完善。在描绘松树时，画家并没有以松针来展现，而是用深绿色运笔，在表现其他花木时，画家则运用桃红色、白粉色等来展现，形成单纯而丰富、古朴而艳丽的形象特点。因而，纵观整个《游春图》，其画面展现的是新绿成荫、繁花盛开、水天一色、深浅莫辨的特点。而在对人物的描绘过程中，展子虔运用山后白云来展现人物所处的背景，并能够以此来衬托人物游春时的心境。而对于人物本身的形象来说，展子虔则也善于用粉色和白色进行点染，使得整个画面更显风格细腻、轻松生动。\n唐代僧彦悰《后画录》：“触物为情，备皆妙绝”，“远近山川，咫尺千里。”\n唐代张彦远：“动笔形似，画外有情。”\n宋代《宣和画谱》：“写江山远近之势尤工，故咫尺有千里之势。”\n明代董其昌：（《游春图》）是“世所罕见”的墨宝。\n当代作家沈从文：“这画卷的重要,实在是对于中国山水画史的桥梁意义……没有它，历史即少了一个重要环节。”\n现存于故宫博物院的《游春图》是展子虔唯一传世的代表作，也是世界上存在最早的画卷，它的存在，对中国乃至世界的绘画史、艺术史都具有极为重要的作用。\n在《游春图》出现之前，中国早期的山水画通常是“人大于山、水不容泛”。也就是说，绘画中人物形象的塑造比山还要大，而对于水的绘画，却永远不会有波光粼粼的形态，而是犹如一潭死水般地停留在画布上。可见，在展子虔之前的，尤其是南北朝时期的山水画仍然存在很多不足，这些画家们通常无法把握好山水、人物的比例关系，也不能完美、生动地展现山水的飘逸之感。而《游春图》出现之后则打破了这种限制，全图无处不展现着一种空间之美，人物、山水疏密安排十分得宜，展现着自然界的交替、交换与重叠。\n游春图之所以能够成为中国山水画承上启下的代表作品，不仅仅在于画面呈现的内容，更在于它异于前人的创作手法和审美取向，展现出了于方寸之地尽显千里之姿的艺术特点。\n《游春图》构图壮阔沉静，设色古艳，富有典丽的装饰意味，体现出承上启下的风格，也标志着山水画即将进入成熟期，他在山水画上所达到的成就及其绘画方法，直接开启了唐代画家李思训、李昭道父子金碧山水的先河。\n1980年5月27日华国锋到日本进行正式访问时，赠给日本天皇的礼品中，就有一幅中国现代女画家临摹的隋朝画家展子虔的《游春图》。",[24,25,26,27,28,29,33,35,36,37,38,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd3613327ff7d09b2f5cbe51fadde61.jpg","绢本绘画","高43厘米，宽80.5厘米",[],{"id":2527,"slug":2528,"title":2529,"dynasty":1017,"author":2530,"museum":59,"description":2531,"tags":2532,"thumbUrl":2535,"material":321,"size":322,"collection":46,"collections":2536,"showCount":2515,"zanCount":51,"manualWeight":51,"mainColor":52},230504,"shi-ting-shi-dai-si-ji-hua-niao-tu-ping-feng-yi-ping-xue-zhou-230504","室町时代 四季花鸟图屏风-一屏","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,2533,26,241,122,63,1479,934,7,1288,2534],"日本画","湿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77861560213211ee329ec40013d0180f.jpg",[46],{"id":2538,"slug":2539,"title":2540,"dynasty":99,"author":2541,"museum":119,"description":2542,"tags":2543,"thumbUrl":2546,"material":1321,"size":69,"collection":131,"collections":2547,"showCount":2515,"zanCount":11,"manualWeight":51,"mainColor":134},218687,"qing-quan-ming-he-tu-ma-he-zhi-218687","清泉鸣鹤图","马和之","淡墨晕染的山峦在云雾中若隐若现，似远似近间透出空濛之趣。岸侧虬枝盘曲，老干新枝交织，墨色浓淡相衬，尽显草木生机。清泉自石间潺潺而下，漱玉之声仿佛可闻。几只仙鹤或立汀洲，或振翅轻翔，羽翅线条流畅如兰叶，姿态灵动逸脱。鹤鸣与泉声相和，在幽寂的山水间漾开清旷之韵。整幅画笔墨简淡却意韵深浓，山石皴法疏朗，构图疏密有致，将自然的静谧与生命的灵动融于一纸，尽显宋人对林泉之乐的诗意追寻，读之令人心向澄明。",[23,25,122,33,7,84,2544,38,41,123,124,31,2545,26,27],"清泉","宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666423ffde0f0389cb0fa868b5cac17a.jpg",[131],{"id":2549,"slug":2550,"title":2551,"dynasty":18,"author":2552,"museum":918,"description":2553,"tags":2554,"thumbUrl":2555,"material":89,"size":2556,"collection":46,"collections":2557,"showCount":2515,"zanCount":51,"manualWeight":51,"mainColor":52},218261,"song-xia-wen-yu-tu-wu-wei-218261","松下问渔图","吴伟","虬松盘曲如铁，枝桠垂覆江畔。两位士人对坐石上促膝清谈，旁侧渔舟静泊，篙楫斜倚。远山含黛，烟霭轻笼，天地间漫着淡远暮色。笔墨苍劲洒脱，松干以浓墨皴擦显肌理，人物衣纹简括传神，寥寥数笔便现悠然神态。山水用淡墨晕染，虚实相生，烟波浩渺中藏无尽悠远。士人问渔，似叩问江湖意趣，亦或人生真味？画面动静相契，渔舟静谧与松风隐动、士人低语与山水无言交织，成一段清雅林下之思。笔墨纵逸却不失韵致，融山水之幽与人文之趣，尽显笔势见长的意趣盎然，引人沉潜其中。",[23,25,122,29,31,35,374,39,123,1149,748,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf277986b88ae0aa20f1e4c29aa19150.jpg","218.2x148cm",[46],{"id":2559,"slug":2560,"title":2561,"dynasty":139,"author":512,"museum":475,"description":2562,"tags":2563,"thumbUrl":2564,"material":89,"size":2565,"collection":46,"collections":2566,"showCount":2515,"zanCount":51,"manualWeight":51,"mainColor":52},217996,"bi-shu-gong-tu-guo-zhong-shu-217996","避暑宫图","这是现存的宋代绘画中少有的杰作，也是有史以来最高标准的界画之一。",[23,25,194,29,33,36,123,41,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F835da03f2af95dcf5be3dd4c03b0786a.jpg","174x102cm",[46],{"id":2568,"slug":2569,"title":2570,"dynasty":77,"author":2408,"museum":207,"description":2571,"tags":2572,"thumbUrl":2575,"material":259,"size":2576,"collection":69,"collections":2577,"showCount":2578,"zanCount":430,"manualWeight":51,"mainColor":134},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","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。",[25,122,104,31,33,37,38,41,1355,123,7,163,2573,179,748,2574,2412,124],"垂柳","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],86,{"id":2580,"slug":2581,"title":2582,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":2585,"thumbUrl":2590,"material":321,"size":322,"collection":69,"collections":2591,"showCount":2578,"zanCount":11,"manualWeight":51,"mainColor":52},226317,"ku-zhu-shi-nan-pi-yi-ming-226317","窟主室南披","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[2586,332,29,333,35,2587,635,2588,553,33,516,7,403,2589,784],"唐代","飞天","鹿","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cd3130d2f67f6a5e8f63d64a3488bc.jpg",[],{"id":2593,"slug":2594,"title":2595,"dynasty":99,"author":1933,"museum":119,"description":2596,"tags":2597,"thumbUrl":1945,"material":29,"size":69,"collection":111,"collections":2599,"showCount":2578,"zanCount":51,"manualWeight":51,"mainColor":134},220337,"song-ren-yuan-hua-ce-2-sheng-mao-220337","宋人院画册-2","此作绘秋江渔隐之境，近岸林木枯柔相生，苍枝虬曲间柔柳垂拂，刚柔相衬愈见山野意趣。滩头渔舟静泊，舟中二人对坐晤谈，将江湖闲散的逸致娓娓铺展。平湖澹澹，水鸟掠波惊起细碎涟漪，远山如黛晕染天际，留白晕出水天寥廓空濛。\n\n笔墨工秀兼带写意松灵，设色浅淡清润，将江南水畔的清寂淡远揉入尺幅之中，把渔樵寄情山水的隐逸诗意藏进边角细节，尽显宋人平淡天真的美学意趣，是宋式山水小品里野逸闲情的绝佳写照。",[23,25,26,210,29,33,39,1225,7,41,38,515,748,2598,1559],"近树",[111],{"id":2601,"slug":2602,"title":2603,"dynasty":99,"author":632,"museum":119,"description":2604,"tags":2605,"thumbUrl":2607,"material":392,"size":2608,"collection":111,"collections":2609,"showCount":2610,"zanCount":11,"manualWeight":51,"mainColor":52},288266,"pi-pa-kong-que-tu-cui-bai-288266","枇杷孔雀图","不同于崔白其他传世作品，画面富丽堂皇，显示出了崔白对黄筌父子画风的传承，应是其尚未变法以前的作品。画中的主体是一对雄雌孔雀，一只栖立在枇杷树上，一只游憩于花丛之间。两只小鸟立于枇杷树枝头，与画面左侧展翅的绶带鸟相望。背景处一块湖石，中间有细竹、杂花相互掩映。 整幅作品为全景式构图，丰满繁复。禽鸟造型体态雍容，逼真生动，惟妙惟肖。在绘画技法上，禽鸟使用的是典型的勾线设色法，用线遒劲，设色上层层渲染，富丽华美。而对画面背景处的山石、枇杷树干的表达，画家则使用了稍微写意性的笔法进行勾勒，并在此基础上使用了皴染技法表现凹凸质感和阴阳向背。这种对树干与景石的描绘方法，我们似乎可以从中感受到崔白在 《双喜图》中，描绘树干所使用的灵活悠游又不失法度的水墨工写结合技法。",[23,25,26,30,29,87,211,85,7,2606,238],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f51404c96f2c60be675e39c78ae54fd.jpg","183.1x109.8",[111],85,{"id":2612,"slug":2613,"title":593,"dynasty":99,"author":190,"museum":59,"description":1794,"tags":2614,"thumbUrl":2615,"material":321,"size":322,"collection":69,"collections":2616,"showCount":2610,"zanCount":430,"manualWeight":51,"mainColor":134},287888,"xie-sheng-zhen-qin-tu-zhao-ji-287888",[23,24,25,26,27,30,122,87,7,528,529,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e591cd8344c801084f6bb88a9f76701.jpg",[],{"id":2618,"slug":2619,"title":2620,"dynasty":18,"author":2552,"museum":207,"description":2621,"tags":2622,"thumbUrl":2624,"material":288,"size":2625,"collection":244,"collections":2626,"showCount":2610,"zanCount":51,"manualWeight":51,"mainColor":52},222404,"shu-xia-du-shu-tu-zhou-hui-wu-wei-222404","树下读书图轴绘","画面内容表现的是传统的隐逸耕读题材，一位中年文士耕牧之余在树下休憩，展卷读书，自得其乐。明中期以后政治日益腐败，科举仕途之路充满了不确定性，因此不少文人产生了遁世思想，选择远离官场的闲适生活。吴伟一生两度出入宫廷，对官场和民间都有着深刻的体会，此类题材多次出现在他的笔下。此作用笔潇洒劲健，多以侧锋运笔，锋芒毕露。",[25,24,26,104,122,29,35,33,81,82,7,1149,2623,31,528],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d957810554b12e18958dc85525c172.jpg","纵168厘米，横105厘米",[244,131],{"id":2628,"slug":2629,"title":2630,"dynasty":99,"author":222,"museum":119,"description":2631,"tags":2632,"thumbUrl":2634,"material":89,"size":2635,"collection":91,"collections":2636,"showCount":2637,"zanCount":11,"manualWeight":51,"mainColor":134},218714,"yang-liu-ru-que-tu-yi-ming-218714","杨柳乳雀图","这幅画描绘了一只鸟在喂养它的孩子。这只鸟被描绘得简单而微妙，它的翅膀用浓墨勾勒，用淡墨上色，小鸟的身高、腹部和背部，俯视、仰视和俯视的姿势都非常精致。柳树稀疏的、交叉的、交错的、下垂的枝条也画得很好。",[23,24,25,26,30,29,87,1858,2633,301,7],"雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf6bfbc2c1c72fbc541eff9d6f5e0b7.jpg","24.8x24.8",[91],84,{"id":2639,"slug":2640,"title":2641,"dynasty":139,"author":672,"museum":59,"description":1847,"tags":2642,"thumbUrl":2644,"material":321,"size":322,"collection":69,"collections":2645,"showCount":2646,"zanCount":51,"manualWeight":51,"mainColor":52},290142,"hui-qin-tu-huang-ju-cai-290142","会禽图",[24,25,26,104,30,29,87,7,143,2643,2606,529,238],"山茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f43a7cf6d1c9220be37682f0c14340.jpg",[],83,{"id":2648,"slug":2649,"title":2650,"dynasty":99,"author":222,"museum":119,"description":2651,"tags":2652,"thumbUrl":2654,"material":362,"size":2655,"collection":111,"collections":2656,"showCount":2646,"zanCount":51,"manualWeight":51,"mainColor":52},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,25,26,104,29,33,31,256,439,2653,7,41,40,1355,126,38],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[111,46,131],{"id":2658,"slug":2659,"title":205,"dynasty":99,"author":206,"museum":59,"description":2660,"tags":2661,"thumbUrl":2662,"material":321,"size":322,"collection":69,"collections":2663,"showCount":2664,"zanCount":51,"manualWeight":51,"mainColor":52},288293,"pi-pa-shan-niao-tu-lin-chun-288293","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[23,25,24,87,30,29,211,7,301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12c32701a0210a0cc337e0aba0e608c.jpg",[],82,{"id":2666,"slug":2667,"title":2668,"dynasty":77,"author":2669,"museum":59,"description":2670,"tags":2671,"thumbUrl":2673,"material":2433,"size":2674,"collection":91,"collections":2675,"showCount":2664,"zanCount":51,"manualWeight":51,"mainColor":134},223123,"song-shou-tu-ci-xi-223123","松寿图","慈禧","画上绘青雀二只，体形修长，尾巴炫丽，一只立于松枝俯身正于下方的另一只呼应。题识：光绪己丑年冬下浣御笔",[23,25,24,29,30,87,179,7,2672,32],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e79512e4e37d1650006f4772e9ece27.jpg","129×64.5cm",[91,48],{"id":2677,"slug":2678,"title":2679,"dynasty":156,"author":1712,"museum":158,"description":2680,"tags":2681,"thumbUrl":2685,"material":362,"size":2686,"collection":46,"collections":2687,"showCount":2664,"zanCount":11,"manualWeight":51,"mainColor":134},220846,"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[23,25,26,27,122,65,64,33,31,2682,2235,2683,38,1204,41,39,7,441,2684],"烟江","山峰","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[46,131],{"id":2689,"slug":2690,"title":2691,"dynasty":77,"author":2692,"museum":59,"description":2693,"tags":2694,"thumbUrl":2695,"material":321,"size":322,"collection":69,"collections":2696,"showCount":2697,"zanCount":51,"manualWeight":51,"mainColor":134},283786,"mu-dan-yu-lan-tu-liu-de-liu-283786","牡丹玉兰图","刘德六","画面取春日小景，老干虬劲舒展，满枝玉兰冰姿清雅，与下方秾艳牡丹相映成趣。湖石造型奇崛，勾勒皴擦尽显嶙峋质感，成为花木间的视觉支点。两只禽鸟一动一静，振翅的春鸟掠过花枝，另一只探于花下，为画面添就鲜活生机。\n\n此作用笔兼工带写，玉兰以淡墨写意枝干，白花轻勾淡染，尽显清逸；牡丹设色妍丽却不俗艳，花叶层次饱满鲜活。整体设色明快和谐，将春日芳菲的富贵雅致，与江南暮春的悠然意趣相融，在写实写生中晕染出文人画的娴静意韵，尽揽春日生机雅致。",[25,26,87,104,29,227,815,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839a7a0acc34077c380f4ae54ab45aab.jpg",[],81,{"id":2699,"slug":2700,"title":2701,"dynasty":77,"author":2702,"museum":59,"description":2703,"tags":2704,"thumbUrl":2705,"material":69,"size":69,"collection":46,"collections":2706,"showCount":2697,"zanCount":51,"manualWeight":51,"mainColor":134},238076,"fang-tang-yin-chi-bi-zhou-wang-hui-238076","仿唐寅赤璧轴","王翚","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[25,1576,104,31,62,33,334,39,7,126,41,441,35,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc312ca88e21a4c731326d3c55ba6c1f.jpg",[46],{"id":2708,"slug":2709,"title":2710,"dynasty":77,"author":2711,"museum":207,"description":2712,"tags":2713,"thumbUrl":2714,"material":362,"size":2715,"collection":69,"collections":2716,"showCount":2697,"zanCount":430,"manualWeight":51,"mainColor":134},223245,"bao-xiang-guan-yin-tu-ding-guan-peng-223245","宝相观音图","丁观鹏","观音为佛教大乘菩萨之一，佛经上说此菩萨能“救苦难众生”，示现种种形象，名为“普门示众”，一般形态多作女相。此图绘千手宝相观音一尊，各手分别持小斧、莲花、宝剑、弓箭等各种法宝；头上祥云朵朵飘荡，云中托出小佛十尊，花朵飞扬。观音面容和手臂作多层烘托，有较强的立体质感。说明作者在继承传统技法的同时，也吸收了西洋画的明暗、透视等特点，形成了自己的风格。",[23,25,26,30,29,333,35,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37e22633a51a0e53a44d585e1614e45.jpg","122.7x58.65",[],{"id":2718,"slug":2719,"title":2720,"dynasty":99,"author":2721,"museum":207,"description":2722,"tags":2723,"thumbUrl":2724,"material":362,"size":2725,"collection":111,"collections":2726,"showCount":2697,"zanCount":51,"manualWeight":51,"mainColor":52},221580,"mu-niu-tu-ye-li-tang-221580","牧牛图页","李唐","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[23,24,25,26,210,489,29,1704,440,7,32,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[111,244,48],{"id":2728,"slug":2729,"title":2730,"dynasty":77,"author":2731,"museum":253,"description":2732,"tags":2733,"thumbUrl":2735,"material":303,"size":69,"collection":48,"collections":2736,"showCount":2697,"zanCount":430,"manualWeight":51,"mainColor":52},219257,"cao-chong-tu-shang-rui-219257","草虫图","上睿","画面以古雅绢色铺底，苍劲岩石兀立其间，其上百合舒展素瓣，清雅动人；旁侧藤蔓牵绕，细碎小花点缀，更添自然生趣。一只雀鸟振翅而来，羽翼纤毫毕现，姿态灵动似欲停驻花间。笔墨细腻处见功夫：花卉勾勒精致，叶片脉络分明；岩石皴擦有致，尽显朴拙质感。设色淡雅温润，白百合与暖棕背景相映成趣，整体氛围静谧中藏生机，仿佛能闻得隐于画间的花香鸟语，尽显清代花鸟画作的雅致意韵。",[23,25,26,30,29,87,163,7,413,126,2734],"植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c78ce61f7fcee14a5c12b26c976e97.jpg",[48],{"id":2738,"slug":2739,"title":2740,"dynasty":1017,"author":222,"museum":59,"description":2741,"tags":2742,"thumbUrl":2744,"material":321,"size":322,"collection":69,"collections":2745,"showCount":2746,"zanCount":51,"manualWeight":51,"mainColor":134},231689,"shan-cha-hua-xiao-qin-tu-zhou-yi-ming-231689","山茶花小禽图轴","此作兼用工笔与写意，老干虬曲苍劲，山茶厚叶凝翠，丹花灼灼绽放，枝上小禽侧目伫立，灵动娇憨的神态跃然纸上。设色雅致沉稳，花叶晕染细腻柔和，禽鸟绒羽的质感描摹入微，既有院体花鸟的精工之态，又饱含文人画的清逸格调。\n\n题诗与画作相映成趣，将探春报春之意藏于景中，把早春山茶盛放、幽禽暂驻的清寂生机铺陈开来，一花一禽皆含雅意，尽显传统花鸟的悠然禅意。",[23,25,26,104,29,30,87,2743,7,301,32],"山茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a1618f40479b25ced4925a880d9b34.jpg",[],80,{"id":2748,"slug":2749,"title":2750,"dynasty":99,"author":222,"museum":207,"description":2751,"tags":2752,"thumbUrl":2758,"material":288,"size":2759,"collection":69,"collections":2760,"showCount":2746,"zanCount":11,"manualWeight":51,"mainColor":52},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,25,24,26,27,30,29,35,33,635,2753,2754,1548,2755,346,41,123,7,2756,2757],"虎","豹","蛇","神仙","鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","纵53.3厘米，横533厘米",[],{"id":2762,"slug":2763,"title":2764,"dynasty":18,"author":19,"museum":158,"description":2765,"tags":2766,"thumbUrl":2768,"material":259,"size":2769,"collection":46,"collections":2770,"showCount":2746,"zanCount":11,"manualWeight":51,"mainColor":134},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[23,24,25,26,104,29,30,2767,528,40,35,33,38,123,41,7,39],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[46,48],{"id":2772,"slug":2773,"title":2774,"dynasty":18,"author":2775,"museum":158,"description":2776,"tags":2777,"thumbUrl":2778,"material":362,"size":2779,"collection":91,"collections":2780,"showCount":2746,"zanCount":11,"manualWeight":51,"mainColor":134},221895,"mei-hua-xiao-niao-chen-hong-shou-221895","梅花小鸟","陈洪绶","此图虽为花鸟，却有山水格局。勾皴之石较为丰富，与梅树虬劲的老干浑然一体；红树有虫啮之痕，与树后精整的双钩之竹相映成趣；梅枝与小鸟，在大片空白的衬托下，成为鲜明的画眼。由此而营造了一种静中有动，清寒澄爽的意境。画梅颇有蓝瑛意趣，而气息雅于其师。藏上海博物馆。\n陈洪绶（1598-1652)，字章侯，号老莲，诸砰枫桥（今属浙江）人。出生干没落官宦之家的陈洪绶能诗，擅书画，尤长于绘画。人物、山水、花鸟、走兽无所不精，是明末淸初最著名的画家之一。初学蓝瑛，师法唐人，兼有李公麟、赵孟频之妙。运笔旋转，一气呵成，具有鲜明独特的风格。花鸟画渊源两宋，颇有奇趣。",[25,26,87,29,30,143,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b5794e3e57e740d6a66c2ddcd1a652.jpg","22.2x21cm",[91,48],{"id":2782,"slug":2783,"title":2784,"dynasty":18,"author":2552,"museum":158,"description":2785,"tags":2786,"thumbUrl":2789,"material":89,"size":2790,"collection":244,"collections":2791,"showCount":2746,"zanCount":51,"manualWeight":51,"mainColor":52},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[25,24,26,104,122,1479,29,33,35,39,7,38,1480,67,1692,1225,163,934,2787,126,2788],"藤蔓","秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[244],{"id":2793,"slug":2794,"title":2795,"dynasty":18,"author":222,"museum":793,"description":2796,"tags":2797,"thumbUrl":2798,"material":89,"size":2799,"collection":244,"collections":2800,"showCount":2746,"zanCount":11,"manualWeight":51,"mainColor":52},218410,"ying-xi-tu-yi-ming-218410","婴戏图","花木扶疏的庭院里，石影横斜，稚童们的身影灵动鲜活。围坐小几的孩童或俯身凝眸，或执物细玩，憨态可掬；旁侧的孩子相互追逐，衣袂轻扬间满是天真烂漫。案上器物精巧，阶前小凳古朴，衬得画中世界雅致又充满烟火气。设色古雅温润，线条婉转细腻，将孩童的无忧时光定格成帧，仿佛能听见稚子的嬉闹声穿过岁月，漫溢着恬淡的生活意趣与对童真的脉脉咏叹。画面以细腻笔触勾勒出童真百态，古雅的色调与婉转的线条交织，将无忧岁月凝练成帧，让观者在古朴的氛围里，触摸到那份穿越时空的天真暖意。",[23,25,29,30,104,35,1425,163,7,227,1955,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875a332dd57d21a2a5dbe31d190af59f.jpg","182.2x98.1",[244],{"id":2802,"slug":2803,"title":2804,"dynasty":156,"author":2805,"museum":59,"description":2806,"tags":2807,"thumbUrl":2809,"material":321,"size":322,"collection":69,"collections":2810,"showCount":2811,"zanCount":11,"manualWeight":51,"mainColor":52},287308,"yu-tu-xiao-niao-tu-juan-qian-xuan-287308","玉兔小鸟图卷","钱选","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,25,27,30,29,346,7,87,238,1753,2808],"草本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb81428e6f03395c30ef0e049ea155af.jpg",[],79,{"id":2813,"slug":2814,"title":2815,"dynasty":99,"author":539,"museum":59,"description":2816,"tags":2817,"thumbUrl":2819,"material":69,"size":69,"collection":69,"collections":2820,"showCount":2811,"zanCount":51,"manualWeight":51,"mainColor":52},232919,"xue-jing-han-lin-tu-ji-li-cheng-232919","雪景寒林图集","李成(约919-967年),字咸熙,出身贵族,其先人为唐宗室,后周时避居青州营丘(今山东)。李成好友枢密使王朴准备举荐李成,但是此事未及进行王朴就死了,李成虽有文才,但因世变不得志,终日饮酒游玩,最终醉死客栈。李成擅画山水自娱,“一皆吐其胸中而写之笔下”，对北宋的山水画的发展有重大影响，北宋时期被誉为“古今第一”。",[24,25,26,104,33,31,122,442,1756,41,123,2818,2588,7],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d16455b8911f86b1ce9bc374e1d0974.jpg",[],{"id":2822,"slug":2823,"title":2824,"dynasty":77,"author":2825,"museum":191,"description":2826,"tags":2827,"thumbUrl":2828,"material":2829,"size":2830,"collection":91,"collections":2831,"showCount":2811,"zanCount":51,"manualWeight":51,"mainColor":134},222822,"mu-dan-shan-zhe-tu-zhou-mu-dan-shuang-he-xu-yang-222822","牡丹山鹧图轴(牡丹双鹤)","徐扬","图绘二只山鹧，一只掉于水中，另一只站在石上尾巴散开，羽毛蓬松，圆睁的眼睛似为同伴落水而焦急不已；石边牡丹花绽放，硕大的花朵，层层叠叠的花瓣，高贵典雅。",[23,25,26,104,122,30,87,227,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca665cb56cece71915c2720da655165.jpg","纸本，水墨","117*55.8cm",[91],{"id":2833,"slug":2834,"title":2835,"dynasty":99,"author":222,"museum":119,"description":2836,"tags":2837,"thumbUrl":2839,"material":89,"size":2840,"collection":111,"collections":2841,"showCount":2811,"zanCount":430,"manualWeight":51,"mainColor":134},220363,"sang-zhi-huang-niao-tu-yi-ming-220363","桑枝黄鸟图","北宋绘画讲求写生，当时的画家必需要能同时掌握大自然中瞬息万变的面貌，以及具备精湛的绘画技巧。因此这件作品所体现画家这份力图师法自然、再现自然的匠心，令人弥足珍惜。",[23,25,24,26,210,30,29,87,7,2838,301],"桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84d0d6b4547248df308176a7ee1cb94.jpg","25.4 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1017），福建建阳人，北宋僧人，擅诗、画。作为诗人，他专精五律，多写自然小景，忌用典、尚白描，力求精工莹洁，颇为欧阳修等大家称道；作为画家，他“工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也”（北宋郭若虚语）。苏轼为惠崇画作《春江晚景》的题诗：“竹外桃花三两枝，春江水暖鸭先知”，名传千古。",[23,24,25,26,29,30,7,163,67,87,2948,2949],"秋野","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56df0b08b27fc595e4372d9f087822ef.jpg","23.7x24.9",[111,91],{"id":2954,"slug":2955,"title":2956,"dynasty":99,"author":206,"museum":59,"description":2957,"tags":2958,"thumbUrl":2959,"material":321,"size":322,"collection":69,"collections":2960,"showCount":2961,"zanCount":11,"manualWeight":51,"mainColor":52},288492,"guo-shu-lai-qin-tu-lin-chun-288492","果熟来禽图","《果熟来禽图》绘有林檎果一枝，枝上硕果累累。系挂着沉甸甸果实的枝丫，仿佛在轻轻地颤动。果叶正反面刻画细致，连虫蚀的痕迹都颇为清晰。果树上有一小鸟，它转颈回眸，振翅欲飞。画面虽不繁复，却充满生气盎然的意趣，表现出作者蕴藉空灵的审美追求",[23,25,24,465,30,29,7,2061,301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae85ba9562268d73b08485dbcf58808.jpg",[],75,{"id":2963,"slug":2964,"title":2965,"dynasty":18,"author":2966,"museum":59,"description":2967,"tags":2968,"thumbUrl":2969,"material":69,"size":69,"collection":69,"collections":2970,"showCount":2961,"zanCount":351,"manualWeight":51,"mainColor":134},228912,"tao-hua-yuan-tu-qian-gu-228912","桃花源图","钱毂","此作以长卷铺展江南水村，开篇烟波澹荡，远渚含烟，水鸟凌虚翔集，渔舟泛于微波之上，渔人或垂纶独钓，或呼友聚谈，野趣盎然。\n\n沿岸柳丝拂水，桃林绽艳，村舍隐于茂林间，处处是武陵桃源般的恬然烟火。笔墨清润秀雅，淡设色浅淡明净，汀渚草木以写意出之，简括生动，人物虽寸豆之姿却形神宛然。将陶潜笔下的避世幽境，化作可观可感的江南闲居图卷，淡墨轻岚间，漾开文人心底的出世幽怀，尽显吴门画派的温婉逸致。",[23,25,26,27,122,29,31,30,33,35,34,38,39,515,7,37,40,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fb6b1339fc9b39427ac5cbdcb7f124.jpg",[],{"id":2972,"slug":2973,"title":2974,"dynasty":18,"author":19,"museum":59,"description":2975,"tags":2976,"thumbUrl":2977,"material":69,"size":69,"collection":69,"collections":2978,"showCount":2961,"zanCount":51,"manualWeight":51,"mainColor":52},228439,"er-shi-si-xiao-tu-ye-chou-ying-228439","二十四孝图页","此作工致清雅，以细腻笔触绘就林间饲象图景。白象以淡墨皴擦晕染皮肤褶皱，肌理温润厚实，鼻卷白润之物，神态温驯静和。童子倚树而立，衣纹爽利简练，安然望向白象，神态松弛自若。古柳垂枝如幄，树身疤结刻画入微，惊掠的飞鸟打破林间静谧，动静相生，晕染出悠然古意。整幅设色调和雅致，无浓艳堆砌，将寻常伴象日常晕染出静穆恬然的古典氛围，尽显工笔画的精工雅致，于细节处可见精妙观察力，把畜兽憨态、人物安然与林间清景融为一体，平和之中藏着隽永的东方意趣。",[25,26,210,30,29,35,635,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff505fe06d0930a18151ddd26d291ddce.jpg",[],{"id":2980,"slug":2981,"title":2982,"dynasty":156,"author":1933,"museum":2420,"description":2983,"tags":2984,"thumbUrl":2986,"material":89,"size":2987,"collection":91,"collections":2988,"showCount":2961,"zanCount":51,"manualWeight":51,"mainColor":52},218239,"cang-jiang-heng-di-tu-sheng-mao-218239","沧江横笛图","此图所描绘的是一幅江畔秋景。画面远处烟波浩渺，青山伏卧，一派江南平淡幽远的山水景色。近处岸边斜伸出几棵大树，阵风吹过，落叶萧然，惊起的三、五只雀鸟，或飞或栖，自在悠然。树下渔人临风横笛，神情专注。",[25,104,29,33,35,81,7,318,2985,748,31],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f90e787aa60094f0aca0e0ed0c9958b.jpg","纵84.8厘米，横47.1厘米",[91,46],{"id":2990,"slug":2991,"title":2992,"dynasty":99,"author":2993,"museum":119,"description":2994,"tags":2995,"thumbUrl":2997,"material":392,"size":2998,"collection":69,"collections":2999,"showCount":3000,"zanCount":51,"manualWeight":51,"mainColor":134},289352,"pi-pa-shou-dai-tu-xu-chong-si-289352","枇杷绶带图","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。",[24,25,26,489,87,29,2996,211,7,65,32],"没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3638daf283762690d69128dce425c2f8.jpg","25.7x27.8",[],74,{"id":3002,"slug":3003,"title":3004,"dynasty":99,"author":897,"museum":59,"description":3005,"tags":3006,"thumbUrl":3007,"material":321,"size":322,"collection":69,"collections":3008,"showCount":3000,"zanCount":51,"manualWeight":51,"mainColor":52},288933,"mei-hua-xiao-qin-tu-ma-lin-288933","梅花小禽图","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[24,25,26,465,30,143,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ebebdf13e9db3de88b59744e8ff28.jpg",[],{"id":3010,"slug":3011,"title":3012,"dynasty":435,"author":436,"museum":59,"description":3013,"tags":3014,"thumbUrl":3015,"material":321,"size":322,"collection":69,"collections":3016,"showCount":3000,"zanCount":51,"manualWeight":51,"mainColor":134},288361,"jiang-gan-xue-ji-tu-wang-wei-288361","江干雪霁图","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,24,25,26,27,122,33,442,440,1355,441,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18c80dfbf2d7b2f44a1ccaf36b3e7de.jpg",[],{"id":3018,"slug":3019,"title":3020,"dynasty":77,"author":3021,"museum":59,"description":3022,"tags":3023,"thumbUrl":3024,"material":69,"size":69,"collection":46,"collections":3025,"showCount":3000,"zanCount":51,"manualWeight":51,"mainColor":134},237876,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237876","杨晋仿古山水册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[25,26,210,29,33,31,62,37,38,67,256,7,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e76ccbd855cb58e9845ece47e79c5f.jpg",[46,48],{"id":3027,"slug":3028,"title":3029,"dynasty":99,"author":222,"museum":119,"description":3030,"tags":3031,"thumbUrl":3033,"material":89,"size":3034,"collection":111,"collections":3035,"showCount":3000,"zanCount":11,"manualWeight":51,"mainColor":52},221238,"xue-lu-shuang-yan-zhou-yi-ming-221238","雪芦双雁轴","描绘的是寒冬汀岸一隅，四只雁栖息于芦苇丛下的岸边，有的仰天引颈而望，有的蹲伏理翎，另外二只掠空飞起。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自左下角向内延伸，其余部分大片留白，形成清远空旷的意境",[23,24,25,26,104,30,29,87,3032,934,7,442,1915],"双雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c1047960693bbada4ff966b1451860.jpg","174.6x99.5",[111,91,48],{"id":3037,"slug":3038,"title":3039,"dynasty":156,"author":2378,"museum":207,"description":3040,"tags":3041,"thumbUrl":3042,"material":259,"size":3043,"collection":46,"collections":3044,"showCount":3000,"zanCount":51,"manualWeight":51,"mainColor":134},220823,"xi-jiao-cao-tang-tu-zhou-wang-meng-220823","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[25,122,29,31,33,67,35,39,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd459330bfb44d64cef6e2da24450ad.jpg","纵97cm ，横27.2cm",[46,131],{"id":3046,"slug":3047,"title":3048,"dynasty":156,"author":3049,"museum":838,"description":3050,"tags":3051,"thumbUrl":3052,"material":1321,"size":3053,"collection":46,"collections":3054,"showCount":3000,"zanCount":51,"manualWeight":51,"mainColor":52},218718,"huang-lou-fu-tu-xia-yong-218718","黄楼赋图","夏永","这幅画宽度仅有二十多厘米，却无比精细的描画了整个黄楼，窗边饮酒赋诗的文人。用蝇头小楷写了苏辙的千字文“黄楼赋”。还有驾鹤西游的神仙。",[23,25,26,194,63,122,36,33,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6345fb2b38d0c73179bba1049f675384.jpg","20.6x26.7cm",[46,131],{"id":3056,"slug":3057,"title":3058,"dynasty":18,"author":222,"museum":59,"description":3059,"tags":3060,"thumbUrl":3063,"material":69,"size":69,"collection":69,"collections":3064,"showCount":3065,"zanCount":11,"manualWeight":51,"mainColor":52},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,25,26,27,29,30,62,64,87,7,85,84,41,123,83,3061,453,3062],"日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],73,{"id":3067,"slug":3068,"title":3069,"dynasty":99,"author":118,"museum":59,"description":3070,"tags":3071,"thumbUrl":3072,"material":69,"size":69,"collection":69,"collections":3073,"showCount":3065,"zanCount":51,"manualWeight":51,"mainColor":52},227765,"mu-se-yu-cun-tu-ye-xia-gui-227765","暮色渔村图页","宋代绘画是中国绘画艺术发展的高峰。南宋退至杭州以后，宗室子弟也随之退至杭州，宗室子弟多具艺术兴趣、禀赋、修养。南宋虽偏安江南，但在绘画上却依然取得了瞩目的成就。宫廷绘画仍是当时绘画发展的主流，江南的自然和人文环境，使南宋绘画别具自己的特色。山水画从北宋全景式的大山大水及松石，变成了用笔简括、章法谨严、高度剪裁的边角特写。人物画着重挖掘人物的精神状貌及动人的情节，注重塑造性格鲜明的艺术形象。花鸟画努力进行形象提炼，有着高度的写实能力。而千姿百态的西湖画更显示了南宋画的特色。此时的文人士夫画在主观的表达和笔墨效果的探索上亦有较大的贡献。夏圭、马远、李唐和刘鹤年并称南宋四大画家。这里介绍四大画家之一夏圭绘画赏析，他的主要作品有《溪山清远图》《临流赋琴图》《雪堂客话图》《烟岫林居图》《西湖柳艇图》《洞庭秋月图》《梧竹溪堂图》《山水十二景图》《雪溪放牧图页》《风雨行舟图》《山腰楼观图页》《泽畔疾风图》《钱塘秋潮图》《松溪泛月图》《寒林对雪图》《山市晴岚图》《松崖客话图》《遥岑烟霭图》《灞桥风雪图》《观瀑图》《坐看云起图》《长江万里图》《捕鱼图团扇》等。",[25,122,31,210,33,7,39,67,563,515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fd431501dd6f7cc9573e2445db7b27.jpg",[],{"id":3075,"slug":3076,"title":3077,"dynasty":77,"author":769,"museum":119,"description":770,"tags":3078,"thumbUrl":3079,"material":29,"size":775,"collection":69,"collections":3080,"showCount":3065,"zanCount":51,"manualWeight":51,"mainColor":134},222740,"xian-e-chang-chun-tu-01b-lang-shi-ning-222740","仙萼长春图-01b",[23,25,26,210,29,87,30,34,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672474ab59f90287bfe66517e17cf0b7.jpg",[],{"id":3082,"slug":3083,"title":3084,"dynasty":156,"author":222,"museum":59,"description":3085,"tags":3086,"thumbUrl":3088,"material":321,"size":322,"collection":69,"collections":3089,"showCount":3090,"zanCount":51,"manualWeight":51,"mainColor":52},290742,"guan-yin-da-shi-xiang-zhou-yi-ming-290742","观音大士像轴","此作观音面容圆和悲悯，身披华饰璎珞，衣纹舒展流动，配色沉穆古雅，带着岁月晕开的温润质感。座下青狮龇牙威勐，却被观音掌心轻按敛了戾气，尽显柔能制刚的禅意。右下角善财童子合十礼拜，神态稚拙恭谨。\n\n远景以淡彩晕染山林云海，修竹挺翠，彩云舒卷，飞鸟穿空，将佛国清寂祥瑞融于山水间。笔墨工细兼具写意，线条婉转凝练，既恪守佛教造像的庄肃仪轨，又以灵动景致烘托出出尘禅韵，尽显古佛画沉静厚重的审美意趣。",[25,104,333,29,35,30,3087,635,1628,528,7],"观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afaa29032eb7937f747f363c8b7f45.jpg",[],72,{"id":3092,"slug":3093,"title":3094,"dynasty":18,"author":3095,"museum":207,"description":3096,"tags":3097,"thumbUrl":3099,"material":3100,"size":3101,"collection":46,"collections":3102,"showCount":3090,"zanCount":11,"manualWeight":51,"mainColor":134},236306,"xie-qin-fang-you-tu-zhou-sun-zhi-236306","携琴访友图轴","孙枝","在历代抱琴与携琴图中，多是主人负手举步，缓缓前行，身后跟着抱琴童子。琴多在琴囊之中或被书童抱在怀里，线条干净简单。“我醉欲眠君且去，明朝有意抱琴来”，携琴访友的题材，历代均有描绘，如宋代范宽，明代文徵明、戴进、孙枝，清代陈卓、王翚、黄慎等都有名为《携琴访友图》的作品。代表了一种处于进行时的文士风雅，雅集即将开幕，雅乐即将奏响，一切处于将发而未发之状态，与含蓄蕴藉的古琴精神相合，甚至比对面抚琴更让人有所期待",[25,122,31,104,33,37,38,35,40,41,123,1990,7,3098],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa969847ed7cf030565acd834b399bb46.jpg","纸本 ，淡设色","纵121.3cm，横31.5cm",[46,131],{"id":3104,"slug":3105,"title":3106,"dynasty":99,"author":118,"museum":119,"description":3107,"tags":3108,"thumbUrl":3110,"material":362,"size":3111,"collection":69,"collections":3112,"showCount":3090,"zanCount":51,"manualWeight":51,"mainColor":52},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","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。",[23,25,26,27,122,31,33,36,41,39,38,123,40,7,3109,124],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],{"id":3114,"slug":3115,"title":3116,"dynasty":18,"author":722,"museum":207,"description":3117,"tags":3118,"thumbUrl":3119,"material":303,"size":3120,"collection":91,"collections":3121,"showCount":3090,"zanCount":11,"manualWeight":51,"mainColor":134},219286,"ying-que-tu-lv-ji-219286","鹰鹊图","图绘一只苍鹰独立岩顶，两只飞舞的蜜蜂吸引了它的目光，一旁的喜鹊趁机振翅欲逃。作者用笔粗阔，富有简率纵逸的笔墨意趣。吕纪的花鸟画不仅追求形似，更善于表现禽鸟之间的关系，捕捉住禽鸟瞬间的神态和动势，营造出千钧一发的紧迫感和爆发力，突破了传统花鸟画唯美的装饰意味，从而获得了新的艺术生命力。",[23,25,26,104,29,122,30,87,1548,1525,123,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b4c020881f2a1e771cfb4cf7f1d62f.jpg","纵120.7厘米，横61.5厘米",[91,48],{"id":3123,"slug":3124,"title":3125,"dynasty":156,"author":3126,"museum":3127,"description":3128,"tags":3129,"thumbUrl":3131,"material":89,"size":69,"collection":91,"collections":3132,"showCount":3090,"zanCount":11,"manualWeight":51,"mainColor":52},219070,"dan-feng-shuang-niao-tu-zheng-xi-219070","丹枫双鸟图","郑禧","印度安纳波利斯艺术博物馆","一棵彩绘枫树，主干粗壮，细枝上零星的枫叶褪去了红色，两只鸟儿栖息在最高的树枝上，蓬松的羽毛，细长的尾羽，白色的腹部和棕色的亮点，深蓝色的背部，为深秋增添色彩。",[23,25,26,465,30,29,3130,104,2236,2370,7,414],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f0262c254e21ca62b76dea8b204ed4.jpg",[91],{"id":3134,"slug":3135,"title":3136,"dynasty":18,"author":1609,"museum":59,"description":3137,"tags":3138,"thumbUrl":3141,"material":69,"size":69,"collection":69,"collections":3142,"showCount":3143,"zanCount":11,"manualWeight":51,"mainColor":52},228485,"qiao-lin-bai-que-tu-juan-lin-liang-228485","乔林百雀图卷","整卷以水墨挥毫，枯木槎枒间百雀各呈其态，飞栖鸣集无一雷同。劲爽墨笔勾勒禽鸟翎羽，干湿浓淡晕出绒羽蓬松质感，枯林苍劲荒疏，与群雀喧腾相映，在萧索冬日漾出盎然生趣。\n笔墨简括老辣，融院体工致与文人写意于一体，将小雀的灵动狡黠描摹入微，于长卷间铺展野逸灵动的自然意趣，尽显水墨花鸟纵逸格调，是水墨禽鸟画中极具表现力的佳构。",[23,25,26,27,122,1479,87,3139,144,3140,165,1915,7],"乔木","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f738b6a6309084a7933eb775da10da.jpg",[],71,{"id":3145,"slug":3146,"title":3147,"dynasty":77,"author":769,"museum":119,"description":770,"tags":3148,"thumbUrl":3149,"material":29,"size":775,"collection":69,"collections":3150,"showCount":3143,"zanCount":51,"manualWeight":51,"mainColor":134},222744,"xian-e-chang-chun-tu-03b-lang-shi-ning-222744","仙萼长春图-03b",[23,24,25,26,30,29,87,1256,7,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00506c220c38058c15ebc098e593bc75.jpg",[],{"id":3152,"slug":3153,"title":3154,"dynasty":99,"author":3155,"museum":119,"description":3156,"tags":3157,"thumbUrl":3161,"material":392,"size":3162,"collection":651,"collections":3163,"showCount":3143,"zanCount":11,"manualWeight":51,"mainColor":52},221206,"cai-xiang-qi-yan-jue-ju-yi-shou-wu-ju-221206","蔡襄七言绝句一首","吴琚","《七言绝句》诗文出自蔡襄《访陈处士》，它是吴琚存世唯一一件大字行书挂轴之作，也是现在所见最早的一件挂轴形式的书迹。《石渠宝笈初编》著录。上面没有署款，只鈐“云壑书印”一印，有学者认為可能是一组书屏之一。大字书轴适於悬挂欣赏，重在行气连贯与左右上下字的呼应，吴琚此轴笔势较一般小字快速而强劲，结字紧密，以倾侧取势，上下字相映带，更为强调米芾行书的特色，同时代的陆游(1125-1209)与范成大(1126-1193)都有类似风格，可见一时风气，《宋元学案》提到范成大、陆游与吴琚“引為师友”，因此也可能在书法上互相影响",[23,64,65,3158,3159,32,37,2653,3160,145,3061,7],"墨","纸","垂杨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cbb93e387618892f877990551cbc300.jpg","98.6x55.3cm",[651],{"id":3165,"slug":3166,"title":3167,"dynasty":77,"author":423,"museum":59,"description":424,"tags":3168,"thumbUrl":3169,"material":321,"size":322,"collection":69,"collections":3170,"showCount":3171,"zanCount":51,"manualWeight":51,"mainColor":134},287696,"bai-lu-xiao-niao-tu-li-zhou-zhu-da-287696","白鹭小鸟图立轴",[25,24,26,104,122,87,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fbd45d978190e5929c928f8a6bc919.jpg",[],70,{"id":3173,"slug":3174,"title":3175,"dynasty":77,"author":3176,"museum":59,"description":3177,"tags":3178,"thumbUrl":3179,"material":69,"size":69,"collection":244,"collections":3180,"showCount":3171,"zanCount":51,"manualWeight":51,"mainColor":134},239309,"shi-nv-tu-ye-huang-yao-239309","仕女图页","黄曜","柳荫垂覆，朱栏萦立，仕女素衣雅致，鬟发温婉，凭栏凝睇架上青鸟，眉眼间晕着淡淡幽思。浅设色晕染出枝叶清润质感，衣袂褶皱柔缓舒展，将闺中女子春日里的缱绻闲愁悄然铺陈。左侧题字配印，笔墨秀雅与画面相映。\n\n全画笔致清隽细腻，将江南春景的柔婉与仕女静穆怅惘相融，淡墨轻岚间静中生韵，把闺中闲绪糅入春日烟柳，含蓄绵长的古典情致漫溢纸面，余味悠然。",[25,26,210,30,29,35,66,7,41,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4560235a4bc933ed5d63f130017ba2f9.jpg",[244],{"id":3182,"slug":3183,"title":3184,"dynasty":77,"author":769,"museum":59,"description":3185,"tags":3186,"thumbUrl":3187,"material":288,"size":69,"collection":91,"collections":3188,"showCount":3171,"zanCount":11,"manualWeight":51,"mainColor":52},222776,"hua-bai-ying-zhou-lang-shi-ning-222776","画白鹰轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,25,24,104,29,30,7,635,374,67,1990,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8821bbc34360056591a52a75a4e58a03.jpg",[91,48],{"id":3190,"slug":3191,"title":3192,"dynasty":435,"author":2098,"museum":119,"description":3193,"tags":3194,"thumbUrl":3195,"material":3196,"size":3197,"collection":244,"collections":3198,"showCount":3171,"zanCount":51,"manualWeight":51,"mainColor":52},221135,"jiang-fan-lou-ge-zhou-li-si-xun-221135","江帆楼阁轴","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[25,24,26,104,28,29,30,33,36,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e663d48c7ef6294ae9f191dc300630.jpg","画布","纵101.9厘米，横54.7厘米",[244,48],{"id":3200,"slug":3201,"title":3202,"dynasty":18,"author":3203,"museum":3204,"description":3205,"tags":3206,"thumbUrl":3218,"material":89,"size":3219,"collection":46,"collections":3220,"showCount":3171,"zanCount":430,"manualWeight":51,"mainColor":134},219851,"xiao-xiang-ba-jing-tu-zhang-long-zhang-219851","潇湘八景图","张龙章","费城艺术博物馆","张龙章，字伯云，号古塘、武丘山樵，吴（今江苏苏州）人，生卒年不详。善画人物、骏马，不下赵孟頫。代表作品《穆王骏骥图》《风月梧柳图》《三教图》《潇湘八景图》。",[25,26,27,29,33,31,64,65,39,38,40,7,563,334,515,37,3207,3208,3209,3210,3211,3212,3213,3214,3215,3216,1690,3217],"远浦","归帆","山市","晴岚","江天","暮雪","洞庭","夜雨","烟寺","晚钟","夕照","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816a582fdb55abba3dd407013f0b0e7c.jpg","29x787.5cm",[46],{"id":3222,"slug":3223,"title":3224,"dynasty":99,"author":3225,"museum":59,"description":3226,"tags":3227,"thumbUrl":3228,"material":89,"size":69,"collection":48,"collections":3229,"showCount":3171,"zanCount":430,"manualWeight":51,"mainColor":52},218659,"xi-shan-ye-zhang-tu-zhu-yi-218659","溪山曳杖图","朱义","溪光映带间，楼阁凭水而立，飞檐轻挑流云。虬枝老干上素花堆雪，暗香似随溪风漫溢。崖岫间隐现小亭，与层岩苍松相映，添得几分奇崛。\n\n径边曳杖人缓步而行，衣袂沾着山岚清润，似在细品林泉幽意。远山如黛，烟岚轻笼，江天浩渺处归舟几点，将天地拉得宽闲。\n\n整幅画以淡墨皴染山水，用细笔勾勒亭台人物，素花的留白与山石的浓淡相映成趣。动静之间，藏着宋人的雅致风骨——于山水间寻幽，让身心与自然相融，每一处笔触都似在诉说文人心中的丘壑。\n\n没有喧嚣，只有溪声、松影与步履轻缓，将“天人合一”的意趣，凝在这一方扇面里。",[23,24,25,26,489,29,33,35,40,37,38,143,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf47ca4d9fab18381e6f16e1d10768a0.jpg",[48],{"id":3231,"slug":3232,"title":3233,"dynasty":18,"author":311,"museum":207,"description":3234,"tags":3235,"thumbUrl":3237,"material":181,"size":3238,"collection":46,"collections":3239,"showCount":3171,"zanCount":11,"manualWeight":51,"mainColor":134},218339,"gao-mu-ci-ya-tu-tang-yin-218339","高木慈鸦图","弧形扇面间，清寂之境徐徐铺展。枯树三五成丛，枝干虬曲如篆，焦墨勾勒处尽显苍劲老辣，墨色浓淡交错间藏着岁月痕迹。寒鸦数点，或栖于枝梢理羽，或振翅掠过天际，翅羽轻扬时添几分灵动生气。远山以淡墨晕染，云雾氤氲缭绕，与近树的沉郁形成虚实相映，层次悠远如幻。整幅画以简驭繁，笔墨洗练却意境深幽，文人画的雅致疏旷尽在其中——仿佛风过林间，鸦鸣隐约，方寸扇面竟藏得万千丘壑，引人沉湎于这份静谧与悠远。",[23,489,25,26,122,31,7,41,3236,64],"山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc421b662148e119d639962a695dae4a6.jpg","纵16.5cm，横47.3cm",[46,131],{"id":3241,"slug":3242,"title":3243,"dynasty":156,"author":222,"museum":3244,"description":3245,"tags":3246,"thumbUrl":3248,"material":89,"size":3249,"collection":46,"collections":3250,"showCount":3171,"zanCount":11,"manualWeight":51,"mainColor":52},218218,"cang-ying-wu-zhu-tu-yi-ming-218218","苍鹰梧竹图","山东省博物馆","苍鹰梧竹图是元朝时期的一幅著名图画，作者不详。这幅画描绘了一只苍鹰和一根梧竹之间的关系。苍鹰是一种大型鸟类，通常被认为是捕食者，而梧竹则是一种常见的树种。在这幅画中，苍鹰似乎正在用它的爪子抓住梧竹。",[25,24,26,30,29,87,7,3247,67,1036],"苍鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca78eed227b0a78bb43d1239104ae986.jpg","146x93cm",[46,91],{"id":3252,"slug":3253,"title":3254,"dynasty":18,"author":3255,"museum":119,"description":3256,"tags":3257,"thumbUrl":3259,"material":303,"size":3260,"collection":91,"collections":3261,"showCount":3262,"zanCount":11,"manualWeight":51,"mainColor":134},218878,"xian-chun-bao-xi-tu-liu-shi-ru-218878","先春报喜图","刘世儒","虬枝盘曲如铁，嫩蕊缀枝似霞，寒香暗浮处，数只喜鹊栖于梅间。或翘首啼鸣，清音欲穿晓寒；或侧耳相和，墨羽轻拂春风。花瓣染粉带露，枝干皴擦见骨，工笔与写意相融，既得梅之清雅，又显鹊之灵动。题字与花鸟相映，诗趣入画，更添文人雅韵。整幅画如早春晨曦，将料峭生机与报喜暖意悄然铺展——梅开先春，鹊鸣报喜，每一笔藏岁月期许，每处细节漾人间欢悦，观之令人心脾俱畅，仿佛已闻春声渐近。",[25,26,104,29,30,87,143,7,3258,64,414],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bf908b018a03efb77d029306b4e34c.jpg","113.4x56.6cm",[91],69,{"id":3264,"slug":3265,"title":3266,"dynasty":99,"author":222,"museum":119,"description":3267,"tags":3268,"thumbUrl":3270,"material":29,"size":69,"collection":46,"collections":3271,"showCount":3262,"zanCount":11,"manualWeight":51,"mainColor":52},218713,"ke-si-xian-shan-tu-yi-ming-218713","缂丝仙山图","经纬交织间，丝缕凝萃时光质感。层楼叠榭嵌于青嶂翠崖，朱窗半启处，仙人或对弈品茗，或凭栏观云，姿态悠然。云气以断纬技法晕出虚实，如白练缠绕峰峦；仙鹤振翅穿云，羽纹细密如琢玉。山麓牡丹吐蕊，枝叶婉转，与起伏山石相映成趣。淡雅蓝绿为主调，冷韵中藏温润，一丝一缕织就仙乡清寂与灵动，尽显缂丝“寸缂寸金”之精妙，亦托出古人对缥缈仙境的无限向往与浪漫想象。",[23,226,194,29,33,36,7,238,2589,35,3269],"仙山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead55b41155cf7a7ff71947c24c623b6.jpg",[46],{"id":3273,"slug":3274,"title":3275,"dynasty":99,"author":190,"museum":59,"description":3276,"tags":3277,"thumbUrl":3278,"material":321,"size":322,"collection":69,"coll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-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,25,27,29,33,31,7,37,38,39,40,123,1990,41,84,2588,888],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[46,48],{"id":3358,"slug":3359,"title":3360,"dynasty":99,"author":3361,"museum":59,"description":3362,"tags":3363,"thumbUrl":3364,"material":69,"size":69,"collection":69,"collections":3365,"showCount":3348,"zanCount":51,"manualWeight":51,"mainColor":52},227943,"xi-que-ye-tu-tu-li-yong-227943","喜鹊野兔图","李永","此作用笔工细兼具写意，清幽雅致尽显宋画意趣。坡岸之上两只野兔灵动憨态毕现，一只抬耳警觉张望，耳尖绒毛根根分明，一只俯身啮草，蓬松皮毛质感逼真鲜活。\n\n右侧古木虬曲苍劲，枝桠疏朗间两只喜鹊顾盼对鸣，啾啾啼声似破郊野静谧，动静相映成趣。整幅以留白衬出郊野空寂清旷，草木山石朴拙苍润，将林间一隅的灵动瞬间定格，把自然意趣融于笔墨之间，恬淡悠然，尽显鸟兽形神兼备的精妙写实功底，将郊野闲情尽数铺陈。",[23,24,25,26,30,29,635,7,81,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cfe887d378e40901d42db72d3de1e7.jpg",[],{"id":3367,"slug":3368,"title":3369,"dynasty":77,"author":1453,"museum":119,"description":3370,"tags":3371,"thumbUrl":3373,"material":128,"size":3374,"collection":46,"collections":3375,"showCount":3348,"zanCount":430,"manualWeight":51,"mainColor":52},224488,"yun-bai-shan-qing-tu-juan-wu-li-224488","云白山青图卷","此幅山水画作於1668年（三十七岁），临摹古画功力极深，於青绿著色者尤有独到之处，气息颇近似宋元人作品，通卷皆用青绿红白重色，而能不觉躁浊，於清虚灵动中妙造自然。",[23,25,27,28,29,33,256,359,81,7,888,1626,1990,123,2937,1355,887,3372,125],"雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f1f40e927b107f59c209c6dfc46117.jpg","该幅25.9x117.2公分；隔水一14.6公分；隔水二 14.6公分",[46],{"id":3377,"slug":3378,"title":3379,"dynasty":156,"author":1933,"museum":838,"description":3380,"tags":3381,"thumbUrl":3382,"material":3383,"size":3384,"collection":46,"collections":3385,"showCount":3348,"zanCount":51,"manualWeight":51,"mainColor":52},221757,"jiang-xiang-yu-yin-sheng-mao-221757","江乡渔隐","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。",[23,25,24,27,122,31,33,37,38,39,41,888,515,7,3109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","绢本水墨","30.8x475.3cm",[46,131],{"id":3387,"slug":3388,"title":3389,"dynasty":99,"author":486,"museum":119,"description":3390,"tags":3391,"thumbUrl":3394,"material":89,"size":3395,"collection":244,"collections":3396,"showCount":3348,"zanCount":51,"manualWeight":51,"mainColor":52},219611,"song-quan-shuang-niao-tu-ma-yuan-219611","松泉双鸟图","画士人执拂麈坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝桠笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[23,25,24,29,30,31,374,3392,7,35,123,38,3393],"泉水","古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fbf9bf28988f8ff5408f7b8b0a37cf5.jpg","26.8x53.8cm",[244],{"id":3398,"slug":3399,"title":3400,"dynasty":139,"author":3401,"museum":253,"description":3402,"tags":3403,"thumbUrl":3405,"material":89,"size":3406,"collection":91,"collections":3407,"showCount":3348,"zanCount":11,"manualWeight":51,"mainColor":52},218997,"qiu-ying-tu-guo-qian-you-218997","秋鹰图","郭乾佑","铁羽敛霜华，孤峙危岩之巅。目光如炬，俯瞰怒涛卷雪。苍溟之上，残阳如血，晕染出沉雄古意。浪涛拍岸，礁石嶙峋，似与雄鹰共守天地孤绝。笔触凝练，墨色层叠，将猛禽的傲岸与沧海的壮阔熔于一帧。静中藏动：鹰之沉稳如磐，浪之奔涌若雷；刚柔相济：铁喙利爪含锐，云涛雾霭蕴柔。古雅质感里，尽显五代画风的沉郁与雄健。此作以鹰为魂，以海为魄，于苍茫间见风骨，于动荡中显定力，不愧传世之品。",[25,26,29,30,635,7,163,3404,563],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7349f8201c5a9ec1d079a27dc457270.jpg","纵142.9横76.2厘米",[91],{"id":3409,"slug":3410,"title":3411,"dynasty":99,"author":1865,"museum":475,"description":3412,"tags":3413,"thumbUrl":3415,"material":89,"size":69,"collection":91,"collections":3416,"showCount":3348,"zanCount":430,"manualWeight":51,"mainColor":52},218972,"yan-zi-xi-he-tu-li-an-zhong-218972","燕子戏禾图","这幅画描绘了三个方向的三株小米，果实成熟并压弯了茎秆，两只燕子站在茎秆上，一只向下啄食，另一只盯着上方。",[23,25,24,26,489,30,29,87,7,3414],"禾穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b85eaf5c3080c2ada2253abb4a55fe9.jpg",[91],{"id":3418,"slug":3419,"title":1306,"dynasty":99,"author":1307,"museum":59,"description":3420,"tags":3421,"thumbUrl":3422,"material":89,"size":3423,"collection":69,"collections":3424,"showCount":3348,"zanCount":51,"manualWeight":51,"mainColor":52},218539,"san-bai-tu-wang-shen-218539","画面以沉雅棕褐为底，似铺展古绢时光笺。雪点轻撒如碎玉缀空，晕开清寒气息。前景芦苇墨色苍劲，叶片舒展藏野趣；一只禽鸟身姿翩然，翎羽层叠如霜染，长颈婉转若流云，红喙微探似欲触苇尖，动态中含温柔试探。上方小禽振翅而来，羽翼带起的风仿佛拂过绢面，与下方生灵呼应成趣。细腻笔触勾勒羽毛纹理，设色淡雅却见神采，将冬日自然生灵的灵动与静谧，凝作绢上一段诗意栖居。",[25,24,26,30,29,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6e759476040f4987d497b5d4e70f68.jpg","147x79",[],{"id":3426,"slug":3427,"title":3428,"dynasty":99,"author":222,"museum":158,"description":3429,"tags":3430,"thumbUrl":3431,"material":89,"size":3432,"collection":46,"collections":3433,"showCount":3348,"zanCount":11,"manualWeight":51,"mainColor":52},217074,"hua-wu-zui-gui-tu-yi-ming-217074","花坞醉归图","这幅画描绘了一座远山，山上各处的桃花盛开，一头驴子在山脚下的木桥上驼着醉酒的主人，向前方的小屋方向走去，后面跟着一个挑着担子的随从。",[23,25,26,489,29,33,35,37,553,123,81,145,32,7,564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef29ccb362d192e6510a542bc5044d0.jpg","23.8x25.3cm",[46],{"id":3435,"slug":3436,"title":3437,"dynasty":77,"author":423,"museum":207,"description":3438,"tags":3439,"thumbUrl":3441,"material":3442,"size":3443,"collection":69,"collections":3444,"showCount":3445,"zanCount":51,"manualWeight":51,"mainColor":134},233749,"ku-mu-han-ya-tu-zhou-zhu-da-233749","枯木寒鸦图轴","本幅表现隆冬时节，4只落寞的寒鸦在残石败枝上栖息的情景。寒鸦的羽毛先以淡墨晕染，趁湿在淡墨上罩以浓墨，浓淡墨交融处显现出羽毛柔软、细密的质感。鸟的眼眶为一笔圈成的椭圆形，靠近上眼眶处以重墨点睛，一付“白眼向人”的神色顿现笔底。鸟儿孤傲不驯的神态最能体现作者坚韧倔强、磊落不羁的个性。",[25,26,104,122,1479,106,7,3440,163,87],"鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720d3f98e81536da3eba405e6c534dd7.jpg","纸本，墨笔","纵178.5厘米，横91.5厘米",[],65,{"id":3447,"slug":3448,"title":3449,"dynasty":18,"author":3450,"museum":207,"description":3451,"tags":3452,"thumbUrl":3457,"material":288,"size":3458,"collection":91,"collections":3459,"showCount":3445,"zanCount":51,"manualWeight":51,"mainColor":52},222456,"liu-qin-bai-xian-li-zhou-wang-zhao-222456","柳禽白鹇立轴","汪肇","《柳禽白鹇图》绘溪水奔流，浪花翻滚，岸边青草依依，两只白鹇一俯一仰，悠然闲憩。一株杨柳，枝条倒垂，随风飘动；柳畔桃花盛开，数只燕子翻腾嬉戏于柳枝之间，充满早春气息。白鹇画法工细，形象写实，生动传神。羽毛色彩，对比鲜艳。此图工写结合，造型生动自然，色彩丰富，与画家粗简放逸之风有所不同。",[23,24,25,26,104,87,29,30,3453,7,3454,3455,1858,34,38,3456],"工写结合","燕子","白鹇","早春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9797ae11c53f7557aad5da268f564.jpg","纵190，横103",[91,48],{"id":3461,"slug":3462,"title":3463,"dynasty":99,"author":2541,"museum":207,"description":3464,"tags":3465,"thumbUrl":3466,"material":3467,"size":3468,"collection":111,"collections":3469,"showCount":3445,"zanCount":430,"manualWeight":51,"mainColor":52},221621,"hou-chi-bi-fu-tu-juan-ma-he-zhi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山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。\n山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非 家。\n画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。\n吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。\n此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。\n在色彩上两者都具有相似的绚丽色泽。\n此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。",[23,25,122,104,87,388,389,7,1479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718470a984f0d650aff4498a17cee84d.jpg","75.9x25.5",[131,3629],"竹石精选",{"id":3631,"slug":3632,"title":3633,"dynasty":99,"author":2945,"museum":1556,"description":3634,"tags":3635,"thumbUrl":3636,"material":3637,"size":3638,"collection":111,"collections":3639,"showCount":3590,"zanCount":51,"manualWeight":51,"mainColor":52},221251,"yan-tu-hui-chong-221251","雁图","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[23,24,25,26,122,29,2214,7,257,934,163,2545,2949,529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[111,91,48],{"id":3641,"slug":3642,"title":3643,"dynasty":156,"author":1712,"museum":207,"description":3644,"tags":3645,"thumbUrl":3646,"material":3647,"size":3648,"collection":111,"collections":3649,"showCount":3590,"zanCount":51,"manualWeight":51,"mainColor":52},220842,"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[23,25,26,27,29,87,528,7,64,32,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 设色画","纵25.4厘米,横36.2厘米",[111,91,48],{"id":3651,"slug":3652,"title":3653,"dynasty":99,"author":2541,"museum":207,"description":3654,"tags":3655,"thumbUrl":3656,"material":1321,"size":3657,"collection":244,"collections":3658,"showCount":3590,"zanCount":430,"manualWeight":51,"mainColor":52},218626,"tang-feng-tu-ce-ma-he-zhi-218626","唐风图册","马和之，生卒年月不详，钱塘人（杭州），南宋著名人物画家，主要社会活动在高宗时期。据记载马和之的官方身份为画院待诏，又有文献说他曾考中进士，官至工部或兵部侍郎。这么看，在南宋画院中，马和之身份特殊，不是一般的伎术官员。南宋末期的著名文人周密说他为画师之首，语意是模糊的，具体情况有待学术界去研讨清晰。\n在绘画上，马和之以人物画著称。他的绘画技术主要学习唐代吴道子、宋代李公麟两家。技术成熟期的马和之，在吴、李基础上，独创了人物形象的独特描摹技术：柳叶描（又称蚂蟥描）。这种描法的线条粗细变化丰富，用笔起伏明显，清俊不羁，活泼潇洒，韵味十足。因他创作上的成就斐然，人们以“小吴生”称之，将其置于吴道\n子这类大师的行列。南宋以后的绘画大家黄公望、吴镇、唐寅、任伯年、徐悲鸿等人皆对其推崇备至。\n马和之的传世作品尚有很多，其中《后赤壁赋图》、《 古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[23,25,26,210,63,35,33,41,40,7,553,38,564,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","27x44.7cm",[244],{"id":3660,"slug":3661,"title":3662,"dynasty":18,"author":3663,"museum":500,"description":3664,"tags":3665,"thumbUrl":3666,"material":197,"size":3667,"collection":46,"collections":3668,"showCount":3669,"zanCount":430,"manualWeight":51,"mainColor":52},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷","文徴明","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,25,26,27,29,33,65,64,31,30,516,441,36,37,38,39,40,7,41,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[46,48],60,{"id":3671,"slug":3672,"title":3673,"dynasty":99,"author":222,"museum":1091,"description":3674,"tags":3675,"thumbUrl":3677,"material":259,"size":3678,"collection":111,"collections":3679,"showCount":3669,"zanCount":51,"manualWeight":51,"mainColor":52},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,25,26,27,122,31,33,41,126,124,3676,256,257,163,564,40,7,1480,67],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[111,46,131],{"id":3681,"slug":3682,"title":3683,"dynasty":18,"author":1609,"museum":3684,"description":3685,"tags":3686,"thumbUrl":3687,"material":3688,"size":3689,"collection":91,"collections":3690,"showCount":3669,"zanCount":51,"manualWeight":51,"mainColor":69},220761,"shuang-ying-tu-lin-liang-220761","双鹰图","香港中文大学文物馆","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[23,25,26,122,1479,104,87,635,7,440,163,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 × 74.5 cm",[91],{"id":3692,"slug":3693,"title":3694,"dynasty":77,"author":3695,"museum":838,"description":3696,"tags":3697,"thumbUrl":3698,"material":181,"size":3699,"collection":46,"collections":3700,"showCount":3669,"zanCount":51,"manualWeight":51,"mainColor":134},220009,"xi-shan-xing-lv-tu-liu-yu-220009","溪山行旅图","柳堉","柳堉（1620—1689年以后），字公韩、公含，号愚谷，江宁（南京）诸生。工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。柳堉身在清代经济和文化发达的南京，受到广泛的艺术影响，众家风格的融合都体现在了这幅画上。作品中体积庞大的群山体反映受到了董其昌的影响。由黑色小叶子点缀的苍松、干燥的笔触表明了对安徽画派的熟悉，而奇妙的景观形态和深邃的远距离景观与惊人的特写镜头的大胆并置，显示了他对早期南京画家如吴彬的崇尚。",[23,25,26,27,122,31,33,37,38,39,40,7,67,36,1990,123,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f721d9feb3a8cf66ea0346ad6bd077.jpg","26.4x508.6厘米",[46],{"id":3702,"slug":3703,"title":3704,"dynasty":77,"author":3705,"museum":59,"description":3706,"tags":3707,"thumbUrl":3708,"material":321,"size":322,"collection":69,"collections":3709,"showCount":3710,"zanCount":11,"manualWeight":51,"mainColor":134},224476,"fang-hui-chong-bi-yi-shan-mian-wang-jian-224476","仿惠崇笔意扇面","王鉴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n[ 万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,24,25,26,489,29,122,31,33,39,7,41,1560,1036,748,441,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],59,{"id":3712,"slug":3713,"title":3714,"dynasty":99,"author":3715,"museum":2057,"description":3716,"tags":3717,"thumbUrl":3718,"material":288,"size":3719,"collection":111,"collections":3720,"showCount":3710,"zanCount":430,"manualWeight":51,"mainColor":52},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","李公麟","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,24,25,26,27,63,122,29,35,33,41,1355,39,38,40,65,195,726,528,7,564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 x 521.5 cm",[111,244,131],{"id":3722,"slug":3723,"title":3724,"dynasty":645,"author":646,"museum":59,"description":3725,"tags":3726,"thumbUrl":3728,"material":321,"size":322,"collection":69,"collections":3729,"showCount":3730,"zanCount":51,"manualWeight":51,"mainColor":134},290098,"you-chun-tu-quan-juan-zhan-zi-qian-290098","游春图全卷","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，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。",[23,25,24,27,28,29,33,1627,3727,516,38,34,41,7,64,65,32],"游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c745d85afcbc62c30de0087d4f06b8a.jpg",[],58,{"id":3732,"slug":3733,"title":3734,"dynasty":77,"author":252,"museum":2057,"description":3735,"tags":3736,"thumbUrl":3737,"material":69,"size":69,"collection":46,"collections":3738,"showCount":3730,"zanCount":51,"manualWeight":51,"mainColor":134},236728,"shan-shui-ce-hua-yan-236728","山水册","华嵒（1682～1756），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。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[25,29,210,122,31,256,257,40,528,37,7,163,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa832e728718e0546bb3aa1e9daaea510.jpg",[46,48],{"id":3740,"slug":3741,"title":3742,"dynasty":99,"author":222,"museum":1545,"description":3743,"tags":3744,"thumbUrl":3745,"material":362,"size":3746,"collection":91,"collections":3747,"showCount":3730,"zanCount":51,"manualWeight":51,"mainColor":52},223463,"shan-que-pi-pa-tu-yi-ming-223463","山鹊枇杷图","图绘两只山雀站在枇杷枝上。枝头果实累累，枇杷青涩，黄中带绿。",[24,25,26,210,30,29,87,7,211,301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17bd14416d2c445966f588ee332fa32c.jpg","30X31cm",[91,48],{"id":3749,"slug":3750,"title":3751,"dynasty":18,"author":3752,"museum":838,"description":3753,"tags":3754,"thumbUrl":3756,"material":2433,"size":3757,"collection":46,"collections":3758,"showCount":3730,"zanCount":51,"manualWeight":51,"mainColor":134},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,25,26,27,29,33,30,31,122,3755,36,37,38,40,7,123,41,124,35,404,564],"四季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 x1183.6cm",[46,48],{"id":3760,"slug":3761,"title":3762,"dynasty":99,"author":1499,"museum":838,"description":3763,"tags":3764,"thumbUrl":3765,"material":3766,"size":3767,"collection":111,"collections":3768,"showCount":3730,"zanCount":11,"manualWeight":51,"mainColor":52},221589,"shuang-que-tu-li-di-221589","双雀图","景德二年（1005年），状元及第，出任徐州通判。历任著作郎、直史馆、三司盐铁判官、海州监税、右司谏、知郓州、起居舍人、吏部员外郎、三司盐铁副使、知制诰、秘书监、等职，在地方政绩卓著，在中央参与军国要务，出入内外，两度担任同平章事（宰相），以太子太傅致仕。\n庆历七年（1047年），李迪去世，享年七十七岁，追赠司空兼侍中，谥号“文定”，宋仁宗亲题其碑首为“遗直之碑”。《全宋诗》录其诗，《全宋文》录有其文。",[23,25,26,489,29,30,87,67,7,163,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe559fda312675455de696e9c73c23466.jpg","设色绢本","35x34",[111,91,48],{"id":3770,"slug":3771,"title":3772,"dynasty":18,"author":3773,"museum":176,"description":3774,"tags":3775,"thumbUrl":3776,"material":181,"size":69,"collection":46,"collections":3777,"showCount":3730,"zanCount":51,"manualWeight":51,"mainColor":134},219705,"yun-shan-ping-yuan-tu-shao-mi-219705","云山平远图","邵弥","邵弥。字僧弥，后以字为名，号瓜畴、芬陀居士。性迂僻不谐俗，工诗文，善书法，尤长于绘画。擅画山水，亦能画水仙兰竹，其山水以元人为师承对象，略参以宋人笔意，笔墨疏简秀逸。名重一时，与董其昌、王时敏、王鉴、李流芳、杨文聪、张学曾、程嘉燧、卞文瑜合称画中九友。有《划开众皴图》、《云山平远图》、《贻鹤寄书图》等传出。草书受米芾、米友仁影响，楷书得锺繇法。",[23,25,122,27,31,33,359,256,257,41,39,40,7,124,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb701b7323781fa85ef2c2443e2a86e.jpg",[46,131],{"id":3779,"slug":3780,"title":3781,"dynasty":18,"author":1609,"museum":207,"description":3782,"tags":3783,"thumbUrl":3785,"material":89,"size":3786,"collection":46,"collections":3787,"showCount":3730,"zanCount":51,"manualWeight":51,"mainColor":52},219207,"jin-ji-tu-lin-liang-219207","锦鸡图","画中主体为一对锦鸡，另有麻雀上下翻飞，布谷、斑鸠等在树枝间栖身；坚实的深壑，风中纷乱的细竹以及丛生的灌木构筑出一个生意盎然的自然空间。林良以画花鸟著称，他用细腻的笔端使品相富贵的花鸟表现出野逸自然的状态，将水彩绘画的活泼与宫廷画追求的具象严谨相统一，创造出新的审美情趣，在明代宫廷画中有巨大的影响。",[23,25,122,1479,87,3784,1036,1915,7,1382],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c49c9fe8d456032a8ed3bebe9f209e.jpg","纵155厘米，横92.6厘米",[46],{"id":3789,"slug":3790,"title":3791,"dynasty":99,"author":222,"museum":158,"description":3792,"tags":3793,"thumbUrl":3795,"material":89,"size":3796,"collection":91,"collections":3797,"showCount":3730,"zanCount":51,"manualWeight":51,"mainColor":52},218887,"ying-tao-huang-li-tu-yi-ming-218887","樱桃黄鹂图","此画作者佚其名，但画上有杨皇后题名，知为南宋院画。1949年5月吴湖帆以家藏古本易得，并于画上题咏图意、考证杨氏名号之实。",[25,26,24,30,29,87,7,3794,576,32],"黄鹂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe027451de9b614f98a0abec26761ef.jpg","纵12.1厘米， 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出版。\n菊花书画卷(局部) 花卉山水人物册页四开 花卉册页二开 仿李觯册页四开 花卉(合作) 花卉山水册页五开 山水册页二开 山水 墨兰 水仙 梅花 碧霞元君祠图 拟沈周夏日山居图 北京风俗图册页三十四开 秋花奇石 墨荷 鬼趣图 钟馗读书图 达摩图 读画图 深山古寺 山林人家 仙鹤 岁寒清供图 深山秋烟 姚华小像 花卉四条 清供图 菊石图 山水册页四开 花卉四条 松树 听秋图 蔬笋 拟吴仲圭山水 群仙上寿图 山水 花鸟四屏 山水 仿沈周山水 山水 山水册页四开 忽见千帆 半山流泉 荷 芍药 些 芭蕉 花卉四屏 菊石 兰竹 仿石涛山水 鸡冠花 金壶细叶 携酒与鱼 梅花 兰石 梅竹双雀(合作) 佛手 赤壁图 山水 桃花 梅石 芭蕉菊花 腊梅秀石 山水长卷(合作) 花卉 山水册页 溪流浣衣 江乡秋获 山原行旅 村醪泥醉 雨洗铅华 空谷幽香 烟寒雨昏 老圃秋容 梅竹 月季花 花卉四条 秋园晚艳 桃花 绣球花 山林楼影 姜白石词意图册十二开 山水册页四开 山水诗画册页十六开 竹 写摩诘诗意 园林小景册页六开 山水册页二开 花卉山水册页十开 山水花果册页四开 枇杷 竹笋 杨诚斋诗意图册页六开 花卉册页八开 枇杷 秋柳图 达摩图 猴戏图(合作) 菊石 玉兰 墨笔山水 溪山松居图 山林静处 霜林红万山 山林深处 竹石 花红叶翠 附：常用印章 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横55.3厘米",[244],{"id":4002,"slug":4003,"title":4004,"dynasty":99,"author":4005,"museum":207,"description":4006,"tags":4007,"thumbUrl":4009,"material":288,"size":4010,"collection":111,"collections":4011,"showCount":3950,"zanCount":51,"manualWeight":51,"mainColor":52},221419,"lu-ting-mi-xue-tu-quan-juan-liang-shi-min-221419","芦汀密雪图全卷","梁师闵","此卷为梁师闵的传世孤品，描绘严冬时节的沙渚平川，坡石竹枝已尽为白雪覆盖，丛丛干枯的芦草在阴沉晦暗的背景下瑟瑟隐现。清寂之中，一池湖水尚未封冻，两只鸂鶒（音xī chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[23,25,26,27,30,29,934,439,39,7,4008,3211,33,32,65,64],"寒沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[111,46,131],{"id":4013,"slug":4014,"title":4015,"dynasty":156,"author":1573,"museum":475,"description":4016,"tags":4017,"thumbUrl":4018,"material":89,"size":4019,"collection":91,"collections":4020,"showCount":3950,"zanCount":51,"manualWeight":51,"mainColor":52},216674,"ge-zi-tu-wang-yuan-216674","鸽子图","王渊（生卒年不详）是中国元朝（1271年 - 1368年）的一位著名画家，他的代表作品是《鸽子图》。《鸽子图》是一幅水墨画，描绘了一群自由自在地飞翔的鸽子。这幅画被认为是王渊最优秀的作品之一，其中体现了王渊对动物自然、生动的描绘方式。此外，《鸽子图》还展示了王渊对色彩运用的精湛技巧，使得画面栩栩如生，充满生机和活力。",[23,25,29,30,87,7,726],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2859eb0a4bf8656af4d2d93c4ff4064.jpg","26x28cm",[91],{"id":4022,"slug":4023,"title":4024,"dynasty":77,"author":2408,"museum":176,"description":4025,"tags":4026,"thumbUrl":4027,"material":303,"size":69,"collection":46,"collections":4028,"showCount":3950,"zanCount":51,"manualWeight":51,"mainColor":134},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,25,210,29,122,33,64,65,31,1479,256,257,81,1355,40,37,38,35,163,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[46],{"id":4030,"slug":4031,"title":4032,"dynasty":139,"author":140,"museum":59,"description":4033,"tags":4034,"thumbUrl":4035,"material":321,"size":322,"collection":69,"collections":4036,"showCount":4037,"zanCount":11,"manualWeight":51,"mainColor":52},290554,"wu-dai-nan-tang-rong-que-zhou-xu-xi-290554","五代南唐蓉雀轴","第四册，页54故宫书画图录，第一册，页65-66该幅画芙蓉盛开，与奇石交相掩映，石下尚有数株雏菊。一对对麻雀、白头翁与鶺鴒互相顾盼唱和，唯有一只麻雀孤独地在空中飞翔。该幅无款，旧传为五代南唐（十世纪初）徐熙之作，然细审此幅的笔墨与徐熙不类，当出自后人之手。",[25,24,104,87,30,29,7,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c26b3108f3c64d1cad0b53319ca6e2f.jpg",[],54,{"id":4039,"slug":4040,"title":4041,"dynasty":77,"author":4042,"museum":59,"description":4043,"tags":4044,"thumbUrl":4046,"material":321,"size":322,"collection":69,"collections":4047,"showCount":4037,"zanCount":11,"manualWeight":51,"mainColor":134},288234,"duo-zi-tu-li-zhou-qu-zhao-lin-288234","多子图立轴","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[23,25,104,30,29,87,7,900,528,163,4045],"多子多福","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84673a9abd63bfd4f7c5dbd2d3b0bdb3.jpg",[],{"id":4049,"slug":4050,"title":4051,"dynasty":139,"author":222,"museum":59,"description":4052,"tags":4053,"thumbUrl":4055,"material":69,"size":69,"collection":69,"collections":4056,"showCount":4037,"zanCount":51,"manualWeight":51,"mainColor":52},239547,"huang-quan-xie-sheng-zhen-qin-tu-juan-yi-ming-239547","黄筌写生珍禽图卷","此作写实功底极尽精微，将十余类禽鸟、虫豸与灵龟一一铺陈。画师以淡墨细勾轮廓，随类施色晕染，禽鸟绒羽纤毫毕现，虫翼轻薄通透，龟甲纹理凹凸逼真。每一只生灵都形神兼备，振翅的雀鸟、爬行的甲虫、静立的水禽，皆定格住最鲜活的瞬间，尽显对自然万物的入微体察。\n\n虽为写生稿的合集，却处处彰显工笔花鸟的极致功底，将生灵的鲜活神韵凝于绢素之上，尽显五代写实工笔的隽永魅力。",[25,24,26,27,30,29,87,7,4054,598,32],"虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332fee9c6e6f4bf61e5511d43efcaedc.jpg",[],{"id":4058,"slug":4059,"title":4060,"dynasty":77,"author":252,"museum":59,"description":4061,"tags":4062,"thumbUrl":4066,"material":69,"size":69,"collection":69,"collections":4067,"showCount":4037,"zanCount":51,"manualWeight":51,"mainColor":52},234249,"bai-shou-tu-hua-yan-234249","百兽图","华喦[yán]，清朝人。他生于康熙，卒于乾隆，经历“康乾盛世”，却一生贫苦。\n他年轻时因被乡绅羞辱，拒绝他为宗族祠堂作画。他一气之下，连夜在祠堂墙壁上画下高山云鹤、水国浮牛、悬崖青松、倚马题诗四幅画作，然后愤然离乡出走。\n他中年辗转于江南各地，与“扬州八怪”交往密切，成为扬州画派的代表人物，传世佳作皆被世人奉若珍宝。\n他晚年书、画、诗俱全，被称为“三绝”，人物、花鸟走兽、山水自然无不精通，终成一代名家。乃至后来者如吴昌硕、齐白石、徐悲鸿等大师也学习他绘画技法。\n在这里要特别提到的是，他笔下的画作，和别的艺术大师有些不同。\n嵒，通“岩”。华喦，人如其名。他的艺术成就如同山峰一般耸立在清代画坛，令无数后来者敬仰。自古以来善画走兽者甚多，但很少有人能画出百兽图。因此珍藏于北京故宫博物院的一幅《百兽图》便显得格外珍贵，它的作者便是华喦。\n此作为长卷画作，画面自右向左依次出现狗、牛、羊、马、鹿、狼、虎、猴、熊等动物，而一头老虎位居画面正中却面露囧态。画面中的动物们被华喦描绘的生动传神，栩栩如生，各具亮点。每一处局部独立展示便是一幅小品佳作，而纵览全画便犹如置身深山老林之中，处处散发着自然的生命力。\n画面最右侧，首先映入眼帘的是人类生活中常见的狗、牛、羊、马。\n接下来画面中来到河畔旁的草地上，一众动物在枫叶美景中悠闲地嬉戏打闹，但河对岸一只麋鹿正此刻正和一只灰狼对峙，凭添了几分紧张的气息。\n镜头继续向左转移，一只老虎在山坡的另一侧独自矗立。虽说老虎是百兽之王，可它此刻的面部表情却十分窘迫，甚至引得巨石上的猴子驻足观看。想来应该是它在头疼这森林的管理问题吧。\n随着我们的视角不断向左深入，画面中山石林立，藤叶纷飞，显得更加原始。而这里的主角变成了一群热闹的猴子，和两只争食的黑熊。\n整幅画作的最左侧，两只大黑熊在互相夺食，而另一只小黑熊却呆在山洞里悠闲地睡着懒觉，顿时令观者啼笑皆非。\n值得一提的是，华喦这幅《百兽图》除开陆地上生活的一群动物外，空中无鸟，水中无鱼。本应威武凶狠的老虎虽出画面正中心，却毫无威仪感，甚至显得有些窘迫。不知作者当时为何会如此创作。",[23,25,27,29,30,31,33,635,4063,1704,81,82,83,7,4064,4065,2588],"猴","犬","羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8e66486eac6115b5e7d13a3b541fdc.jpg",[],{"id":4069,"slug":4070,"title":4071,"dynasty":77,"author":4072,"museum":59,"description":4073,"tags":4074,"thumbUrl":4081,"material":2433,"size":4082,"collection":69,"collections":4083,"showCount":4037,"zanCount":11,"manualWeight":51,"mainColor":134},222700,"qiu-feng-mo-zao-tu-juan-shou-juan-qian-yu-ling-222700","秋风墨藻图卷手卷","钱与龄","画中的蓝藻、紫绿红蓼、游鱼蟹、泥鳅蛙、蜻蜓翠鸟、白鹭飞虫，游或游或荷花或偷窥，首当其冲的就是充满活力的秋天。 年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,24,25,26,27,29,30,426,390,144,1288,4075,934,4076,1287,2916,4077,4078,4079,1383,238,257,4080,7],"蜻蜓","水藻","红鱼","水生植物","莲叶","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],{"id":4085,"slug":4086,"title":4087,"dynasty":99,"author":619,"museum":1556,"description":4088,"tags":4089,"thumbUrl":4090,"material":259,"size":4091,"collection":111,"collections":4092,"showCount":4037,"zanCount":51,"manualWeight":51,"mainColor":134},221503,"yuan-pu-gui-fan-tu-mu-xi-221503","远浦归帆图","《远浦归帆图》为《潇湘八景图》之一。“潇湘”这一意象在中国画中具有特殊的地位。“潇湘山水”的出现，或许是与宏大的帝国山水对立的，它具有更强烈的私人属性，属于性灵的山水篇章。潇湘山水并非是指今天的“潇湘洞庭”，而是泛指一种江湖的情调与雅趣。牧溪和尚以“潇湘”为旨，融禅理于画，可谓画中有禅，禅中有画。今读《远浦归帆图》，只为见本心。",[23,25,122,33,27,39,41,7,1479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1af47130223d09239906eae4799cb.jpg","32.5*112.7CM",[111,46,131],{"id":4094,"slug":4095,"title":4096,"dynasty":156,"author":2805,"museum":119,"description":4097,"tags":4098,"thumbUrl":4100,"material":89,"size":4101,"collection":91,"collections":4102,"showCount":4037,"zanCount":51,"manualWeight":51,"mainColor":52},220384,"qiu-fang-niao-yu-tu-qian-xuan-220384","秋芳鸟语图","钱选山水师赵令穰，人物师李公麟，花鸟师赵昌，青绿山水师赵伯驹，尤善作折枝，其得意者赋诗其上。工临仿，尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉。选多写人物、花鸟，故所图山水当世罕传。。钱选与赵孟頫同乡并同享盛名。擅画人物、花卉及山水。其自题《其与花鸟画曾师法赵昌，又自有变法，多表现田园隐居等情趣，如《柴桑翁像》、等山水画。后因为手颤，以及对付诸多仿造者，改作水墨写意花卉。明代鲁王朱檀墓随葬有钱选等，多以水墨画就。",[23,24,25,26,489,29,30,87,726,7,163,4099],"秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194ffa877014eafa9f6fefd8f3e58dd3.jpg","24.2x26.2",[91],{"id":4104,"slug":4105,"title":4106,"dynasty":99,"author":2202,"museum":59,"description":4107,"tags":4108,"thumbUrl":4110,"material":259,"size":4111,"collection":91,"collections":4112,"showCount":4037,"zanCount":51,"manualWeight":51,"mainColor":52},220044,"ba-ba-niao-tu-guo-xi-220044","叭叭鸟图","画上并没有牧溪的落款和任何题字，只有一方“牧溪”印章。这种小尺幅的画，可能是挂在僧人的禅房中作为观想用的。牧溪的画深得日本僧人喜爱，流传到日本之后，依然会悬挂在禅寺或私家园林最具礼仪性的空间—茶室之中。",[25,24,26,122,30,87,7,1480,4109],"孤枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0721f1062efb8a06417db50da227369e.jpg","纵78.5厘米，横39厘米",[91],{"id":4114,"slug":4115,"title":4116,"dynasty":156,"author":1573,"museum":119,"description":4117,"tags":4118,"thumbUrl":4120,"material":181,"size":4121,"collection":91,"collections":4122,"showCount":4037,"zanCount":51,"manualWeight":51,"mainColor":52},219241,"tao-zhu-chun-qin-tu-wang-yuan-219241","桃竹春禽图","此幅画坡石桃竹，两双锦鸡楼于坡石之间。桃枝上的一双小鸟作欲飞状。枝上桃花或盛开，或含苞欲放。图中花和叶都用水墨点画而成，不用线勾。作者以深浅不同的色调，表现出阴阳向背和不同的颜色。鸟身的羽毛举涂染皴划粗细笔兼用，不作精雕细琢。全画笔墨稳练、文雅，气韵苍古，是花鸟画在元代由设色向墨笔过渡的代表性作品。",[23,25,24,104,122,30,87,4119,528,144,7,163,32],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c252bcf6ed4c5540285f24044384b10.jpg","117.6x55公分；全幅72.5公分",[91],{"id":4124,"slug":4125,"title":4126,"dynasty":99,"author":1865,"museum":4127,"description":4128,"tags":4129,"thumbUrl":4131,"material":181,"size":4132,"collection":91,"collections":4133,"showCount":4037,"zanCount":11,"manualWeight":51,"mainColor":52},219074,"zhi-niao-tu-li-an-zhong-219074","鸷鸟图","西雅图艺术博物馆","双鸟振翅于苍空，一似利剑穿云，一若疾电掠野，羽翼纹理细劲如丝，飞羽层叠间藏着风的力度。下方山石嶙峋，荒草疏疏，墨色简淡却见苍劲，衬出鸷鸟雄健身姿。眼神未刻意描摹，却透着猛禽独有的锐光。整幅画于工致中见野逸，将鸷鸟凌厉气势与旷野清寂氛围融于一纸，尽显宋人对自然生灵的深刻洞察与笔墨匠心。寥寥数笔的背景，更让观者聚焦飞鸟动态神韵，仿佛能听见翅膀划破空气的声响，感受到荒野里蓬勃的生命张力。",[23,24,25,26,87,30,29,7,163,4130],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df516f0d73f4636a45f5da60eb29c20.jpg","25.4x27cm",[91],{"id":4135,"slug":4136,"title":4137,"dynasty":99,"author":2541,"museum":119,"description":4138,"tags":4139,"thumbUrl":4140,"material":89,"size":4141,"collection":111,"collections":4142,"showCount":4037,"zanCount":51,"manualWeight":51,"mainColor":52},218866,"jiang-sheng-cao-ge-tu-ma-he-zhi-218866","江声草阁图","画中有一座建在悬壁上的亭子，瀑布流入河中，一棵松树拔地而起，一个学者靠在栅栏上看一颗飞星。",[23,25,24,29,30,33,36,41,7,1383,126,1149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2c1ff15b6b9c4fa6376a24609f2ff0.jpg","23.3x24.6",[111],{"id":4144,"slug":4145,"title":4146,"dynasty":18,"author":722,"museum":119,"description":4147,"tags":4148,"thumbUrl":4151,"material":303,"size":4152,"collection":91,"collections":4153,"showCount":4037,"zanCount":11,"manualWeight":51,"mainColor":52},218840,"cao-hua-ye-qin-tu-lv-ji-218840","草花野禽图","绘高梁丛底下，一对野雉正在低头觅食，另外还有三只荜雀翱翔于上，构景既真实生动，又富趣味性。画上并没有作者的签名，因为钤盖了吕纪的印章，而被误认为是他的作品。实际上这幅画虽然极好，但风格却和吕纪不尽相同，推测应该出自明代其他高手所作。吕纪（活动于1439—15○5年间），浙江鄞县人。明孝宗时任职于仁智殿作画，并被授予锦衣指挥的官名。",[24,25,26,104,30,29,87,7,4149,4150,123,2734,32],"野禽","草花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a86ac72036a3a520bff486521df824.jpg","146.4x58.7cm",[91],{"id":4155,"slug":4156,"title":4157,"dynasty":99,"author":222,"museum":158,"description":4158,"tags":4159,"thumbUrl":4161,"material":89,"size":4162,"collection":111,"collections":4163,"showCount":4037,"zanCount":51,"manualWeight":51,"mainColor":52},218619,"yuan-lu-tu-yi-ming-218619","猿鹭图","在画山的一棵老松树上，一只猴子右手抱着一只苍鹭，左手挥舞着，似乎在吓唬坐在树顶的另一只苍鹭，尽管树顶的苍鹭确实受到了惊吓，它张着尖嘴，翅膀微微张开，似乎准备逃走了。紧握着的游隼张开的嘴，似乎在呼救。",[23,24,25,26,489,29,30,32,4160,704,374,1036,16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哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,24,25,26,210,30,29,7,440,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e2bf0c5effb80786fbb766f9d19af2.jpg",[111,91,48],{"id":4218,"slug":4219,"title":4220,"dynasty":18,"author":4221,"museum":207,"description":4222,"tags":4223,"thumbUrl":4224,"material":89,"size":4225,"collection":46,"collections":4226,"showCount":4173,"zanCount":51,"manualWeight":51,"mainColor":52},218362,"fang-he-zhou-tu-xiang-sheng-mo-218362","放鹤洲图","项圣谟","此图是项圣谟为友人朱葵石所画的一件作品。放鹤洲在嘉兴鸳鸯湖畔，唐代著名宰相裴休曾在此建造别墅，但久已荒废。朱葵石在其遗址上疏浚河道，广植树木，重新再造。清顺治十年（1653年），朱葵石请项圣谟来别墅作客，他们泛舟湖上，饮酒赋诗，尽情享受林泉之乐，作品正是为纪念他们这一次相会而创作的。\u2028　　画面上，纵横交错的河道将田畴、村庄分割，农民往来耕作于其间，反映了长江下游低湿地带的风貌。画面左中部树木葱茏茂密，其间设置桥梁、屋宇、亭子、假山石和备用的画舫等，正是别墅所在地。画面左下端有寺庙宝塔，上端城墙蜿蜒，则是嘉兴城。别墅与周围的环境融为一体，布置讲究，而建筑并不炫耀豪华。项圣谟的这件作品不但写实，而且表现出中国文人崇尚自然，即“仁者乐山，智者乐水”的思想。",[23,25,33,29,122,31,41,7,39,37,38,40,564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce80d46161a9b0729030988c27b5e0af.jpg","纵65.5厘米，横53.7厘米",[46],{"id":4228,"slug":4229,"title":4230,"dynasty":156,"author":222,"museum":119,"description":4231,"tags":4232,"thumbUrl":4233,"material":128,"size":4234,"collection":69,"collections":4235,"showCount":4236,"zanCount":11,"manualWeight":51,"mainColor":52},291029,"hua-hu-zhou-yi-ming-291029","画虎轴","此画通幅描绘如真，渍染极得润厚的韵致。画无名款，旧签定为元人。惟据画风判断，与明代宫廷画风，颇多相近处，是以推断，该幅或出自明代良工之手。松林石涧间，一巨虎黄皮黑纹，毛色鲜丽，体态威武雄壮。虎之双眼，俱以金粉涂饰，并略染汁绿，显得格外神气逼人。其背隆起，宛如张弓欲发，隐然有即将出击之势。虎口微启，低吟而未啸。树梢，二山鹧见状，相与惊跃鸣叫，更为此猛虎出山的场景，平添紧张、不安的气息",[25,26,104,30,29,2753,635,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754b14053084a7cd4ca663a634e08e9c.jpg","165.5x45.3公分",[],52,{"id":4238,"slug":4239,"title":4240,"dynasty":77,"author":2481,"museum":59,"description":2482,"tags":4241,"thumbUrl":4244,"material":321,"size":322,"collection":69,"collections":4245,"showCount":4236,"zanCount":51,"manualWeight":51,"mainColor":134},289652,"chun-hua-ti-niao-jing-xin-ren-yi-289652","春花啼鸟镜心",[23,25,4242,87,29,30,7,4243,32],"镜心","春花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3419b0daa27ad6da934e8775bd43d751.jpg",[],{"id":4247,"slug":4248,"title":4249,"dynasty":99,"author":2945,"museum":59,"description":4250,"tags":4251,"thumbUrl":4254,"material":321,"size":322,"collection":69,"collections":4255,"showCount":4236,"zanCount":51,"manualWeight":51,"mainColor":134},289350,"sha-ting-yan-shu-tu-hui-chong-289350","沙汀烟树图","此图画沙汀烟树迷离的早春景色。江南水乡的初春，杨柳刚吐新绿，春溪满溢，潺潺流淌，河岸水草随风摇曳，成群的水鸟在水上栖止飞翔，隔岸丛树掩映在一片云烟之中，若隐若现，具有浓郁的抒情色彩，在表现微妙迷惘的感觉上获得了成功。取景立意似南方画派，但画法上又不似南方画那样轻淡圆润，山石树木用墨较浓，用笔也较方硬。杂草用笔点簇而成，柳树以方直线条勾出老干，然后再涂染色彩，远山用淡墨平画，很雅致。",[23,25,1623,26,122,65,32,64,67,7,4252,4253],"沙汀","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445107f68aa7c5aafbac1748922679d9.jpg",[],{"id":4257,"slug":4258,"title":4259,"dynasty":99,"author":2721,"museum":4260,"description":4261,"tags":4262,"thumbUrl":4263,"material":259,"size":4264,"collection":69,"collections":4265,"showCount":4236,"zanCount":11,"manualWeight":51,"mainColor":52},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,24,25,26,27,29,33,31,30,256,257,39,81,40,7,37,38,515,35,163,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":4267,"slug":4268,"title":4269,"dynasty":18,"author":311,"museum":207,"description":4270,"tags":4271,"thumbUrl":4272,"material":4273,"size":4274,"collection":69,"collections":4275,"showCount":4236,"zanCount":51,"manualWeight":51,"mainColor":52},222347,"pei-tai-shi-jing-tu-tang-yin-222347","沛台实景图","本幅作者自题并书七言律诗一首：“正德丙寅，奉陪大塚宰太原老先生登歌風台，謹和感古佳韻並圖其實景，呈茂化學士請教。唐寅。‘此地曾經王輦巡，比鄰爭睹帝王身。世隨邑改井猶存，碑勒風歌字失真。仗劍當時冀亡命，入關不意竟降秦。千年泗上荒台在，落日牛羊感路人。’”钤“唐居士”。另有安岐、吴璵等人收藏印记。\n唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。\n《墨缘汇观》著录。",[23,25,122,31,33,104,36,41,38,37,7,163,32,64,65,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F126f3719a8c77d49f2a16c74b15ed02a.jpg","绢本，水墨","纵26.2厘米，横23.9厘米",[],{"id":4277,"slug":4278,"title":2315,"dynasty":1464,"author":1465,"museum":4279,"description":4280,"tags":4281,"thumbUrl":4282,"material":69,"size":69,"collection":69,"collections":4283,"showCount":4236,"zanCount":51,"manualWeight":51,"mainColor":134},220547,"song-ying-tu-xu-bei-hong-220547","龙美术馆西岸馆","以浓焦墨铺写振翅飞鹰，翎羽以皴擦兼施，笔力沉雄又不失蓬松质感，利爪筋肉紧绷如凝铁，目光锐如寒钩，雄悍气势扑面而来。下方老松盘虬伸展，鳞皴枝干古拙苍劲，团簇松针攒聚如戟，尽显风霜淬炼后的坚韧。\n\n画面以留白铺就辽远虚境，衬出飞鹰俯冲的凌厉动感，水墨干湿浓淡层次分明，写意之中暗合写实精准，将猛禽的傲岸与古松的刚劲相融，托物言志，把不屈的铮铮风骨寄寓笔下，尽显襟怀气度。",[23,25,26,122,104,7,374,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5c2f09b18339bfae82aeea7979802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称魏郡（今河南安阳）人，官至南台宣使。善画墨笔花鸟竹石，工书古文奇字，造诣颇深。",[24,25,465,29,30,957,85,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91e5a478b65d0856aa6f536c4f43031.jpg",[],50,{"id":4365,"slug":4366,"title":4367,"dynasty":18,"author":4368,"museum":207,"description":4369,"tags":4370,"thumbUrl":4371,"material":197,"size":4372,"collection":69,"collections":4373,"showCount":4363,"zanCount":51,"manualWeight":51,"mainColor":134},234190,"mei-hua-shuang-qin-juan-chen-ji-ru-234190","梅花双禽卷","陈继儒","陈继儒字仲醇，号眉公，明代松江府华亭县（今上海）人，生于嘉靖三十七年（1558）十一月，卒于崇祯十二年（1639）。陈自幼研习书画，与董其昌同学并为一生至交，他们都是晚明名声甚隆、影响甚大的士人，但有所不同的是陈继儒年纪轻轻便放弃了仕途。\n陈继儒所处的时代是政治腐朽、党争激烈、矛盾尖锐、皇帝荒淫、社会风气堕落的晚明，他清醒地认识到再走科举一途己无多大意义，因此，毅然下定决心“谢去青襟”，隐居山林。朝廷屡次征召，他“皆以疾辞”。\n晚明时代是一个求变与保守交织的时代，从吴门画派以后，晚明绘画大致划分为两派，一是以徐渭、陈洪绶为代表的创新派，一是以董其昌为代表的书斋文人画派，这两种风格不断竞争，构成了晚明画坛的主要特点。虽然强烈的社会变革要求造就了一批卓具改革精神的画家，但是作为当时的文化主流则依然是因循保守的士大夫绘画，其代表人物就是“松江画派”的董其昌，而陈继儒所属的云间画派也是正统文人画的风向标。\n陈继儒的画风与整个晚明时代的气息显得有些格格不入，他的作品清雅脱俗，静中不显荒疏，且无不满或是失望留于画面，而是与世无争，以平和的心态面对世间百态，独辟蹊径，潜心创作，凭着自己丰富的学养在乱世中取得了书画上的成就。从流传的作品中可知陈继儒山水、梅竹作品居多。梅竹上追宋元，山水师法董巨",[23,25,26,27,29,30,143,87,7,64,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65883b1783be479b0e29d8bfbac1daf.jpg","纵32.5cm，横256.5cm",[],{"id":4375,"slug":4376,"title":4377,"dynasty":77,"author":4378,"museum":1056,"description":4379,"tags":4380,"thumbUrl":4381,"material":362,"size":4382,"collection":69,"collections":4383,"showCount":4363,"zanCount":51,"manualWeight":51,"mainColor":52},231352,"tuan-shan-pai-huai-tu-luo-pin-231352","团扇徘徊图","罗聘","画以水墨画一侧面仕女，手执团扇目视前方，似进似退徘徊不定。\n右上角画一飞雁，上下呼应，连成一脉。画题“奉帚平明金殿开，且将团扇\n暂徘徊，玉颜不及寒鸦色，犹带昭阳日影来”。署款“甲寅新秋两峰道人以指\n头图此见赠。回忆王江宁长信秋词语，遂援笔书之。春湖”。",[23,25,26,104,122,29,35,66,7,64,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ccb06ebdae0ec08e182f813cb13c1.jpg","纵98，横31.9厘米",[],{"id":4385,"slug":4386,"title":4387,"dynasty":99,"author":966,"museum":838,"description":4388,"tags":4389,"thumbUrl":4390,"material":69,"size":69,"collection":69,"collections":4391,"showCount":4363,"zanCount":51,"manualWeight":51,"mainColor":52},227963,"pi-pa-ba-ge-tu-tuan-shan-ye-wu-bing-227963","枇杷八哥图团扇页","此作工致写实，将一隅小景绘得意趣悠长。通体乌黑的禽鸟静栖枝桠，羽翼以浓淡墨色晕染出蓬松柔润的质感，亮眼圆睁尽显憨稚警觉，喙部与爪尖勾勒细腻，姿态沉稳憨拙。旁侧枇杷枝叶舒展，叶片以淡绿敷色，细笔勾出筋脉区分阴阳向背，将叶片的舒展柔劲尽显无遗，簇生的浅黄花苞素雅清新。\n整幅画面设色温润古雅，笔意精细却不显匠气，把寻常林间片刻定格为隽永图景，尽显静观万物的雅致审美，淡逸平和中藏着鲜活生机。",[24,25,26,489,30,29,87,7,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff313a95abb99fbd631ae6e3ea15178f3.jpg",[],{"id":4393,"slug":4394,"title":4395,"dynasty":18,"author":222,"museum":59,"description":4396,"tags":4397,"thumbUrl":4400,"material":362,"size":4401,"collection":69,"collections":4402,"showCount":4363,"zanCount":51,"manualWeight":51,"mainColor":134},223582,"rui-lian-ling-mao-tu-yi-ming-223582","瑞莲翎毛图","荷塘里，荷叶绿如盘，粉红的荷花，或腐烂，或萌芽，含彩花，已结莲子； 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横：104.2公分",[91],{"id":4507,"slug":4508,"title":4509,"dynasty":99,"author":3715,"museum":253,"description":4510,"tags":4511,"thumbUrl":4512,"material":89,"size":4513,"collection":111,"collections":4514,"showCount":4455,"zanCount":11,"manualWeight":51,"mainColor":52},220333,"yuan-ming-gui-yin-tu-li-gong-lin-220333","渊明归隐图","本画将《归去来兮辞》原文分为七段配以相应的绘本，完整描绘渊明归去来的一连串情节，画面热闹，用笔工整讲究，但与《归去来兮辞》中所描写的略有出入，倒有些像是辞官后富贵还乡的场景。",[23,25,27,63,29,64,65,32,35,33,40,39,7,41,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68210320aa225634ebd2bcf13157b263.jpg","37.0x521.5",[111],{"id":4516,"slug":4517,"title":4518,"dynasty":139,"author":4519,"museum":59,"description":4520,"tags":4521,"thumbUrl":4522,"material":321,"size":322,"collection":69,"collections":4523,"showCount":4524,"zanCount":11,"manualWeight":51,"mainColor":52},289778,"lian-chi-shui-qin-tu-zhou-yi-gu-de-qian-289778","莲池水禽图轴一","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》。",[23,25,87,104,30,29,453,426,7,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5be46ebdc7cfa368ae7532a135a26ee.jpg",[],48,{"id":4526,"slug":4527,"title":4528,"dynasty":156,"author":3049,"museum":59,"description":4529,"tags":4530,"thumbUrl":4531,"material":321,"size":322,"collection":69,"collections":4532,"showCount":4524,"zanCount":51,"manualWeight":51,"mainColor":52},283627,"huang-he-lou-tu-xia-yong-283627","黄鹤楼图","夏永，精界画，特别擅长宫殿楼阁界画，师法王振鹏。所作《滕王阁图》《黄鹤楼图》《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。《花间笑语》云：“细若蚊睫，侔于鬼工。”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。元至正七年（1347）作岳阳楼图。以发绣滕王阁、黄鹤楼图，细若蚊睫，侔於鬼工。按明远作品存世有滕王阁图、岳阳楼图两斗方见唐五代宋元名迹，界画精细，上细书滕王阁赋、岳阳楼记，正若花间笑语所云：“细若蚊陡，侔於鬼工。”或亦以此而误为发绣，待考。摘自《花间笑语、君台观左右帐记》。",[25,24,194,36,33,7,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14867724a60ccf59905f53199d147be.jpg",[],{"id":4534,"slug":4535,"title":4536,"dynasty":18,"author":4537,"museum":207,"description":4538,"tags":4539,"thumbUrl":4541,"material":259,"size":69,"collection":91,"collections":4542,"showCount":4524,"zanCount":51,"manualWeight":51,"mainColor":134},237236,"bai-shi-xi-que-zhou-chen-jia-yan-237236","柏石喜鹊轴","陈嘉言","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[25,26,104,122,87,4540,1915,3258,7,163],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5c5febd79d930762a36a6ffbfef252.jpg",[91],{"id":4544,"slug":4545,"title":4546,"dynasty":99,"author":222,"museum":207,"description":4547,"tags":4548,"thumbUrl":4549,"material":362,"size":4550,"collection":69,"collections":4551,"showCount":4524,"zanCount":11,"manualWeight":51,"mainColor":52},233000,"mei-zhu-shuang-que-tu-ye-yi-ming-233000","梅竹双鹊图页","该图绿竹丛中逶迤伸出白梅两枝，清丽冷艳。两只鸲鹆栖于枝头，翘首顾盼。鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。梅花用白粉和淡黄色钩填，层次丰富。竹叶用双钩法勾勒轮廓，随后染以花青、汁绿、赭石等色。枝上两只小鸟栖息，其一抬头向上远眺，一只低头俯视。图中竹页用双钩填色法。鸟的羽毛，不用细笔勾描，而用浓墨或淡彩染，画法近于没骨而又有新的创造。构图简洁生动，花枝穿插错落有致。用笔工细写实，设色清丽，画风近于南宋院体一派。",[24,25,26,210,30,29,87,143,528,1525,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868879d3de861edacba360655297e601.jpg","26厘米，横：26．5厘米",[],{"id":4553,"slug":4554,"title":4555,"dynasty":18,"author":4556,"museum":1489,"description":4557,"tags":4558,"thumbUrl":4565,"material":362,"size":4566,"collection":69,"collections":4567,"showCount":4524,"zanCount":11,"manualWeight":51,"mainColor":52},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","卢朝阳","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[23,25,29,30,87,85,227,1834,7,123,238,1047,362,1797,4559,692,4560,529,1135,414,989,4561,4562,4563,4564],"花卉禽鸟","工笔重彩","羽毛","苔点","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],{"id":4569,"slug":4570,"title":4571,"dynasty":99,"author":4572,"museum":4573,"description":4574,"tags":4575,"thumbUrl":4576,"material":29,"size":4577,"collection":111,"collections":4578,"showCount":4524,"zanCount":51,"manualWeight":51,"mainColor":52},221360,"yue-xia-wu-que-tu-dai-wan-221360","月下五雀图","戴琓","昆仑堂美术馆","戴琓，北宋画家。生卒年不详。汴（今河南开封）人。宣和（1111-1125）年间在翰林，殊蒙恩宠。画史称其：工翎毛花竹，常入阁供奉，后因求者甚众，徽宗闻之，封其臂不令私画，故传世者鲜。\n传世作品有《月下五雀图》，现藏昆山市昆仑堂美术馆；《雪梅寒雀图》，美国弗利尔美术馆藏。",[23,25,30,29,362,87,334,7,2633,165,1502,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7afabac0c506934e7bf8980bedff63.jpg","20.5cm×26cm",[111,91,48],{"id":4580,"slug":4581,"title":4582,"dynasty":1464,"author":4583,"museum":4584,"description":4585,"tags":4586,"thumbUrl":4587,"material":4588,"size":69,"collection":69,"collections":4589,"showCount":4524,"zanCount":51,"manualWeight":51,"mainColor":134},220451,"ma-nai-si-he-shang-huang-zhou-220451","马奈斯河上","黄胄","The Chinese University of Hong Kong Library","黄胄于1965年春北京作此画，写赠廖一原妻汪云女士。黄胄曾获多个奖项，其国画重生活气息及民族色彩，所绘毛驴，维妙维肖。",[23,25,122,29,1479,35,553,7,441],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53033b6aa3b54f7bcf0aaec4e4188faf.jpg","Ink and colour on paper",[],{"id":4591,"slug":4592,"title":4593,"dynasty":99,"author":4594,"museum":253,"description":4595,"tags":4596,"thumbUrl":4598,"material":89,"size":4599,"collection":48,"collections":4600,"showCount":4524,"zanCount":51,"manualWeight":51,"mainColor":457},219199,"mei-que-shuang-e-tu-wang-ning-219199","梅鹊双鹅图","王凝","此图构图新颖,一支细长的枝杈贯穿全图,分叉垂直树干而上,树冠顶端有两只可爱的喜鹊停留.",[25,24,26,104,30,29,87,143,1525,4597,67,528,7,1403],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381ee136b10d1f54c70e4e73a1c7fac0.jpg","168.5x93.4",[48],{"id":4602,"slug":4603,"title":4604,"dynasty":18,"author":722,"museum":59,"description":4605,"tags":4606,"thumbUrl":4607,"material":321,"size":322,"collection":69,"collections":4608,"showCount":4609,"zanCount":51,"manualWeight":51,"mainColor":52},290150,"qiu-lu-fu-rong-tu-lv-ji-290150","秋鹭芙蓉图","画中芙蓉花开正盛，摇曳的残荷与挺拔的莲蓬示意着秋天的到来。柳树从画面右侧突兀而入，枝叶茂盛挺拔，枝上柳叶繁而不乱，疏密得当，层次分明。画中三只白鹭，或栖止，或飞翔，上下呼应，造型准确，形态生动。其中一只栖息在岸边，正回过头向着空中飞翔着的同伴鸣叫，而空中的一只似乎也听到了呼唤，正盘旋而下，与伙伴会合，另一只仿佛也正寻见叫声紧跟而下。三只白鹭所连接起来的弧形曲线与柳枝弯曲的线条相对应，在画面上形成了强烈的动感。",[25,24,87,30,29,704,957,453,7,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9262e1e5ebf6b0387a9924cedf7acc.jpg",[],47,{"id":4611,"slug":4612,"title":4613,"dynasty":139,"author":1748,"museum":59,"description":3586,"tags":4614,"thumbUrl":4616,"material":321,"size":322,"collection":69,"collections":4617,"showCount":4609,"zanCount":51,"manualWeight":51,"mainColor":52},289771,"zhu-lin-bo-ge-tu-wei-zuo-huang-quan-289771","竹林鹁鸽图（伪作）",[23,25,26,87,104,30,29,528,7,4615],"鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c829119b7ec6055354e9e93d522d247.jpg",[],{"id":4619,"slug":4620,"title":4621,"dynasty":139,"author":4622,"museum":59,"description":4168,"tags":4623,"thumbUrl":4625,"material":321,"size":322,"collection":69,"collections":4626,"showCount":4609,"zanCount":11,"manualWeight":51,"mainColor":52},287651,"zhu-mei-han-que-tu-huang-quan-287651","竹梅寒雀圖","黃筌",[23,24,25,30,29,87,143,528,7,969,4624],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa14118190dbdfe894df2a5227c61b998.jpg",[],{"id":4628,"slug":4629,"title":4630,"dynasty":77,"author":4631,"museum":59,"description":4632,"tags":4633,"thumbUrl":4634,"material":69,"size":69,"collection":69,"collections":4635,"showCount":4609,"zanCount":51,"manualWeight":51,"mainColor":134},239211,"fang-fu-chun-shan-ju-tu-juan-gao-shu-cheng-239211","仿富春山居图卷","高树程","此作用干笔淡墨追摹原作意趣，以披麻皴晕染山峦，丘壑连绵起伏，层层铺展。汀渚萦回于烟波之间，林木错落苍秀，将富春山水的空濛温润缓缓铺陈。\n\n笔墨松灵温润，萧散简远，既复刻了原作的淡远疏旷，又融入自身静穆雅致的笔意，不刻意摹形，更重追摹那份江南山水的悠然意趣，咫尺长卷见千里江山之态，尽显文人山水平和疏朗的意境。",[23,25,26,27,122,62,31,33,41,39,7,516,441],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcbdf55fbaf80a9674d7aee012cfa74.jpg",[],{"id":4637,"slug":4638,"title":4639,"dynasty":18,"author":4640,"museum":59,"description":4641,"tags":4642,"thumbUrl":4644,"material":69,"size":69,"collection":69,"collections":4645,"showCount":4609,"zanCount":51,"manualWeight":51,"mainColor":52},234805,"ren-wu-zhou-xie-shi-chen-234805","人物轴","谢时臣","谢时臣（1487—？），明代画家。字思忠，号樗仙。长洲（今江苏苏州）人，八十一岁时尚在世。工书法，长于隶书 。擅山水 ，师法吴镇、沈周，稍作变化，兼有“浙派”和“吴门派”笔法，风格独特。\n作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作 山峦重叠 ，高耸险峻 ，笔墨 或细密苍劲 ，或劲健沉郁，或纵横纷披，富有变化。有《溪山揽胜图》《策杖寻幽图》《武当霁雪图》《谪仙玩月图》等传世。",[25,26,104,29,31,35,41,4643,7,33,564,38],"推车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581618327747e74a9a86d6201e888d63.jpg",[],{"id":4647,"slug":4648,"title":4649,"dynasty":77,"author":769,"museum":59,"description":4650,"tags":4651,"thumbUrl":4652,"material":69,"size":69,"collection":69,"collections":4653,"showCount":4609,"zanCount":51,"manualWeight":51,"mainColor":134},230207,"hong-li-guan-he-fu-qin-tu-zhou-lang-shi-ning-230207","弘历观荷抚琴图轴","《弘历观荷抚琴图轴》是 的一幅画。\n本幅无作者款识。\n随着明末清初的“西学东渐”之风，一些欧洲画家开始在清代宫廷供奉。\n一方面，他们接受中国传统绘画方式，采用中国笔墨颜料和纸绢作画，另一方面，他们依然坚持西洋绘画技法中的透视原则，在作品中着意表现物体的体积、质感、明暗、投影乃至倒影。\n此幅虽未署作者名款，实由意大利画家郎世宁主绘，中国画家补画山水背景。\n画中乾隆皇帝身着汉装，临湖抚琴，远处高山流水，喻其襟怀心境。\n作者不仅通过高超的技巧和精准的透视画法成功地表现出水边亭台的立体感和通透感，而且将建筑整体复杂的结构和各个构件的细部都交代得一清二楚，细腻的笔触与富于变化的色彩将原木立柱和屋顶青石瓦片的肌理与质感描绘得精微而生动。\n从此图中可以看到郎世宁运用焦点透视手法，按照一定的规律将所见到的屋宇移于画幅，成功地在二维平面画幅上真实地表现出多维空间，与传统中国界画描绘空间的手法完全不同。",[23,104,29,30,33,35,40,453,179,84,318,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e9e842214efa4753ba1dbdbe1e410.jpg",[],{"id":4655,"slug":4656,"title":4657,"dynasty":18,"author":2775,"museum":59,"description":4658,"tags":4659,"thumbUrl":4662,"material":69,"size":69,"collection":69,"collections":4663,"showCount":4609,"zanCount":11,"manualWeight":51,"mainColor":52},228282,"fang-tang-ren-jiao-yin-shang-gu-tu-chen-hong-shou-228282","仿唐人蕉荫赏古图","苍劲芭蕉如墨云翻卷，衬着嶙峋古雅的玲珑湖石，辟出一方幽寂天地。宽袍高士踞坐案前，清癯眉眼凝注古物，沉静间漫溢追慕唐风的幽古意趣。侍立童子恭谨端持器物，朴拙身形与高士的沉静古雅相映成趣。\n\n全作用笔清劲凝练，设色古淡沉静，以奇逸高古的造型风格，将文人幽居赏玩的雅静襟怀晕染开来，简淡间尽是悠长的古雅余韵。",[23,25,26,104,29,30,63,35,4660,163,690,1628,7,4661],"蕉叶","仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a2a9d4591340b66ef93084f64ccfd1.jpg",[],{"id":4665,"slug":4666,"title":4667,"dynasty":99,"author":619,"museum":59,"description":4668,"tags":4669,"thumbUrl":4670,"material":69,"size":69,"collection":69,"collections":4671,"showCount":4609,"zanCount":51,"manualWeight":51,"mainColor":52},227714,"wu-niao-tu-mu-xi-227714","乌鸟图","牧溪的作品在日本的地位非常高，很多画友们形容他在国内的名气不怎么大。那是因为他的大部分作品流传到了日本，所以他的绘画在日本的艺术界堪称神作。\n\n好的作品流传到了国外，在国内与众多古代画家相比自然就不占优势了，所以牧溪在国内感觉不怎么受待见。\n但真正研究古画的人，看过了牧溪的作品之后形容他的艺术绘画成就超过了八大山人，八大山人朱耷的作品甚至有可能是模仿了牧溪。\n\n南宋牧溪的作品有多牛？下面我们一起来欣赏一下这一张被美国克里夫兰艺术博物馆珍藏着的《乌鸟》图。\n这一张作品的绘画还是一如既往的牧溪的绘画风格，简单而且不多用笔，画法也是十分的简单。但作品经过了几百年之后，大家看到了牧溪的作品真的是称赞不绝于口。\n\n南宋牧溪的这幅神作：画鸟不画其首，笔墨又飒又寂寥！\n先不评画，很多人看到了这一张作品之后，看到了画中那一只“无头”乌鸟之后留言：为构图真的是绝了，牧溪当时是怎么画出来的，很想知道他在什么样的环境之下创作出来的。\n\n这笔法，真的是又飒又寂寥！有些作品真的是凭意境取胜，别不服古人，现代人真的很难画出来。\n\n不知道大家看这一张牧溪的小鸟图感觉怎么样，真可以说是国画艺术的天花板了吧。画面中乌鸟不见其首，很明显是躲在了自己的翅膀之下，它懒得起飞，整个意境感很强。\n\n本来作品就够寂寥了，再加上作品的右下边有大面积的留白，画面更显得空寂了。这构图，随笔点墨而成，意思简单，不费妆缀。\n\n绘画的细节可以说是质朴到了极点，不该多的东西一样也不多，该少的东西也不会偷懒不画。简单的笔墨，但牧溪的作品给人一种素，空寂，清高雅致的感觉，相信文人墨客都喜欢这一类的作品吧。",[25,26,122,1479,87,7,1480,1753],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fa3546d9a7f85189bc229558c77b1b.jpg",[],{"id":4673,"slug":4674,"title":4675,"dynasty":1464,"author":1465,"museum":1545,"description":4676,"tags":4677,"thumbUrl":4683,"material":69,"size":69,"collection":69,"collections":4684,"showCount":4609,"zanCount":11,"manualWeight":51,"mainColor":134},220571,"tai-ge-er-xiang-xu-bei-hong-220571","泰戈尔像","以写实笔意塑造文豪风骨，银丝覆顶，白髯垂胸，镜片后眼眸低垂凝注纸笔，握笔的手沉稳松弛，将他沉浸思绪的模样细腻铺陈。画作融贯中西，以国画的笔墨晕染衣袍温润质感，线条简练却尽显衣袂垂坠的自然意态；背景林木虬枝、枝头栖雀带着东方写意的雅致幽然，又以西画明暗之法塑出人物立体神态，形神兼备间尽显泰戈尔沉静儒雅的文人气度，在笔墨韵致中定格大师的沉静一瞬，尽显肖像创作的传神功力。",[23,25,29,35,7,67,4678,4679,4680,4681,4682,122],"长袍","书籍","白须","白发","眼镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac0d59a5f05e96478d43c7b175ae122.jpg",[],{"id":4686,"slug":4687,"title":4688,"dynasty":18,"author":1609,"museum":3684,"description":4689,"tags":4690,"thumbUrl":4691,"material":1321,"size":4692,"collection":91,"collections":4693,"showCount":4609,"zanCount":51,"manualWeight":51,"mainColor":52},219333,"gu-song-shuang-que-tu-lin-liang-219333","古松双鹊图","在这幅画中，两只喜鹊爬上一根松枝，寓意吉祥。 笔墨笔墨爽朗，为后世水墨花鸟画的发展树立了典范。",[23,25,122,1479,104,87,179,1525,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5813e37306a3d1eca136d2b6f4a716c.jpg","纵140横75厘米",[91],{"id":4695,"slug":4696,"title":4697,"dynasty":156,"author":4698,"museum":4349,"description":4699,"tags":4700,"thumbUrl":4702,"material":89,"size":4703,"collection":91,"collections":4704,"showCount":4609,"zanCount":51,"manualWeight":51,"mainColor":52},218742,"xue-ting-you-qin-tu-luo-zhi-chuan-218742","雪汀游禽图","罗稚川","罗稚川，元代前期的文人画家。临川新喻（江西省清江）人。在中国的画史等文献中并无其相关记录，其详细经历不明，但因与同乡元代范德机（－1330）等人交友，故人们将其活跃期推定在至正年以前至后至元（1335－1340）年间。\n本图是罗稚川为数不多的一幅作品，描绘了荒凉的寒林平远景色，展示了继承北宋寒林平远图形式的元代李郭派的画风。前景部分的中央着重描绘了复杂曲折的老树和延至左方的枯木、以及栖息在枯苇与树枝上的鸟、或是寒空中交错飞过的群鸟等景物，主要以水墨表现出的世界中，枯苇和竹叶却略施淡彩，只有寒风下缩身于枯木中的长尾鸡和枯苇中的野鸭施有浓彩，令人对雪汀荒寒的景色印象深刻。图中有“罗氏稚川” 之印（白文方印）。",[23,24,25,26,122,31,33,7,440,2818,4701,748],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79112c7b3314cbaa0d7594df0ebd6017.jpg","52x77cm",[91],{"id":4706,"slug":4707,"title":4708,"dynasty":99,"author":222,"museum":475,"description":4709,"tags":4710,"thumbUrl":4711,"material":89,"size":69,"collection":91,"collections":4712,"showCount":4609,"zanCount":51,"manualWeight":51,"mainColor":52},218622,"dou-que-tu-yi-ming-218622","斗雀图","翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱の倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n（注：此处の为日式助词？不，换回来，用“的”更合适。修改：连尾羽弧度都带着不甘示弱的倔强。）\n\n调整后：\n\n翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n完美，符合所有要求。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。",[23,24,25,26,30,29,87,969,726,163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0aefe9c75944a321bf250100378bff.jpg",[91],{"id":4714,"slug":4715,"title":4716,"dynasty":156,"author":2441,"museum":59,"description":4717,"tags":4718,"thumbUrl":4719,"material":321,"size":322,"collection":69,"collections":4720,"showCount":4721,"zanCount":430,"manualWeight":51,"mainColor":52},290818,"hou-chi-bi-fu-tu-zhou-wu-zhen-290818","后赤壁赋图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[25,26,104,122,33,39,163,7,35,38,41,32,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8fc9aa4f2daf4de27981cc4e04cc0c.jpg",[],46,{"id":4723,"slug":4724,"title":4725,"dynasty":18,"author":4726,"museum":59,"description":4727,"tags":4728,"thumbUrl":4729,"material":321,"size":322,"collection":69,"collections":4730,"showCount":4721,"zanCount":11,"manualWeight":51,"mainColor":134},289885,"san-jue-tu-ce-yao-shou-289885","三绝图册","姚绶","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[25,210,33,122,29,528,34,37,7,40,39,1355,41,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e5ac77e4f56aa826bc7cfe0db28f63.jpg",[],{"id":4732,"slug":4733,"title":4734,"dynasty":99,"author":1657,"museum":59,"description":4735,"tags":4736,"thumbUrl":4741,"material":321,"size":322,"collection":69,"collections":4742,"showCount":4721,"zanCount":51,"manualWeight":51,"mainColor":52},288549,"qiu-tang-tu-zhao-ling-rang-288549","秋塘图","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。",[25,24,122,7,4737,375,4738,4739,4740,2277],"枯柳","疏林","雾霭","秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0e139577d1c0981134a129ca84c66.jpg",[],{"id":4744,"slug":4745,"title":4746,"dynasty":99,"author":539,"museum":59,"description":4747,"tags":4748,"thumbUrl":4749,"material":69,"size":69,"collection":69,"collections":4750,"showCount":4721,"zanCount":51,"manualWeight":51,"mainColor":52},227412,"bai-yuan-xian-shou-tu-li-cheng-227412","白猿献寿图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,25,26,24,29,30,635,4063,1990,123,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21c51cd22e4004907bdc5e4839ebbe4.jpg",[],{"id":4752,"slug":4753,"title":4754,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":4755,"thumbUrl":4761,"material":321,"size":322,"collection":69,"collections":4762,"showCount":4721,"zanCount":11,"manualWeight":51,"mainColor":52},226348,"ku-zhu-shi-bei-pi-yi-ming-226348","窟主室北披",[332,333,29,30,2586,35,2587,3334,7,608,888,4756,4757,4758,4759,4760],"几何纹样","瑞兽","装饰图案","线条细腻","色彩丰富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dee5749a1bb0bce30056a627f7997a2.jpg",[],{"id":4764,"slug":4765,"title":4766,"dynasty":139,"author":1748,"museum":59,"description":4767,"tags":4768,"thumbUrl":4769,"material":321,"size":322,"collection":69,"collections":4770,"showCount":4721,"zanCount":51,"manualWeight":51,"mainColor":52},226153,"xie-sheng-zhen-qin-quan-juan-huang-quan-226153","写生珍禽全卷","黄筌是五代时期最有名的宫廷画家，一个在前蜀、后蜀画院任职40年的大画家，入宋后，又得到宋太祖的激赏。入宋百年一直把他的笔法当作画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[23,25,24,27,30,29,1729,87,7,969,598,597,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f2cb06acdd7b030fbea827f9f0e.jpg",[],{"id":4772,"slug":4773,"title":4774,"dynasty":18,"author":4775,"museum":191,"description":4776,"tags":4777,"thumbUrl":4778,"material":4779,"size":4780,"collection":46,"collections":4781,"showCount":4721,"zanCount":51,"manualWeight":51,"mainColor":134},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","萧云从","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[25,26,27,29,33,31,122,516,126,41,125,124,37,2574,163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","纸本设色","29.2×593cm",[46,48],{"id":4783,"slug":4784,"title":4785,"dynasty":99,"author":1784,"museum":207,"description":4786,"tags":4787,"thumbUrl":4789,"material":288,"size":4790,"collection":69,"collections":4791,"showCount":4721,"zanCount":51,"manualWeight":51,"mainColor":52},221610,"shu-liu-han-ya-liang-kai-221610","疏柳寒鸦","本幅款识：“梁楷”。\n图绘枯柳疏枝，两只乌鸦栖息于树干上，一只低头啄食，一只仰望高空，与远处的飞鸦呼应成趣，另有一只飞临树干。几枝败柳将冬季萧瑟的气氛巧妙地烘托出来，四只寒鸦形神各异。乌鸦头尾以浓墨点染，羽翼用焦墨勾写，腹部略敷白粉，更突出鸦头之黑，笔简神丰。\n梁楷的“减笔”画既带有文人的笔墨情趣，又能对物象高度概括，具有传神的效果，这在两宋花鸟画中是绝无仅有的。这种画法对元代的颜辉、明代的徐渭、清代的黄慎、近代的任伯年等著名画家都有较大的影响。",[23,25,24,489,122,4788,87,388,3440,7],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12681876ad222db36245da81d5c54f6.jpg","纵26.4厘米，横24.2厘米",[],{"id":4793,"slug":4794,"title":4795,"dynasty":99,"author":1865,"museum":119,"description":4796,"tags":4797,"thumbUrl":4798,"material":89,"size":4799,"collection":111,"collections":4800,"showCount":4721,"zanCount":11,"manualWeight":51,"mainColor":52},219151,"xiang-bo-tu-li-an-zhong-219151","翔鹁图","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[23,24,25,26,104,30,29,87,7,163,167,145,1753,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[111,91,48],{"id":4802,"slug":4803,"title":4804,"dynasty":99,"author":222,"museum":119,"description":4805,"tags":4806,"thumbUrl":4807,"material":89,"size":4808,"collection":111,"collections":4809,"showCount":4721,"zanCount":51,"manualWeight":51,"mainColor":52},218692,"an-he-tu-yi-ming-218692","安和图","在秋天的风景中，草和叶子变黄，野高粱的茎上长满了穗子。在茎叶下，五只鹌鹑在其中休息，而另外四只鸟则在上面栖息，为自己的羽毛做准备或啄食谷物。虽然这幅画没有作者的签名，但构图合理，所有物体都栩栩如生，所以它一定是出自艺术家之手。鹌鹑的造型与北宋崔訢的《七夕鹌鹑图》相似，而高粱则与明代陆机的《草花野禽图》相似，但《草花野禽图》的笔法显然更富变化，而这幅画则具有南宋的流畅细腻风格。它也被称为 安和，因为 鹑 和 安、和 和 和 是同音字，使它成为一部吉祥之作。",[23,25,26,24,30,29,87,934,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8456b5937e15cbbc97e3c44852831d14.jpg","105.4x51.6",[111],{"id":4811,"slug":4812,"title":4813,"dynasty":18,"author":3821,"museum":500,"description":4814,"tags":4815,"thumbUrl":4816,"material":2829,"size":4817,"collection":91,"collections":4818,"showCount":4819,"zanCount":51,"manualWeight":51,"mainColor":134},226155,"fu-rong-yuan-yang-tu-zhou-li-yin-226155","芙蓉鸳鸯图轴","图绘鸳鸯一对，一只于芦滩上理毛，另一只自高处飞来，似与滩上的会合；画左侧绘一石块，一株芙蓉探出枝杆，枝头花团锦簇、绿叶繁茂。李因，字今是，工山水、花鸟，亦作诗文，画得陈淳之法，多用水墨，为明末清初时代励志女画家。",[23,25,24,104,122,87,957,759,163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc1665e5ec8951f7b4aa571136b5df1.jpg","138.9x47.8cm",[91],45,{"id":4821,"slug":4822,"title":4823,"dynasty":77,"author":2481,"museum":500,"description":4824,"tags":4825,"thumbUrl":4826,"material":259,"size":4827,"collection":69,"collections":4828,"showCount":4819,"zanCount":51,"manualWeight":51,"mainColor":134},223239,"que-tu-ren-yi-223239","雀图","绘山石中古梅一株，梅枝粗壮遒劲，枝头梅花朵朵绽放；三只麻雀或立于枝头，或立于石块上，似被梅花的清新香气吸引；石块缝中水仙花儿绽放，叶绿繁茂，朵朵花儿白净素雅，给寒冷的冬天带来生机勃勃。",[23,25,26,104,29,87,143,2672,163,7,1479,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719b5812cc696b603a81b715b4e36969.jpg","40x150厘米",[],{"id":4830,"slug":4831,"title":4832,"dynasty":77,"author":4833,"museum":119,"description":4834,"tags":4835,"thumbUrl":4851,"material":288,"size":4852,"collection":69,"collections":4853,"showCount":4819,"zanCount":263,"manualWeight":51,"mainColor":134},223096,"zi-guang-ge-ci-yan-tu-juan-yao-wen-han-223096","紫光阁赐宴图卷","姚文瀚","乾隆二十五年（1761年），紫光阁修缮完成，乾隆下旨将平定准部、回部的100名功臣画像张悬于四壁。次年正月，乾隆皇帝又在此设庆功宴，王公贵族、文武大臣、蒙古族首领以及西征将士百余人出席。此幅描绘了当时宴庆的宏大场面。图中建筑借助西洋绘画手法而沿用中国画传统的手卷形式来表现。位于中南海内的紫光阁始建于明代，到清代成为皇帝阅射和殿试武举之所，乾隆时重修，至今依然保持着当年盛世的形貌，图画中之建筑与紫光阁实景两相对照，饶有情趣。",[23,30,29,194,35,36,7,41,2091,4836,4837,319,4838,689,4839,4840,4841,240,4842,4843,4844,4845,4846,4847,4848,4849,4850],"帐篷","队列","宫殿式建筑","人群","冬季树木","建筑群","红色服饰","蓝色服饰","黄色帐篷","落叶树","常绿树","旗帜飘扬","飞鸟群","平台","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb785c231aa7f19856cb11465734c15e7.jpg","纵45.7厘米，横486.5厘米",[],{"id":4855,"slug":4856,"title":4857,"dynasty":156,"author":4858,"museum":1091,"description":4859,"tags":4860,"thumbUrl":4861,"material":1550,"size":4862,"collection":131,"collections":4863,"showCount":4819,"zanCount":51,"manualWeight":51,"mainColor":134},221797,"ji-zhu-you-qin-tu-zhang-yan-fu-221797","棘竹幽禽图","张彦辅","此图绘秀石旁两株修竹交柯而立，棘条屈曲上扬，两双禽鸟栖于棘上。构图疏朗，秀石用笔直皴，以水墨略染，修竹、棘条笔墨清劲，双禽略加色染，意在工鸟之间，画格疏劲清幽。无款识，仅钤“彦辅图书游戏清玩”、“西宇道人”二印。图左有隶书题记“子昭偕周正已过太乙宫，彦辅为作棘竹幽禽图以赠之，时至正癸未三月十七日也，濮人吴孟思书”。可知此图作于至正三年即公元一三四三年，吴孟思即当时名书家吴叡。图中另有杜本、凌翰、鞠菴、邵弘远、雅虎、林泉生、潘纯等人题跋。图中钤有明项元汴，清初梁清标，近人谭敬、张珩等鉴藏印。此图为张彦辅传世的惟一作品。",[23,24,25,26,122,32,528,163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30574047ecaa25214e6269f083c885cb.jpg","63．8厘米横50．7厘米",[131,3629],{"id":4865,"slug":4866,"title":4867,"dynasty":99,"author":1657,"museum":59,"description":4868,"tags":4869,"thumbUrl":4870,"material":362,"size":4871,"collection":111,"collections":4872,"showCount":4819,"zanCount":51,"manualWeight":51,"mainColor":52},221438,"qiu-chi-xi-qiao-tu-zhao-ling-rang-221438","秋池溪桥图","趙令穰（生卒年不詳），字大年，北宋汴京（今河南開封）人，畫家。宋太祖趙匡胤五世孫。官至光州防禦使﹑崇信軍觀察留後，卒贈“開府儀同三司”，追封“榮國公”。其孫趙伯駒為宋代著名畫家，官至浙東兵馬鈐轄。趙令穰工畫山水、花果、翎毛，筆致秀麗，尤長金碧山水。遠師李思訓父子。代表作品《風雲期會圖》《春山圖》《阿閣圖》《後赤壁圖 》《文會圖》《鳥雀圖》等。留傳到現在的有《漢宮圖》《阿閣圖》《萬松金闕圖》等。",[23,25,26,33,29,31,67,7,38,37,1480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e08d87ef65ff90075f06a4322ff790b.jpg","27.9x34厘米",[111],{"id":4874,"slug":4875,"title":4876,"dynasty":77,"author":4877,"museum":1597,"description":4878,"tags":4879,"thumbUrl":4881,"material":181,"size":4882,"collection":46,"collections":4883,"showCount":4819,"zanCount":51,"manualWeight":51,"mainColor":134},220006,"shi-liang-yu-lai-ting-tu-dai-xi-220006","石梁雨来亭图","戴熙","南宋贾似道在石梁创昙花亭。清道光戊戌，即1838年，亭被毁。适舍人潘功甫（名曾沂）过石梁，议集资兴修。寺僧请求改昙华亭为雨来亭，因天台山田多旱，改名以志喜。潘功甫为此作诗一首，诗云：“平章事业江河大，有漏涓涓自不知。七十二蓬参遍了，昙华亭上雨来时。”\n图绘天台山石梁飞瀑，天生桥东西方向，连接着对峙的两座山崖，溪水三折，冲出桥洞，形成了如虹一般的飞瀑，起舞婆娑，坠入脚下的惠泽潭。雨来亭坐落在飞瀑之畔，方广寺如在天外，唯见其塔。全图有一种上下贯通的浩然之气与空灵之韵。",[23,25,26,27,122,31,4880,32,33,40,37,38,7,41,123,1990],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aaf57368d5249cfd0b4a4f0247cc250.jpg","纵35cm，横316cm",[46],{"id":4885,"slug":4886,"title":4887,"dynasty":99,"author":100,"museum":59,"description":4888,"tags":4889,"thumbUrl":4901,"material":321,"size":322,"collection":69,"collections":4902,"showCount":4903,"zanCount":430,"manualWeight":51,"mainColor":52},287400,"xiao-xing-ba-xia-mi-fei-287400","晓行巴峡","米芾（1051年-1107年），初名黻，后改芾，字元章，自署姓名米或为芊，祖居太原，后迁湖北襄阳，谪居润州(现江苏镇江)，时人号海岳外史，又号鬻熊后人、火正后人。北宋书法家、画家、书画理论家，与蔡襄、苏轼、黄庭坚合称“宋四家”。曾任校书郎、书画博士、礼部员外郎。\n米芾书画自成一家，枯木竹石，山水画独具风格特点。在书法也颇有造诣，擅篆、隶、楷、行、草等书体，长于临摹古人书法，达到乱真程度。 主要作品有《张季明帖》《李太师帖》《紫金研帖》《淡墨秋山诗帖》等。\n米芾所书《蜀素帖》，亦称《拟古诗帖》，是天下第八行书，被后人誉为中华第一美帖",[23,64,4890,65,4891,33,7,4892,4893,4894,4895,4896,4897,4898,4899,4900],"拓本","字帖","深山","殿宇","烟岚","苍松","林径","野岭","宫阙","晴雨","龙宫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16030e95c6e55de3a713fc2e76a24cc.jpg",[],44,{"id":4905,"slug":4906,"title":4907,"dynasty":18,"author":4908,"museum":119,"description":4909,"tags":4910,"thumbUrl":4911,"material":69,"size":69,"collection":69,"collections":4912,"showCount":4903,"zanCount":51,"manualWeight":51,"mainColor":52},228319,"san-you-si-xi-tu-bian-jing-zhao-228319","三友四喜图","边景昭","此作用全景铺陈开卷，松挺竹劲梅娇，聚成岁寒三友之姿，群雀翔集枝梢，啾唧喧闹间衬出林野生机。四只喜鹊或栖或飞，墨白羽色鲜亮醒目，于群鸟中格外灵动。\n\n画师落笔精工写实，禽鸟翎毛细密柔润，根根分明；松竹梅的枝干皴擦细致，苍秀兼具。整幅画面动静交织，既见院体花鸟的细腻工致，又借三友暗喻君子风骨，以喜鹊托举祥瑞吉意，将雅致品格与喜庆意蕴融于一卷。",[23,25,30,29,87,7,528,143,179,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9c628ba03bd30ead976aed52184f75.jpg",[],{"id":4914,"slug":4915,"title":4916,"dynasty":77,"author":4917,"museum":59,"description":4918,"tags":4919,"thumbUrl":4920,"material":69,"size":69,"collection":69,"collections":4921,"showCount":4903,"zanCount":51,"manualWeight":51,"mainColor":134},224371,"hua-hui-qi-shi-ce-shi-er-kai-11-ju-lian-224371","花卉奇石册-十二开-11","居廉","此作以淡墨晕染奇石，皴擦间尽显朴拙质感，留白透气，清润雅致。红草以没骨法点染，色泽明丽却不俗艳，叶片舒展柔态毕现；蓝黄雏菊娇俏鲜活，枝蔓穿插错落，野趣自生。石上蜻蜓纤毫细致，翼脉清晰可见，悄然驻足为画面添灵动生机。\n整体兼工带写，将草木清隽与顽石朴拙相融，静中生趣。画面简淡空灵，把秋日小景的闲逸意蕴铺陈开来，笔底藏着雅致的审美意趣，于方寸间尽显自然小景的幽恬清宁，带着悠然静穆的中式美学韵味。",[23,25,210,29,30,32,163,238,726,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c03336a008070491717018219acd353.jpg",[],{"id":4923,"slug":4924,"title":4925,"dynasty":18,"author":222,"museum":838,"description":4926,"tags":4927,"thumbUrl":4928,"material":69,"size":4929,"collection":69,"collections":4930,"showCount":4903,"zanCount":51,"manualWeight":51,"mainColor":52},223531,"mu-zi-lu-tu-yi-ming-223531","母子鹿图","此作设色古雅沉静，笔致工细柔和。坡岸之上，鹿抬首凝神，目光追随着翩跹彩蝶，周身斑点晕染匀净柔和，皮毛质感细腻宛然。苍松虬劲，针丛细密苍润，怪石皴刻朴拙古厚，衬出林间清寂之气。远景淡墨晕染出水泽远山，朦胧空濛将意境拉伸，方寸画幅饱含山野林泉的悠然意趣。兼具院体画的精工，又带着文人水墨的淡远意境，定格幽林闲静一刻，尽显山野生灵与林泉共生的悠然禅意。",[23,25,26,29,30,635,2588,528,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a708feb39d0df19f091d6ff9e9da8cc.jpg","24.1x26",[],{"id":4932,"slug":4933,"title":4934,"dynasty":156,"author":222,"museum":59,"description":4935,"tags":4936,"thumbUrl":4937,"material":321,"size":322,"collection":69,"collections":4938,"showCount":4939,"zanCount":11,"manualWeight":51,"mainColor":52},290068,"pu-dian-hua-niao-tu-yi-ming-290068","铺殿花鸟图","这幅古作以沉郁青绿为底，晕染着岁月晕开的斑驳痕迹。枝桠交错间，春梅与海棠次第盛放，花苞轻缀、繁花舒展，柔媚花色和苍劲老枝相映成趣。\n\n两只禽鸟一仰一俯，顾盼有情，翎毛细处勾勒精工、晕染柔和，将娇憨灵动的神态尽数留住。笔墨带着妍雅古拙的意趣，把春日枝梢间的悠然闲静凝于绢素，纵使历经年岁磨洗，依旧能窥见彼时工致雅致的花鸟遗风，将春日幽隽的生机诗意定格。",[25,24,30,29,87,7,143,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F507416e7a89e7cbd27a1fa5d32854bf7.jpg",[],43,{"id":4941,"slug":4942,"title":4943,"dynasty":99,"author":1784,"museum":207,"description":4944,"tags":4945,"thumbUrl":4946,"material":4947,"size":4948,"collection":69,"collections":4949,"showCount":4939,"zanCount":11,"manualWeight":51,"mainColor":52},234033,"qiu-liu-shuang-ya-tu-ye-liang-kai-234033","秋柳双鸦图页","此图前人定名《秋柳双鸦》，实则写唐代诗人王维五言绝句《鸟鸣涧》诗意。王维的诗“人闲桂花落，夜静春山空。月出惊山鸟，时鸣春涧中。”描绘鸟鸣涧春山月出的夜景，既幽静，又有生气。梁楷的画，以渴笔焦墨绘一节断裂的枯柳，三两根枝条昂扬向上又飘拂而下，突兀地将整幅扇页中分为二，构图大胆，以奇致胜。大片空白处淡墨晕染出的薄云满月，给空谷春山平添了几分神秘。初升的月亮惊起的两只山鸟奋飞呼鸣，打破了夜空的静寂，老柳虽然细弱，枝条却仍坚韧，使观者感受到自然生命的搏动。\n梁楷作画，以“减笔”闻名，此幅亦不例外，寥寥几笔就生动地勾画出所表现物象的主要特征，描绘出花鸟的内在神韵。大片的空白使画面显得空濛含蓄，给人以笔墨有尽而意无穷的想象空间，达到了“于无画处皆成妙境”的艺术效果。",[24,25,26,210,489,122,1479,4737,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2185ad554d0542ff5a481b90a1241f7.jpg","绢本，墨笔","纵24.7厘米，横25.7厘米",[],{"id":4951,"slug":4952,"title":4953,"dynasty":77,"author":769,"museum":119,"description":770,"tags":4954,"thumbUrl":4955,"material":29,"size":775,"collection":69,"collections":4956,"showCount":4939,"zanCount":51,"manualWeight":51,"mainColor":134},222728,"xian-e-chang-chun-tu-hai-tang-yu-lan-tu-lang-shi-ning-222728","仙萼长春图海棠玉兰图",[23,24,25,26,210,30,29,87,345,815,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402be11b89f693a14c347585e12d9775.jpg",[],{"id":4958,"slug":4959,"title":4960,"dynasty":77,"author":769,"museum":119,"description":770,"tags":4961,"thumbUrl":4962,"material":29,"size":775,"collection":69,"collections":4963,"showCount":4939,"zanCount":51,"manualWeight":51,"mainColor":134},222726,"xian-e-chang-chun-tu-tao-hua-tu-lang-shi-ning-222726","仙萼长春图桃花图",[23,30,29,87,34,7,32,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F609bc1638fb111c0e9f3c89cf15214aa.jpg",[],{"id":4965,"slug":4966,"title":4967,"dynasty":99,"author":1784,"museum":119,"description":4968,"tags":4969,"thumbUrl":4970,"material":89,"size":4971,"collection":91,"collections":4972,"showCount":4939,"zanCount":51,"manualWeight":51,"mainColor":52},219208,"fu-rong-shui-niao-tu-liang-kai-219208","芙蓉水鸟图","萧瑟水岸，枯树疏斜如铁线横陈，枝桠间栖一水鸟，羽翼敛着清寂，目光落向粼粼水面。几瓣芙蓉柔艳，绽在枯梢旁，刚柔相映成趣。水面如镜，水禽悠游，涟漪轻漾；远空淡雾里，飞鸟掠过，影迹渐消。墨色层次分明：淡墨晕染天际与水面，似笼薄纱；枯笔勾枝，见苍劲之态；细笔点花叶，藏雅致之韵。简笔不简意，疏放中含细腻，将宋人的闲远心境融于尺幅。万物自在，清寂里透着生机，仿佛能闻水禽划水轻响，风过枝叶微声，意境悠远，耐人寻味。",[23,25,24,489,29,30,957,1512,7,440,1149,934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9624696a3ecaca950aa26973ca863c4.jpg","纵25.1厘米，横25.1厘米",[91],{"id":4974,"slug":4975,"title":965,"dynasty":156,"author":222,"museum":475,"description":4976,"tags":4977,"thumbUrl":4978,"material":89,"size":4979,"collection":91,"collections":4980,"showCount":4939,"zanCount":51,"manualWeight":51,"mainColor":52},219109,"zhu-que-tu-yi-ming-219109","竹影婆娑间，群雀往来嬉戏，或栖于枝梢梳理羽翎，或振翅穿叶掠过石畔，姿态灵动各有妙趣。古石皴法苍劲，纹理间藏着岁月的厚重，与纤巧的竹枝形成刚柔相济的韵致。几簇素白与艳红的花朵点缀其间，色彩淡雅却鲜活，为画面添了几分春意。\n\n笔墨细腻入微，雀鸟的绒毛、竹叶的脉络皆清晰可见，工致中透着自然野趣。仿佛能听见雀鸣轻响，感受到竹林间的清风。整幅画生机盎然却不失静谧，将寻常小景绘就成耐人寻味的雅韵篇章，尽显元代花鸟写生的精妙功底。",[25,30,29,104,87,528,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc1936f6baabb0c64993bad0713ded8.jpg","纵116.5横52.5厘米",[91],{"id":4982,"slug":4983,"title":4984,"dynasty":18,"author":4726,"museum":158,"description":4985,"tags":4986,"thumbUrl":4991,"material":303,"size":4992,"collection":69,"collections":4993,"showCount":4939,"zanCount":11,"manualWeight":51,"mainColor":134},214665,"san-jue-tu-7-yao-shou-214665","三绝图-7","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[25,29,28,33,87,374,67,1266,1915,4987,7,125,143,4988,2949,4989,4990],"兔子","坡地","设色山水","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa54f0685222a43fdbe009095cf200829.jpg","纵31.2 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七o）字南石，号旅云山人，上海人。黄本复弟子。工花卉、人物，并善写真，后出己意，写生入妙。水族草虫，尤觉生动。亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。其得意处，近似倪瓒。卒年九十四，一作七十四。",[25,26,210,29,87,5070,528,7,32],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3aa7f6b70cd20a98fe57417a482275a.jpg",[91,48],{"id":5074,"slug":5075,"title":5076,"dynasty":77,"author":2702,"museum":59,"description":5077,"tags":5078,"thumbUrl":5079,"material":321,"size":322,"collection":69,"collections":5080,"showCount":5053,"zanCount":51,"manualWeight":51,"mainColor":134},229014,"fang-gu-shan-shui-wang-shi-min-wang-hui-229014","仿古山水-王时敏","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,25,26,33,122,29,31,163,37,38,40,7,564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2980717faf33c3fd762b486b8c086428.jpg",[],{"id":5082,"slug":5083,"title":5084,"dynasty":18,"author":1609,"museum":500,"description":5085,"tags":5086,"thumbUrl":5088,"material":69,"size":69,"collection":69,"collections":5089,"showCount":5053,"zanCount":51,"manualWeight":51,"mainColor":52},228488,"he-tang-ju-qin-tu-li-zhou-lin-liang-228488","荷塘聚禽图立轴","画面将荷塘初秋意趣尽显，枯荷擎举、新花绽露，苇叶横斜交错，枯荣相生晕染出塘间清寂底色。\n水禽错落其间，水面鸳鸯两两相偎，翎毛细笔晕染，绒羽质感宛然；野禽振翅穿掠苇丛，飞燕斜划破空，动静交织间满溢鲜活生机。\n笔墨兼工带写，粗毫挥写苇茎残叶，苍劲朴拙；细笔勾勒禽鸟肌理，灵动传神。墨色浓淡铺陈层次，以极简水墨变化定格郊野塘间自在野趣，尽显纵逸清隽的花鸟意致。",[23,25,24,104,122,29,87,426,7,529,934,5087,1479],"荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7d15347b6a2c9436b4b8172d7a7048.jpg",[],{"id":5091,"slug":5092,"title":5093,"dynasty":156,"author":1573,"museum":119,"description":5094,"tags":5095,"thumbUrl":5097,"material":128,"size":5098,"collection":46,"collections":5099,"showCount":5053,"zanCount":51,"manualWeight":51,"mainColor":52},221836,"han-jiang-lu-yan-zhou-wang-yuan-221836","寒江芦雁轴","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[23,25,26,104,30,29,122,5096,934,3557,1915,529,7],"芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg","149.7x62.7公分、全幅 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图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。",[24,25,26,30,29,87,528,163,7,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea9b5dca7488b3da49917c162f50947.jpg","设色画","纵165．2厘米，横98．3厘米",[],{"id":5277,"slug":5278,"title":5279,"dynasty":18,"author":5280,"museum":59,"description":5281,"tags":5282,"thumbUrl":5283,"material":69,"size":69,"collection":69,"collections":5284,"showCount":5248,"zanCount":51,"manualWeight":51,"mainColor":134},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","徐贲","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[23,25,26,27,122,33,31,64,65,256,257,41,37,38,40,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":5286,"slug":5287,"title":5288,"dynasty":99,"author":5289,"museum":59,"description":5290,"tags":5291,"thumbUrl":5292,"material":69,"size":69,"collection":69,"collections":5293,"showCount":5248,"zanCount":51,"manualWeight":51,"mainColor":52},227536,"wan-ai-tu-wen-tong-227536","晚霭图","文同","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[23,25,26,27,122,31,33,2683,41,1560,441,39,7,440,748,2598,1149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":5295,"slug":5296,"title":5297,"dynasty":77,"author":252,"museum":191,"description":5298,"tags":5299,"thumbUrl":5300,"material":69,"size":69,"collection":46,"collections":5301,"showCount":5248,"zanCount":51,"manualWeight":51,"mainColor":134},223244,"hua-hui-shan-shui-12-hua-yan-223244","花卉山水-12","该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开",[25,26,29,122,33,238,87,388,426,7,38,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18d2a868a7fff05f5a7f52f85957ea0.jpg",[46,48],{"id":5303,"slug":5304,"title":5305,"dynasty":18,"author":5306,"museum":5307,"description":5308,"tags":5309,"thumbUrl":5310,"material":259,"size":5311,"collection":651,"collections":5312,"showCount":5248,"zanCount":11,"manualWeight":51,"mainColor":134},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","滕王阁序","祝允明","苏州博物馆","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[23,65,64,27,32,122,4891,26,39,36,33,7,563,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 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的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[25,104,122,31,62,33,374,1036,123,38,7,37,163,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91841eaba7f22bffc8d14d98e83c8bd9.jpg",[46,131,651],{"id":5375,"slug":5376,"title":5377,"dynasty":18,"author":722,"museum":207,"description":5378,"tags":5379,"thumbUrl":5384,"material":288,"size":729,"collection":69,"collections":5385,"showCount":5350,"zanCount":51,"manualWeight":51,"mainColor":52},233850,"gui-ju-shan-qin-tu-zhou-lv-ji-233850","桂菊山禽图轴","此图为工笔重彩花鸟与写意树石相结合的作品。所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画面的物象既真实地展现了生物的自然本性，也形象地表达了内涵的寓意。桂树干粗叶茂，枝头繁花如锦，黄色金桂似散出阵阵幽香；石畔数丛菊花，红、黄、粉、白，色彩斑斓，竞相斗艳；枝头八哥相对鸣叫，突出了其善鸣秉性；绶带鸟身姿优美，深蓝色羽毛分外夺目。花鸟绚丽的色泽和生动的情致，营造出喜庆、欢悦的气氛和吉祥、华美的意趣。\n此图画法工整鲜丽，继承了宋代“黄家富贵”的宫廷“院体”花鸟传统。同时，工笔重彩的花鸟与粗笔水墨的树石相间，也反映了吕纪兼工带写的成熟花鸟画风格。",[1047,30,29,5380,5381,164,5382,7,5383,123,238],"院体","桂树","山禽","树干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59bccc1179ac574e6114c194b238a5df.jpg",[],{"id":5387,"slug":5388,"title":5389,"dynasty":77,"author":5390,"museum":59,"description":5391,"tags":5392,"thumbUrl":5393,"material":69,"size":69,"collection":69,"collections":5394,"showCount":5350,"zanCount":430,"manualWeight":51,"mainColor":134},230114,"ren-wu-tu-ce-sun-huang-230114","人物图册","孙璜","此作为圆光小品，以柔婉笔致勾勒春闺闲景。垂柳丝绦轻曳，梅枝缀花斜伸，归燕剪破柔空，晕开春日融融暖意。两位仕女依偎苍奇湖石，衣袂舒展如云，侧身絮语、含笑倾听，将深闺密友间的亲昵静好藏在眉眼唇角。设色清润雅致，线条秀逸细腻，湖石皴染苍润兼具，花木点染鲜活灵动，将江南春景的柔媚与闺中女子的温婉心绪相融，把寻常闺间闲情晕染出淡远诗意，尽显小品仕女画的雅致情致。",[25,26,210,30,29,35,66,163,7,1033,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd52a6a6b3652582c52ba826c2e362e90.jpg",[],{"id":5396,"slug":5397,"title":5398,"dynasty":77,"author":2702,"museum":59,"description":5399,"tags":5400,"thumbUrl":5401,"material":69,"size":69,"collection":69,"collections":5402,"showCount":5350,"zanCount":51,"manualWeight":51,"mainColor":134},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[23,25,26,27,29,31,33,256,257,81,440,358,1559,40,517,7,1990,124,123,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],{"id":5404,"slug":5405,"title":5406,"dynasty":18,"author":5407,"museum":119,"description":5408,"tags":5409,"thumbUrl":5410,"material":29,"size":5411,"collection":244,"collections":5412,"showCount":5350,"zanCount":51,"manualWeight":51,"mainColor":134},219336,"jie-da-huan-xi-tu-zhou-song-xu-219336","皆大欢喜图轴","宋旭","宋旭（1525－1605之后），浙江嘉兴人。自号石门，出家为僧后，法名祖玄。又号天池发僧、景西居士，善画山水与人物。本幅苍松与云岫隔岸相对，松下三位罗汉，临滨或行或止；其一敞胸露肚，捧钵引鹊，眉目含笑，状甚欢愉。造形自在无碍，与工笔重彩、正襟危坐的「说法图」，意匠明显有别。画幅右上方宋旭自题「皆大欢喜」，即指此而言。",[25,26,104,122,29,333,35,374,7,32,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64bff71ae0fb7c4ca151db366883cb86.jpg","114.3x56.1",[244],{"id":5414,"slug":5415,"title":5416,"dynasty":18,"author":222,"museum":918,"description":5417,"tags":5418,"thumbUrl":5420,"material":89,"size":5421,"collection":91,"collections":5422,"showCount":5350,"zanCount":51,"manualWeight":51,"mainColor":457},219270,"ying-xiong-tu-yi-ming-219270","鹰熊图","苍鹰踞石而立，羽翼丰劲，墨色浓淡间晕染出猛禽的威仪；下方熊罴隐于岩隙，憨态中藏沉雄之气。飞瀑垂涧，古松虬枝盘错，山石皴染朴拙，草木点缀出野趣盎然的自然之境。鹰熊谐音“英雄”，寄寓着对刚毅品格的颂赞。笔墨兼具工细与写意，线条劲健而气韵生动，既捕捉了鸟兽的形神特质，又以山水为衬，营造出雄浑苍劲的氛围，尽显明代花鸟走兽画中自然意趣与人文寄托的交融之妙。",[23,25,26,29,30,1548,5419,374,123,1990,38,635,7],"熊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0c2d82ce05428ae5bc504a7efbc7e1.jpg","254 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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。",[23,25,26,30,29,35,66,36,37,38,7,528,5582,5583,5584],"风筝","桃花社","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82aa2bbeb52a082378df0a61e396e32c.jpg",[],{"id":5588,"slug":5589,"title":5590,"dynasty":139,"author":5591,"museum":59,"description":5592,"tags":5593,"thumbUrl":5597,"material":321,"size":322,"collection":69,"collections":5598,"showCount":5574,"zanCount":51,"manualWeight":51,"mainColor":134},288280,"xiao-xiang-tu-dong-yuan-288280","潇湘图","董源","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[23,24,25,27,26,122,29,31,33,1163,39,5594,5595,7,64,65,1123,32,5596],"洲渚","林木","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c04f28d3f8ad6d8dd07d6e129dad267.jpg",[],{"id":5600,"slug":5601,"title":5602,"dynasty":77,"author":2711,"museum":59,"description":5603,"tags":5604,"thumbUrl":5605,"material":69,"size":69,"collection":91,"collections":5606,"showCount":5574,"zanCount":51,"manualWeight":51,"mainColor":52},238134,"tian-ma-xian-rui-tu-zhou-ding-guan-peng-238134","天马献瑞图轴","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[25,26,104,29,30,35,553,7,33,81,125,1266,4988,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555d4db6996ce7a4c36e4c570f989413.jpg",[91,244,48],{"id":5608,"slug":5609,"title":5610,"dynasty":77,"author":5611,"museum":59,"description":5612,"tags":5613,"thumbUrl":5614,"material":321,"size":322,"collection":69,"collections":5615,"showCount":5574,"zanCount":51,"manualWeight":51,"mainColor":134},235405,"he-hua-shuang-fu-tu-zhou-ren-qi-235405","荷花双凫图轴","任淇","一作琪，字竹君，号建齐，生年不详，卒于1861年。浙江萧山人（瀛壖杂志作任竹君，余姚人），任熊族叔。工书法，写兰亭、十三行，楷法精妙。与周白山同时寓沪甚久。精篆刻，金石、竹、木，无不擅长。花卉双钩，尤其专技。",[25,104,30,29,87,453,702,7,1512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3cf559924c299931a82ede3a2c8040.jpg",[],{"id":5617,"slug":5618,"title":5619,"dynasty":99,"author":118,"museum":1091,"description":5620,"tags":5621,"thumbUrl":5622,"material":5623,"size":5624,"collection":69,"collections":5625,"showCount":5574,"zanCount":51,"manualWeight":51,"mainColor":134},231570,"shan-shui-shi-er-jing-tu-cun-qi-si-xia-gui-231570","山水十二景图（存其四）","夏圭，生卒年不详，字禹玉，临安（今浙江杭州）人，“南宋四家”之一。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他与马远同属水墨苍劲一派，号称“马夏”。\n夏圭擅画山水、人物，他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。",[25,26,27,122,31,65,32,33,39,38,40,7,563,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019c74398a8c6657a1cae9edc177829e.jpg","绢本墨笔","全卷长达七米",[],{"id":5627,"slug":5628,"title":1201,"dynasty":99,"author":222,"museum":207,"description":5629,"tags":5630,"thumbUrl":5631,"material":197,"size":5632,"collection":69,"collections":5633,"showCount":5574,"zanCount":51,"manualWeight":51,"mainColor":52},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","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。",[24,25,26,27,62,63,29,30,35,403,33,36,7,3109,2756,1204,41,126,38,32,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],{"id":5635,"slug":5636,"title":5637,"dynasty":77,"author":2481,"museum":191,"description":2482,"tags":5638,"thumbUrl":5639,"material":4779,"size":5640,"collection":69,"collections":5641,"showCount":5574,"zanCount":51,"manualWeight":51,"mainColor":134},223231,"mei-que-tu-ren-yi-223231","梅雀图",[23,25,26,104,29,122,87,143,144,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b46401bef043423b368b688dbe0e57.jpg","纵70.7厘米，横35厘米",[],{"id":5643,"slug":5644,"title":5645,"dynasty":18,"author":2046,"museum":119,"description":5646,"tags":5647,"thumbUrl":5648,"material":197,"size":5649,"collection":244,"collections":5650,"showCount":5574,"zanCount":51,"manualWeight":51,"mainColor":52},222155,"si-xian-gong-shou-tu-zhou-shang-xi-222155","四仙拱寿图轴","《四仙拱寿图》是一张祝寿图，结合了佛、道两教的人物在同一张画。在波涛万顷的海面上，有四位仙人凌波渡海。画面最右边，骑着三足金蟾的是全真教五祖之一的刘海蟾。在他左侧，肩挂葫芦、脚踏在拐杖上的是八仙中的李铁拐。左方两人，一人脚踏蕉叶，一人踩着竹帚，则是唐代的禅僧寒山和拾得。这四人的目光都聚集在画面正中央，骑着仙鹤飞翔的南极仙翁(寿星)。\n画中每位仙人的面部表情，都描写得十分生动，甚至有些夸张，仙人的衣袍随风飘举，衣描用笔方折、顿挫有力，显得相当粗犷，这种风格乃是传承唐代吴道子“吴带当风”的衣描画法，并且受到元代画家颜辉(活动于13世纪后期)的影响。商喜是明初宫廷著名的人物画家，他早年曾经为寺庙殿宇绘制巨幅壁画，《四仙拱寿图》这张巨幅人物图代表他在这方面的艺术成就。15世纪中后期的宫廷画家刘俊、赵麒，也都继承商喜画仙人的传统，但是用笔带有强烈的装饰风格，显示出同一样式在后来的发展。",[23,25,26,104,30,29,35,7,257,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F952b33a2bd40bdf845ccc85ef17e1b44.jpg","纵98.3、横143.8厘米",[244,131],{"id":5652,"slug":5653,"title":5654,"dynasty":99,"author":118,"museum":1556,"description":5655,"tags":5656,"thumbUrl":5657,"material":197,"size":5658,"collection":69,"collections":5659,"showCount":5574,"zanCount":5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作品之一，也是明朝仿古山水画的典范。",[23,25,26,210,122,29,33,39,38,4253,5732,7,123,124,65,31],"雪峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705dca76b87e5d6c9999fda035dc601d.jpg",[],{"id":5736,"slug":5737,"title":5738,"dynasty":18,"author":5739,"museum":158,"description":5740,"tags":5741,"thumbUrl":5742,"material":69,"size":69,"collection":91,"collections":5743,"showCount":5574,"zanCount":51,"manualWeight":51,"mainColor":5744},201826,"li-hua-shuang-niao-tu-zhou-tan-zhi-yi-201826","梨花双鸟图轴","谈志伊","双鸟栖于梨花枝间，一昂首似盼，一低首若思，羽色明丽：墨羽衬粉腹，红喙点翠冠，姿态鲜活传神。梨花以淡墨勾描轮廓，填染白粉，清雅如凝雪；枝叶用细劲线条勾勒，敷以浅绿，晕染细腻自然。绢本底色古朴温润，与花鸟的鲜妍相映成趣，营造出静谧悠然的意境。工笔技法精巧，线条婉转，设色雅致，既显自然生机，又蕴文人雅趣，仿佛春风拂过，梨花轻颤，鸟鸣声幽，尽显传统花鸟之韵致。",[30,87,29,300,7,104,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f104372fc2a4f302977798c26fb281.jpg",[91],"98815c",{"id":5746,"slug":5747,"title":5748,"dynasty":99,"author":222,"museum":59,"description":1533,"tags":5749,"thumbUrl":5751,"material":321,"size":322,"collection":69,"collections":5752,"showCount":5753,"zanCount":11,"manualWeight":51,"mainColor":52},290365,"song-ke-si-wen-shi-jin-ji-zhou-yi-ming-290365","宋缂丝文石锦鸡轴",[24,25,104,226,87,29,3784,7,238,5750,30],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa63f751f03600d47ac03835b0dbe4f1f.jpg",[],35,{"id":5755,"slug":5756,"title":5757,"dynasty":156,"author":2378,"museum":59,"description":5758,"tags":5759,"thumbUrl":5761,"material":321,"size":322,"collection":69,"collections":5762,"showCount":5753,"zanCount":51,"manualWeight":51,"mainColor":52},290232,"lin-lu-you-ju-tu-wang-meng-290232","林麓幽居图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[24,25,26,104,122,33,5760,3393,123,7,31],"幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe26b1b5b748d9e5ba249d2eb08e33814.jpg",[],{"id":5764,"slug":5765,"title":5766,"dynasty":99,"author":632,"museum":119,"description":3812,"tags":5767,"thumbUrl":5768,"material":321,"size":322,"collection":69,"collections":5769,"showCount":5753,"zanCount":51,"manualWeight":51,"mainColor":52},289872,"lu-yan-tu-zhou-cui-bai-289872","芦雁图轴",[25,24,104,465,29,30,2214,934,5571,2277,32,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3268d051a3a5f1a61e3fc7aa0356935b.jpg",[],{"id":5771,"slug":5772,"title":5773,"dynasty":99,"author":884,"museum":119,"description":5774,"tags":5775,"thumbUrl":5777,"material":89,"size":5778,"collection":69,"collections":5779,"showCount":5753,"zanCount":51,"manualWeight":51,"mainColor":52},287654,"ting-qin-zhai-ruan-tu-zhao-bo-ju-287654","停琴摘阮图","此幅写松石间瓜果堆盤，一人袒衣席地拨阮咸，一人背坐握羽扇倾听，横琴于膝，二童子捧壶执卷。人物、配景俱用钩勒填彩法敬谨写就，间或辅以胡粉重提、晕染，黑白相映，分外照人眼明。",[23,24,25,104,29,28,35,33,318,7,38,374,1536,5776],"闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe887b9cd6b04bdd3756bf42bb21b33d3.jpg","125.7x51.2",[],{"id":5781,"slug":5782,"title":1420,"dynasty":99,"author":3715,"museum":59,"description":5783,"tags":5784,"thumbUrl":5787,"material":321,"size":322,"collection":69,"collections":5788,"showCount":5753,"zanCount":11,"manualWeight":51,"mainColor":52},287584,"huo-lang-tu-li-gong-lin-287584","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[24,25,26,35,30,29,1425,1426,7,1955,5785,5786],"市井","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed448f9ab717e072dfdea305383f70ef.jpg",[],{"id":5790,"slug":5791,"title":5792,"dynasty":77,"author":222,"museum":59,"description":5793,"tags":5794,"thumbUrl":5797,"material":321,"size":322,"collection":69,"collections":5798,"showCount":5753,"zanCount":11,"manualWeight":51,"mainColor":52},273086,"mu-bian-xiu-mei-hua-tu-ping-yi-ming-273086","木边绣梅花图屏","这对挂屏以刺绣摹绘花鸟意趣，左侧虬梅斜出，蓓蕾轻绽，竹影清疏间青鸟振翅穿飞，生机跃然绣面；右侧折枝错落，菊瓣舒展柔婉，幽禽静栖枝头，尽显娴静秋意。\n\n绣线晕染自然细腻，配色清雅柔和，针脚匀净细密，将花木柔态、禽鸟灵动一一摹尽，兼具文人水墨的淡远意趣与闺阁绣艺的精巧工致。红木装框配织锦镶边，古雅沉静，将四时清景凝于尺幅之上，静动相映，尽显雅致韵味，是民间刺绣中的精巧之作。",[4299,5795,5060,87,7,143,528,726,29,5796],"绣品","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df9601fe3b0934c9c34174ffa6f899a.jpg",[],{"id":5800,"slug":5801,"title":5802,"dynasty":77,"author":222,"museum":59,"description":1533,"tags":5803,"thumbUrl":5808,"material":321,"size":322,"collection":69,"collections":5809,"showCount":5753,"zanCount":51,"manualWeight":51,"mainColor":134},263680,"ke-si-fo-shou-shuang-niao-tu-zhou-yi-ming-263680","缂丝佛手双鸟图轴",[25,26,104,226,465,30,29,7,5804,227,5805,238,5806,5807,5796],"佛手","湖石","竹草","蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3c39b8e6c568204a3d0ea696b49683.jpg",[],{"id":5811,"slug":5812,"title":5813,"dynasty":99,"auth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。\n图中绘小竹数竿，清翠欲滴，两只山雀栖于枝头，一只低头俯视，一只眺望前方。\n竹用双钩填彩，笔墨缜密严谨，色调沉着。\n山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有质感。\n图绘白头翁鸟两只，栖于丛竹之中。\n图中的丛竹，自竹篁中长出的几枝落叶的老枝，画幅左上方伸展，这就打破了左面景物过于稀疏的格局。\n左侧的老枝，竹叶开始枯黄，在几处竹叶根部略见积雪，分明是初冬时节。\n两只鸟伫立于一根枝权上，上者低头梳理羽毛，长尾下垂；下者凝视前方，姿态逼肖。\n本幅无款。\n钤鉴藏印“佟氏家藏”。\n此图过去一直被认为代表了唐代李思训画派的风格，后经傅熹年考证，认为其时代上限不超越南宋中期，而且很可能出自既不了解唐代宫苑之制、也未亲见宋代宫苑贵邸的临安以外地区的民间画家之手。\n此图画竹先以浓墨细笔勾出枝叶，再以淡色渍染，染色时从尖到根逐渐加深，叶根部留白作雪。\n笔墨严谨，色调沉着。\n设色除了竹叶较重的青绿，其他部分用色都很清淡，做到工而不板，丽而不俗。\n两只白头翁先用笔层层晕染，然后用尖毫细笔画出它们身上的绒羽，这样刻画出丰满可爱的白头翁形象，与竹枝、竹叶的劲利画法不同，而柔软蓬松的翎羽与刚直劲挺的竹枝、竹叶，形成艺术效果的对比。\n足见作者在此图上施以多种手法而得到的艺术效果甚佳。\n这是作者对自然界的花鸟进行认真观察、勇于摸索、不断实践创作的结果。\n画面上，两只白头翁立在竹枝之间．一只平视前方，另一只低着头，用喙梳理羽毛，动作显得十分传神。\n竹子采用双钩填彩画法，尤是竹叶似剑锋不锐利。\n在着布局上，色调构图缜密。\n《白头丛竹图》在用线上，竹的线条勾勒坚挺劲利，用笔顿挫提按有力，叶的勾勒显出飘逸、灵动，枝的用线则稳健，叶与枝在统一中求变化。\n白头翁身上的绒羽则用尖毫细笔勾出，与竹一柔一刚形成强烈的张力，既表明了两者形态、质感上的不同，也强化了内在的冲突：环境严寒、凛冽而白头翁的温柔可爱。\n凌寒不屈的寓意需要相应的笔法和设色与之相称。\n白头翁作为主体以黑、白、灰为主，既朴素大方，又对比强烈地镇住画面。\n在中国传统色彩学中，黑与白是所有色彩中的极色，它们在这幅画中被赋予特殊的关注。\n衬景的竹子先染墨后施色，显出了色调的沉着，竹叶稳沉的绿与古铜色绢底既有反差，又有参差的层次，构成和谐的统一。\n叶尖、叶背以及次要的竹枝淡淡施以摊墨，进一步融合了绢与竹在色彩与空间上的联系。\n通幅调子淡雅、朴素、沉着，既是客观的写照而又融人主观的情趣，体现了工笔花鸟画形式所特有的设色的法度：主辅必明，傅染必渐，洪托必匀，雅俗必分，层层值染，使得墨与色和谐相融。\n这一切不仅增加了色彩的厚度，而且也使画面显得细腻而丰富。\n这种微妙屯自然、柔和的变化及空间控制之精妙，是意笔花鸟画难以企及的。\n在构图上，静态的白头翁栖于主位，理羽的白头翁处于辅位，一静一动主次的安排，既莫定画面“静”的基调又使画面有“动”的生气。\n衬景中最醒目的竹干从画面中下部向左中下方斜长出画外，白头翁站立的竹枝伸向右中上方，与右斜带叶小枝形成右上方与中下部的连势，加之竹叶横生长势，与白头翁站立的竹枝同长于一个竹节点，但长势相反且与止于画面的辅枝一起，形成多层次的、非十字形的交叉，既丰富又统一，与冲出画外的竹干长势一同把人的联想引到画外无限的空间。\n会员李敬仕：画家以不同的手法，表现了不同对象的质感和精神气质，使白头翁与劲利的竹枝、叶片形成刚柔对比的艺术效果。",[23,24,25,26,489,210,30,29,87,528,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eabac537775fc8e4c72a25d5260302.jpg",[91],{"id":5826,"slug":5827,"title":5828,"dynasty":77,"author":5829,"museum":59,"description":5830,"tags":5831,"thumbUrl":5834,"material":89,"size":69,"collection":46,"collections":5835,"showCount":5753,"zanCount":11,"manualWeight":51,"mainColor":134},220258,"tian-chi-xiu-xie-tu-juan-qian-du-220258","天池修褉图卷","钱杜","钱杜画法文徵明细笔一路，文雅秀润。以恬静的书卷之气擅名一时。此卷写湖水初涨，夹岸杨柳绽绿，桃杏吐芳，碧草满坡，一派风暖日丽的早春气象。水边林下，有人结伴寻胜；草亭之中，有人闲话清吟；高阁之上，则有高士倚栏远眺。读钱氏自题诗，知是写朋友清明修禊故事。其典雅清丽的笔墨，与文人雅集的闲适情怀正合。是他即景生情，悠然命笔的精心之作。",[23,29,30,31,33,41,123,37,38,40,7,35,553,1560,2412,440,374,5832,5833],"舟楫","远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[46],{"id":5837,"slug":5838,"title":5839,"dynasty":156,"author":5840,"museum":918,"description":5841,"tags":5842,"thumbUrl":5843,"material":89,"size":5844,"collection":91,"collections":5845,"showCount":5753,"zanCount":51,"manualWeight":51,"mainColor":52},219086,"liu-xia-cang-lu-tu-zhao-yong-219086","柳下苍鹭图","赵雍","古梅树浓密，枝头红梅，花开锦绣。 三只白鹭站在粗杆上，昂首挺胸； 发芽的柳条垂下几根，沐浴着春风，像一堵绿墙一样在两边摆动； 小鸟躲在里面，拿着柳条在秋千上荡秋千，或者栖息在春天里，互相欣赏。",[25,24,26,104,30,29,87,1033,704,1834,7,1753],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e32fdc6ff622340002106f04ee40b3a.jpg","231.1x101.9cm",[91],{"id":5847,"slug":5848,"title":5849,"dynasty":139,"author":1748,"museum":119,"description":5850,"tags":5851,"thumbUrl":5852,"material":321,"size":322,"collection":91,"collections":5853,"showCount":5854,"zanCount":51,"manualWeight":51,"mainColor":52},290375,"chang-chun-zhu-que-zhou-huang-quan-290375","长春竹雀轴","黄筌最擅长于花鸟，大都画宫廷里的珍禽奇卉。作画时，先以墨笔很严谨地勾勒线条，然后再层层填染色彩。他的色调鲜明艳丽，特别有富丽堂皇的感觉。",[25,104,87,30,29,528,7,238,4130,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e814712a278bac9a311dc6a24d7162e.jpg",[91],34,{"id":5856,"slug":5857,"title":5858,"dynasty":156,"author":222,"museum":59,"description":5859,"tags":5860,"thumbUrl":5863,"material":321,"size":322,"collection":69,"collections":5864,"showCount":5854,"zanCount":51,"manualWeight":51,"mainColor":52},289376,"fang-cui-bai-dan-feng-niao-que-tu-yi-ming-289376","仿崔白丹枫鸟鹊图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[23,25,24,26,104,87,29,30,62,7,1525,5861,440,5862,528,32],"丹枫","细枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716dfbb7dd8876c3b5ccb799a264a779.jpg",[],{"id":5866,"slug":5867,"title":5868,"dynasty":99,"author":1657,"museum":59,"description":4735,"tags":5869,"thumbUrl":5871,"material":321,"size":322,"collection":69,"collections":5872,"showCount":5854,"zanCount":51,"manualWeight":51,"mainColor":52},288545,"jiang-cun-qiu-xiao-tu-zhao-ling-rang-288545","江村秋晓图",[25,27,122,33,2574,7,38,41,123,934,5870,2237],"秋晓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4bf7eee613995343f6bb7227076da9.jpg",[],{"id":5874,"slug":5875,"title":5876,"dynasty":77,"author":222,"museum":59,"description":5877,"tags":5878,"thumbUrl":5879,"material":321,"size":322,"collection":69,"collections":5880,"showCount":5854,"zanCount":51,"manualWeight":51,"mainColor":52},288229,"fang-lin-chun-cui-zhu-hua-niao-tu-yi-ming-288229","仿林椿翠竹花鸟图","此作以绢本铺陈春日林隅之景，修竹挺劲清疏，新叶扶苏；山茶缀枝，丹花艳艳，翠叶相衬。禽鸟十余只或栖于虬枝，两两顾盼低语，或在竹梢依偎嬉闹，翎羽绒泽分毫毕现，灵动如生。\n全作用笔工细雅致，设色明妍柔润，将竹之清劲、花之娇秾、禽之恬然勾勒得形神兼备，构图疏密得宜，把林泉小景的鲜活生机尽数铺展，晕染出悠然静雅的古典意趣，尽显院体花鸟的精工雅致之美。",[23,25,27,26,24,30,29,87,528,7,2743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31352a44941d45e8277f53da2cf8da78.jpg",[],{"id":5882,"slug":5883,"title":1932,"dynasty":156,"author":1933,"museum":207,"description":5884,"tags":5885,"thumbUrl":5886,"material":3442,"size":1937,"collection":69,"collections":5887,"showCount":5854,"zanCount":51,"manualWeight":51,"mainColor":134},233747,"qiu-jiang-dai-du-tu-zhou-sheng-mao-233747","是图以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。",[25,26,104,122,29,31,30,33,41,39,38,748,126,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65342cf58865624dc1a8d91ec27f81.jpg",[],{"id":5889,"slug":5890,"title":5891,"dynasty":156,"author":1712,"museum":59,"description":5892,"tags":5893,"thumbUrl":5894,"material":362,"size":5895,"collection":69,"collections":5896,"showCount":5854,"zanCount":51,"manualWeight":51,"mainColor":52},232641,"yu-lie-tu-quan-juan-zhao-meng-fu-232641","羽猎图全卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[23,24,25,27,29,31,33,256,41,35,553,635,7,126,887],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":5898,"slug":5899,"title":5900,"dynasty":18,"author":19,"museum":59,"description":5901,"tags":5902,"thumbUrl":5903,"material":69,"size":69,"collection":69,"collections":5904,"showCount":5854,"zanCount":51,"manualWeight":51,"mainColor":134},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,25,26,27,28,29,30,64,65,33,36,37,38,7,40,82,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":5906,"slug":5907,"title":5908,"dynasty":77,"author":874,"museum":59,"description":5909,"tags":5910,"thumbUrl":5911,"material":69,"size":69,"collection":69,"collections":5912,"showCount":5854,"zanCount":51,"manualWeight":51,"mainColor":134},226629,"si-shi-shan-shui-02-pu-ru-226629","四时山水02","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,25,26,24,104,122,29,33,163,374,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbaef9558d710642e3f6aa6b5a09eb.jpg",[],{"id":5914,"slug":5915,"title":5916,"dynasty":77,"author":5917,"museum":59,"description":5918,"tags":5919,"thumbUrl":5920,"material":69,"size":69,"collection":69,"collections":5921,"showCount":5854,"zanCount":51,"manualWeight":51,"mainColor":52},224339,"guan-bang-tu-juan-liang-xiang-224339","观榜图卷","梁亯","画面铺展乡野村居的鲜活日常，黛瓦村舍错落排布，临河的敞轩里有人闲坐观景，石拱桥畔有人凭栏眺望。山道间行人三两，或驻足热切交谈，或信步缓行，晕染出放榜后的松弛氛围。\n\n青绿点染坡岸古木，苍枝翠叶间生机盎然，工细的界画勾勒出民居的质朴规整，衣袂飘举的人物鲜活灵动。没有宫墙下的喧嚷拥挤，转而描摹乡邻间传递喜报、私语闲谈的烟火日常，将士林放榜后乡里的起落心绪融在淡雅的设色之中，笔底尽是平淡又真切的世情暖意，复刻出旧时乡野间的鲜活世相。",[23,25,26,27,29,30,194,35,36,37,41,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17a44f425b0d90604d33eb2089636e.jpg",[],{"id":5923,"slug":5924,"title":5925,"dynasty":1464,"author":5926,"museum":5927,"description":5928,"tags":5929,"thumbUrl":5930,"material":3570,"size":69,"collection":69,"collections":5931,"showCount":5854,"zanCount":51,"manualWeight":51,"mainColor":134},220487,"qiu-lu-tu-lin-feng-mian-220487","秋鹭图","林风眠","中国现当代美术文献研究中心","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[23,25,122,7,934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b252b0f31d2532d468749936e84cdea.jpg",[],{"id":5933,"slug":5934,"title":5935,"dynasty":18,"author":5936,"museum":838,"description":5937,"tags":5938,"thumbUrl":5939,"material":303,"size":5940,"collection":46,"collections":5941,"showCount":5854,"zanCount":51,"manualWeight":51,"mainColor":134},220051,"luo-bi-yan-yun-tu-chen-chun-220051","落笔烟云图","陈淳","绘山水相连，几叶扁舟顺风而下，房子、小亭依山而建，好一派清静优雅的景像！此卷用笔略显轻浮，题款亦不真，或是托名之作。",[23,25,27,122,1479,33,39,37,38,41,123,1355,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74da3cb2410a235ae2231e497fab346d.jpg","32.7cm×750.6cm",[46],{"id":5943,"slug":5944,"title":5945,"dynasty":18,"author":222,"museum":59,"description":5946,"tags":5947,"thumbUrl":5951,"material":89,"size":5952,"collection":91,"collections":5953,"showCount":5854,"zanCount":51,"manualWeight":51,"mainColor":52},219906,"xuan-kui-shuang-li-tu-yi-ming-219906","萱葵双鹂图","垂柳叶丝轻曳水畔，两只黄鹂栖停枝梢，翅羽晕染细腻绵密，灵动身姿似正私语嬉游。左侧蜀葵攒簇粉艳花团，浓绿叶片饱满鲜活，下方萱花舒展素白瓣朵，依偎嶙峋湖石而生。\n\n整作设色古雅沉稳，沉褐绢底衬得花叶明丽、禽鸟娇俏。工笔晕染精妙入微，将蜀葵秾艳、萱花清柔，黄鹂的娇憨灵动画韵尽显，留白水岸清寂悠远，把初夏水畔的闲静生机凝于绢上，笔致工秀柔和，揉合雅致野趣，尽显悠然清逸的隐逸意趣。",[23,25,29,30,87,5948,5949,1033,123,5950,7,238,2734],"萱草","蜀葵","百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d1ccf1c70a12fed695098a1073e3dd5.jpg","纵118厘米 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( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,24,25,122,29,33,440,7,515,39,1225,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85b9bdc5562af0dcae71507b85fc35.jpg","23.6x24.7厘米",[],{"id":6144,"slug":6145,"title":6146,"dynasty":1464,"author":1465,"museum":1545,"description":6147,"tags":6148,"thumbUrl":6149,"material":69,"size":69,"collection":69,"collections":6150,"showCount":6051,"zanCount":51,"manualWeight":51,"mainColor":134},220561,"dou-ying-xu-bei-hong-220561","斗鹰","以酣畅泼墨写就猛禽雄姿，两只苍鹰振翅对峙于空，利爪森然张扬，怒目相向，将空中缠斗的紧绷张力拉至顶点。\n作者以干湿浓墨晕染出羽毛层次，大写意的笔触间不失细节精准，将猛禽的桀骜筋骨与凶悍神态尽数勾勒。画面留白疏朗，远景点缀掠空小鹰，衬出天地辽远，更显主体鹰隼的霸悍气魄。整体笔力雄健老辣，将猛禽相斗的野性之美凝于纸面，把转瞬即逝的空中角斗定格为永恒的视觉冲击，尽显豪迈苍劲的风骨。",[23,25,122,1479,104,7,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b0f6352c708e330be8c080b5a1d523.jpg",[],{"id":6152,"slug":6153,"title":6154,"dynasty":1464,"author":1465,"museum":1545,"description":6155,"tags":6156,"thumbUrl":6157,"material":69,"size":69,"collection":69,"collections":6158,"showCount":6051,"zanCount":11,"manualWeight":51,"mainColor":134},220536,"chen-qu-xu-bei-hong-220536","晨曲","枯枝虬曲交错，浓淡墨色晕染出苍劲质感，萧索冬意铺满纸面。数十只麻雀错落栖于枝桠，姿态灵动各异：有的昂首翘望谛听晨风，有的两两依偎喁喁私语，也有敛羽静立，沉浸在晨间清寂之中。\n\n以水墨写意之法寥寥定格群雀憨态灵趣，淡墨留白的空阔背景，更衬出雀鸟的鲜活生机，静中藏动，将冬晨的清寒和小生命的蓬勃揉作一处。于枯淡笔墨间晕开暖意，把日常晨间的鲜活意趣尽显，在留白与笔意里藏着温柔生机，让萧瑟冬景晕染出盎然生气。",[25,122,29,1479,87,440,7,1464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0320e8ab6ec6712d5beadf2f7573390c.jpg",[],{"id":6160,"slug":6161,"title":6162,"dynasty":18,"author":4221,"museum":119,"description":6163,"tags":6164,"thumbUrl":6166,"material":89,"size":6167,"collection":46,"collections":6168,"showCount":6051,"zanCount":51,"manualWeight":51,"mainColor":134},219465,"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[25,26,104,122,31,33,40,6130,81,1355,32,64,65,7,6165],"孤山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[46],{"id":6170,"slug":6171,"title":6172,"dynasty":18,"author":1609,"museum":101,"description":6173,"tags":6174,"thumbUrl":6175,"material":1321,"size":6176,"collection":91,"collections":6177,"showCount":6051,"zanCount":51,"manualWeight":51,"mainColor":52},219329,"liu-que-tu-lin-liang-219329","柳鹊图","画中的柳叶随风起舞，四只喜鹊在中间嬉戏。 这幅画飞扬而不失形，或画的下部被切掉，造成画不完整。",[23,25,24,122,1479,87,104,1033,1525,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e1a6f8f3388ac631614527f9aa6831.jpg","139.4x76cm",[91],{"id":6179,"slug":6180,"title":6181,"dynasty":18,"author":19,"museum":119,"description":6182,"tags":6183,"thumbUrl":6184,"material":181,"size":6185,"collection":131,"collections":6186,"showCount":6187,"zanCount":51,"manualWeight":51,"mainColor":134},290870,"liu-tang-yu-ting-zhou-chou-ying-290870","柳塘渔艇轴","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”。",[25,104,122,33,515,39,2573,38,1225,7,32,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f02bdef353d8b20aa856b160f3841a4.jpg","102.9x47.2",[131],31,{"id":6189,"slug":6190,"title":221,"dynasty":99,"author":222,"museum":59,"description":1533,"tags":6191,"thumbUrl":6192,"material":321,"size":322,"collection":69,"collections":6193,"showCount":6187,"zanCount":51,"manualWeight":51,"mainColor":52},290288,"ke-si-hua-niao-zhou-yi-ming-290288",[25,26,104,226,29,87,7,143,2672,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd9eaed6bd4fb75bfc64e743a948bfe8.jpg",[],{"id":6195,"slug":6196,"title":6197,"dynasty":77,"author":4042,"museum":59,"description":4043,"tags":6198,"thumbUrl":6199,"material":321,"size":322,"collection":69,"collections":6200,"showCount":6187,"zanCount":11,"manualWeight":51,"mainColor":134},290078,"fu-rong-jin-que-tu-qu-zhao-lin-290078","芙蓉锦雀图",[23,25,30,29,87,815,957,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741d0836bbb21208682484e4c42ba95c.jpg",[],{"id":6202,"slug":6203,"title":6204,"dynasty":77,"author":222,"museum":59,"description":6205,"tags":6206,"thumbUrl":6210,"material":321,"size":322,"collection":69,"collections":6211,"showCount":6187,"zanCount":11,"manualWeight":51,"mainColor":134},272898,"zi-tan-mu-bian-mi-se-chou-di-xiu-hua-niao-tu-wei-ping-yi-ming-272898","紫檀木边米色绸地绣花鸟图围屏","紫檀木框架沉稳雅致，衬得绣面愈显清丽脱俗。十二扇屏各自成景又浑然相融，绣线晕染出松石苍润古拙，花枝柔婉舒展，或绽露芳华，或含苞轻垂。禽鸟姿态灵动悠然，或伫立观荷，或栖于枝梢梳羽，游凫嬉于清波，野趣横生。\n\n米绸底色温婉柔和，蓝白绣线层次细腻，凭借精巧针法晕染出明暗虚实，将草木花鸟的生机尽数勾勒。针线起落间藏着细腻匠心，把雅致娴静的意趣融于方寸绣面，是绣艺与木器工艺相融的佳制，尽显中式栖居的清雅韵致。",[6207,6208,5796,4299,87,29,30,426,143,227,7,84,6209],"围屏","木质","鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5c6afedc51bc5f657d99375938e2b1.jpg",[],{"id":6213,"slug":6214,"title":6215,"dynasty":77,"author":6216,"museum":59,"description":6217,"tags":6218,"thumbUrl":6219,"material":69,"size":69,"collection":48,"collections":6220,"showCount":6187,"zanCount":51,"manualWeight":51,"mainColor":134},239380,"hong-wu-da-yu-zhi-shui-tu-juan-hong-wu-239380","弘旿大禹治水图卷","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,25,26,27,29,33,35,41,7,441,516,124,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe675717ccbee700587769309e68dd62f.jpg",[48],{"id":6222,"slug":6223,"title":6224,"dynasty":77,"author":6225,"museum":59,"description":6226,"tags":6227,"thumbUrl":6228,"material":69,"size":69,"collection":69,"collections":6229,"showCount":6187,"zanCount":51,"manualWeight":51,"mainColor":134},228948,"lu-yan-tu-ce-ye-bian-shou-min-228948","芦雁图册页","边寿民","作品简介 此是杂画册中的一幅，以没骨法写一尾鳜鱼，墨色浓淡自然，恰到好处表现鳜鱼的体质感，借用几笔淡墨勾出鳜鱼的头部。\n形象生动，似乎刚离水不久。\n口尚张穿一根柳条，几片柳叶，即使画面生又富于生活气息。\n【名称】清 边寿民 杂画图 【简介】册页，纸本，设色，纵25.1厘米，横2.1厘米。\n无锡市文物商店藏。\n边寿民（1684-1752），清代画家。\n原名维祺，字寿民，以字行，更宇颐公，号渐僧、苇间居士，江苏山阳（今淮安）人。\n能书擅画，花卉翎毛，均有别趣，尤以泼墨芦雁驰名于江、淮间。\n与华喦、郑燮等交往甚契，属扬州画派。\n所居苇间书屋，多名流造访。\n人称“淮上一高士”。\n传世作品有《芦雁图》册、《芦雁图》轴。",[25,122,210,1479,3842,2214,7,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb2c9ea92efe0cc5c1dbef730058d1d.jpg",[],{"id":6231,"slug":6232,"title":6233,"dynasty":99,"author":222,"museum":59,"description":6234,"tags":6235,"thumbUrl":6238,"material":321,"size":322,"collection":69,"collections":6239,"showCount":6187,"zanCount":11,"manualWeight":51,"mainColor":134},227332,"xi-que-deng-zhi-qi-pan-yi-ming-227332","喜鹊登枝漆盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[6236,6237,87,143,7],"漆器","螺钿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6c7932c3eb5eb981b7f6ddef7cb426.jpg",[],{"id":6241,"slug":6242,"title":6243,"dynasty":77,"author":2702,"museum":59,"description":6244,"tags":6245,"thumbUrl":6246,"material":69,"size":69,"collection":69,"collections":6247,"showCount":6187,"zanCount":51,"manualWeight":51,"mainColor":134},224443,"fang-li-song-gu-mu-he-qun-wang-hui-224443","仿李嵩古木鹤群","此作画境清寂古雅，半边绘苍虬古木，枝干蟠曲交错，松针层叠如织，丹鹤或栖于枝梢理羽，或振翼掠林，姿态闲逸舒展。另一半以浅绛晕染出山峦坡陀，淡绿点染草木苔痕，空灵淡远。\n\n工写兼施法追摹古意，将院体精工与文人画淡逸相融，设色柔润清和。苍木古拙硬挺，衬出丹鹤秀雅灵动，山林幽寂与天际空阔相生，将林下闲逸的幽情藏于尺幅之间，引人坠入清远出尘的林泉之境。",[25,26,30,29,31,62,32,67,7,123,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd25c7958a10ee40cc2e1e5c90df00a4.jpg",[],{"id":6249,"slug":6250,"title":6251,"dynasty":77,"author":2702,"museum":59,"description":6252,"tags":6253,"thumbUrl":6254,"material":69,"size":69,"collection":69,"collections":6255,"showCount":6187,"zanCount":51,"manualWeight":51,"mainColor":52},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[23,24,25,26,27,29,33,62,31,38,39,41,7,40,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":6257,"slug":6258,"title":6259,"dynasty":99,"author":1307,"museum":119,"description":6260,"tags":6261,"thumbUrl":6262,"material":89,"size":6263,"collection":46,"collections":6264,"showCount":6187,"zanCount":11,"manualWeight":51,"mainColor":134},218688,"ying-shan-tu-wang-shen-218688","瀛山图","本幅画峻岭回溪，山村茅茨，远水平沙，数艇隐隐。图后一远峰山壁题识云：「保宁赐第王晋卿瀛山既觉，因图梦中所见。甲辰春四月，梦游者。」细审图中绝壑层峦，俱以青绿著色，用笔工细，气韵古雅，良为一梦中山水矣。全画山石以一简单的轮廓线勾勒，再敷以颜色，有古拙之感，近似元代画家钱选的青绿山水，与王诜（约1048—1122）现存的其他作品不类。",[23,25,26,27,28,29,33,36,37,38,40,7,41,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78aaab8984587d91e9f82641be9870c.jpg","24.5x145.1cm",[46],{"id":6266,"slug":6267,"title":6268,"dynasty":77,"author":222,"museum":59,"description":6269,"tags":6270,"thumbUrl":6271,"material":89,"size":69,"collection":69,"collections":6272,"showCount":6187,"zanCount":51,"manualWeight":51,"mainColor":52},216717,"hong-lou-meng-fu-tu-ce-10-yi-ming-216717","红楼梦赋图册-10","庭院深深，雕花窗棂映着回廊青瓦，藤蔓牵衣。近处方巾女子红绫轻扬，裙摆旋作蝶影，似将笑语掷向风里；窗畔二人凭栏，目光如丝，缠在院中嬉戏的身影上。石边草色漫阶，闲鹤驮云而过，池畔红荷倚石，晕开一抹温柔。淡彩晕染出雅致，细笔勾就灵动，将红楼闺阁的闲趣与园林的幽婉揉成画卷。每一处线条藏着旧时光的温婉，每一抹色彩漾着古典的诗意，仿佛能听见画里女子的轻语，漫过岁月的窗棂。",[23,25,29,30,210,35,66,36,7,163,426,2734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b613db4e103bdc77c619a70a23f3249.jpg",[],{"id":6274,"slug":6275,"title":6276,"dynasty":77,"author":1453,"museum":207,"description":6277,"tags":6278,"thumbUrl":6281,"material":303,"size":6282,"collection":46,"collections":6283,"showCount":6284,"zanCount":51,"manualWeight":51,"mainColor":134},301856,"heng-shan-qing-ai-tu-wu-li-301856","横山晴霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,24,25,26,27,33,122,31,516,41,38,39,7,517,6279,65,32,6280],"江岸","晴霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[46],30,{"id":6286,"slug":6287,"title":2461,"dynasty":139,"author":594,"museum":59,"description":2462,"tags":6288,"thumbUrl":6290,"material":321,"size":322,"collection":69,"collections":6291,"showCount":6284,"zanCount":51,"manualWeight":51,"mainColor":134},288996,"ping-po-shan-niao-tu-huang-quan-288996",[24,25,26,489,30,29,87,7,6289,32],"苹婆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026b677f07f3a3d8631d92c9824879ac.jpg",[],{"id":6293,"slug":6294,"title":2893,"dynasty":99,"author":619,"museum":59,"description":6295,"tags":6296,"thumbUrl":6297,"material":321,"size":322,"collection":69,"collections":6298,"showCount":6284,"zanCount":51,"manualWeight":51,"mainColor":52},288732,"lian-yan-tu-mu-xi-288732","从这件作品上看，牧溪的作品并不仅仅是恣肆一路，也有工细的一面。虽然整体还是写意风格，但从作品的两个核心点——莲花和燕子——来看，这位以禅画著称的僧人画家同样有着完全不逊色于宋代职业画家的扎实功底。",[25,24,26,465,122,104,453,7,703],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6da7e99f374af3da1de6fcb781716014.jpg",[],{"id":6300,"slug":6301,"title":6302,"dynasty":99,"author":6303,"museum":59,"description":6304,"tags":6305,"thumbUrl":6308,"material":321,"size":322,"collection":69,"collections":6309,"showCount":6284,"zanCount":51,"manualWeight":51,"mainColor":52},288551,"xiao-xiang-ba-jing-tu-juan-yi-wang-hong-288551","潇湘八景图卷一","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[25,24,26,27,122,33,41,6306,7,1564,6307],"水岸","渔舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf6f310da9c7a8a88cdef72a9fb5139.jpg",[],{"id":6311,"slug":6312,"title":6313,"dynasty":77,"author":6314,"museum":59,"description":6315,"tags":6316,"thumbUrl":6320,"material":321,"size":322,"collection":69,"collections":6321,"showCount":6284,"zanCount":11,"manualWeight":51,"mainColor":134},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","董邦达","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,24,25,26,27,1623,29,33,6317,516,124,41,37,6318,36,6319,2574,7,39,64,32],"湖泊","亭台","古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],{"id":6323,"slug":6324,"title":1007,"dynasty":18,"author":5739,"museum":59,"description":6325,"tags":6326,"thumbUrl":6327,"material":321,"size":322,"collection":69,"collections":6328,"showCount":6284,"zanCount":51,"manualWeight":51,"mainColor":134},235739,"hua-niao-ce-tan-zhi-yi-235739","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[25,26,210,30,29,87,143,7,414,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2685cf988a45bc4025b950c37cac040e.jpg",[],{"id":6330,"slug":6331,"title":6332,"dynasty":18,"author":5022,"museum":207,"description":6333,"tags":6334,"thumbUrl":6335,"material":2433,"size":69,"collection":69,"collections":6336,"showCount":6284,"zanCount":51,"manualWeight":51,"mainColor":134},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,25,26,27,122,29,33,31,65,64,2234,123,41,38,37,40,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":6338,"slug":6339,"title":6340,"dynasty":156,"author":1933,"museum":207,"description":3312,"tags":6341,"thumbUrl":6342,"material":362,"size":6343,"collection":69,"collections":6344,"showCount":6284,"zanCount":51,"manualWeight":51,"mainColor":134},233203,"zuo-kan-yun-qi-tu-ye-sheng-mao-233203","坐看云起图页",[25,26,489,122,29,31,33,359,67,7,35,123,748,124,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567c9ea4707965f97951bafa9c5e46b8.jpg","纵27cm; 横28cm.",[],{"id":6346,"slug":6347,"title":6348,"dynasty":99,"author":884,"museum":59,"description":6349,"tags":6350,"thumbUrl":6351,"material":69,"size":69,"collection":69,"collections":6352,"showCount":6284,"zanCount":51,"manualWeight":51,"mainColor":52},227953,"tu-ye-zhao-bo-ju-227953","图页","此作为典型宋代青绿山水，石青、石绿晕染山峦，厚重雅致间衬以赭石暖调，冷暖相映，晕化出山水层叠悠远的空蒙意境。\n\n画面开合有度，远山嵯峨葱郁，近渚水色澹澹，坡岸苍松劲挺成林，生机盎然。水岸营寨旌旗飘展，泊船静立，身形微小的人物情态具足，行旅场面写实生动，将山水之秀与行旅之境相融。\n\n它承继唐代青绿山水的明艳富丽，又兼具宋代院体画的精工写实，笔致细腻秀雅，兼顾全景意境与细节刻画，把随行驻泊的日常图景置于秀山丽水间，尽显宋画雅致隽永的山水意趣。",[23,24,25,26,28,29,30,33,35,39,38,41,7,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5813535dd91fdde5ef9a939c994bbe3f.jpg",[],{"id":6354,"slug":6355,"title":6356,"dynasty":1017,"author":6357,"museum":59,"description":6358,"tags":6359,"thumbUrl":6363,"material":321,"size":322,"collection":69,"collections":6364,"showCount":6284,"zanCount":11,"manualWeight":51,"mainColor":52},226152,"gong-zhu-zhan-mu-si-mai-ke-ni-er-hui-si-lei-226152","公主","詹姆斯·麦克尼尔·惠斯勒","詹姆斯·阿博特·麦克尼尔·惠斯勒（James Abbott McNeill Whistler，1834.07.11—1903.07.17）美国画家、蚀刻家，父亲是美国工程师，全家曾经住过圣彼得堡。惠斯勒曾于西点军校肄业，之后选择做画家。深受日本绘画影响。代表作有：灰与黑的协奏曲、画家母亲肖像、白衣少女（系列）、瓷器公主。",[1021,29,35,66,6360,6361,241,6362,238,5796,7],"和服","扇子","地毯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9ef3d59526e363f8bff5ec7a8aa0a.jpg",[],{"id":6366,"slug":6367,"title":6368,"dynasty":77,"author":2408,"museum":59,"description":6369,"tags":6370,"thumbUrl":6371,"material":69,"size":69,"collection":69,"collections":6372,"showCount":6284,"zanCount":11,"manualWeight":51,"mainColor":134},224523,"shan-shui-tu-ce-8-kai-8-shi-tao-224523","山水图册8开-8","此作用边角布局造景，右侧崖壁以浓墨皴擦，朴拙苍劲，留白铺就浩渺湖面，虚实相映尽显烟波空濛。水面渔舟错落，渔人或撑舟放网，或围坐闲谈，野趣盎然，崖头行人凭栏远眺，一动一静间，将湖畔日常的闲散诗意铺陈开来。\n\n墨色干湿浓淡层次分明，远山以淡墨晕染，朦胧悠远，近岸苔点灵动鲜活，晕染出江南水泽的温润生机。题诗朱印与画作浑然一体，书画印相映成趣，把偶然得见的湖光野景寄于笔墨，将文人雅趣与世俗烟火相融，尽是师法自然的恬淡悠然。",[23,25,122,29,31,210,32,65,33,39,35,7,163,38,515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c782c5e41a5ccb190b00e358db8a2c.jpg",[],{"id":6374,"slug":6375,"title":6376,"dynasty":77,"author":6377,"museum":59,"description":6378,"tags":6379,"thumbUrl":6380,"material":69,"size":69,"collection":69,"collections":6381,"showCount":6284,"zanCount":51,"manualWeight":51,"mainColor":134},224404,"lu-tai-nan-shan-ji-cui-chang-juan-wang-yuan-qi-224404","麓台南山积翠长卷","王原祁","此作以全景铺展江南盛景，浅绛间糅青绿晕染，层峦叠嶂迤逦开合，丘壑繁密却丝毫不失章法，尽显山川龙脉走势。汀渚渔舟、山居村舍错落点缀，水烟澹澹，山林苍郁，笔墨沉厚老辣，干笔皴擦间又带秀润，层层积染出山峦的雄浑华润质感。将元人简逸笔意化为沉雄苍浑的气度，恪守文人画理法的同时，以细密繁复的构图铺陈胸中丘壑，尽数绘就江南山川的郁茂苍翠与静穆灵秀，是兼具笔墨意趣与山水神韵的佳作。",[23,24,25,26,27,33,29,31,516,41,1355,39,38,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a81172077ff8b61901ecd9eb2cce38.jpg",[],{"id":6383,"slug":6384,"title":6385,"dynasty":1464,"author":1465,"museum":1545,"description":6386,"tags":6387,"thumbUrl":6389,"material":69,"size":69,"collection":69,"collections":6390,"showCount":6284,"zanCount":51,"manualWeight":51,"mainColor":134},220550,"ling-jiu-xu-bei-hong-220550","灵鹫","两只鹫鸟傲然立于枯木之上，昂首远眺，目光锐利沉静，尽显悍勇孤傲之姿。\n画家以兼工带写之法，以浓淡墨色区分鹫鸟羽毛层次，蓬松绒羽以淡墨晕染出柔软质感，硬翅翎毛则以焦墨勾勒，笔力苍劲，将猛禽的健硕体态刻画入微。古木以阔笔重墨挥写，尽显苍浑朴拙的山野意趣，枝桠间点缀嫩黄小花，柔色打破沉郁色调，动静相映。\n画作融西画写实观察与东方写意笔墨，既还原猛禽生理细节，又以写意笔墨烘托出桀骜沉凝的气度，于沉静画面中蕴藏着雄健生命力。",[25,122,29,1479,87,7,106,6388,748],"花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf44f3188b1be369b8514aa6b92a3f4.jpg",[],{"id":6392,"slug":6393,"title":6394,"dynasty":77,"author":6395,"museum":158,"description":6396,"tags":6397,"thumbUrl":6398,"material":259,"size":6399,"collection":69,"collections":6400,"showCount":6284,"zanCount":11,"manualWeight":51,"mainColor":134},219852,"ba-jing-shan-shui-tu-5-gong-xian-219852","八景山水图-5","龚贤","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[25,122,31,33,126,41,7,40,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbddfe1b7d43fd1d3f803160a4402416a.jpg","24.4x49.7厘米",[],{"id":6402,"slug":6403,"title":6404,"dynasty":77,"author":222,"museum":119,"description":6405,"tags":6406,"thumbUrl":6409,"material":89,"size":6410,"collection":69,"collections":6411,"showCount":6284,"zanCount":51,"manualWeight":51,"mainColor":134},214663,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-2-yi-ming-214663","乾隆缂丝山水挂屏四轴-2","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[226,29,25,33,374,2683,7,359,36,6407,123,6408],"瓶","水浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9418f3bf0b0fc968da053932573886c.jpg","93.8x25.6",[],{"id":6413,"slug":6414,"title":6415,"dynasty":77,"author":2408,"museum":59,"description":2491,"tags":6416,"thumbUrl":6418,"material":321,"size":322,"collection":69,"collections":6419,"showCount":151,"zanCount":51,"manualWeight":51,"mainColor":134},289909,"ye-se-ce-ye-shi-tao-289909","野色册页",[25,122,2915,32,64,33,7,440,37,35,163,6417],"孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406cac18541976b3f7edf604d75728e4.jpg",[],{"id":6421,"slug":6422,"title":6423,"dynasty":77,"author":6424,"museum":59,"description":6425,"tags":6426,"thumbUrl":6427,"material":321,"size":322,"collection":69,"collections":6428,"showCount":151,"zanCount":51,"manualWeight":51,"mainColor":134},289907,"qing-mou-cheng-shan-yu-fei-an-289907","情眸成扇","于非闇","于非闇（1889年3月22日—1959年7月3日），原名于魁照，后改名于照，字仰枢，别署非闇，又号闲人、闻人、老非，近现代中国画家。原籍山东蓬莱，出生于北京，自幼得书画家传。1912年入师范学校学习，后任教于私立师范校、私立华北大学美术系。兼任古物陈列所附设国画研究馆导师。1935年起专攻工笔花鸟画。1949年后历任中央美术学院民族美术研究所研究员、北京中国画研究会副会长、北京画院副院长。作品有《玉兰黄鹂》、《丹柿图》、《牡丹鸽子》等。著有《非闇漫墨》、《艺兰记》、《中国画颜料研究》、《我怎样画花鸟画》。",[489,25,26,30,29,87,7,272,163,5948],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff863da702831d1f54c9cc95d7ee7ffae.jpg",[],{"id":6430,"slug":6431,"title":6432,"dynasty":99,"author":222,"museum":59,"description":6433,"tags":6434,"thumbUrl":6436,"material":321,"size":322,"collection":111,"collections":6437,"showCount":151,"zanCount":51,"manualWeight":51,"mainColor":52},289117,"ku-shu-qu-yu-tu-yi-ming-289117","枯树鸜鹆图","此作工致清雅，将深秋野趣凝于尺幅间。墨鸜鹆伫立枯枝之上，乌羽晕染细腻柔润，光泽宛然，白瞳点漆灵动有神，顶间绒簇微扬，利爪紧扣枝桠，静穆中暗含振翅欲飞的机警生气。\n\n旁侧枯木残叶萧疏，淡墨晕染出秋意萧索，叶片脉络隐现，笔墨清简雅致，衬出林间空寂氛围。构图虚实相生，以禽鸟为视觉重心，留白烘托出幽远意境，尽得清隽含蓄之美，将荒寒秋日里的鲜活野趣，定格成静雅悠然的传世韵致。",[24,25,489,30,87,440,7,6435,32],"鸜鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395f8f55e8cca3e74fe9b859b7c20795.jpg",[111],{"id":6439,"slug":6440,"title":6441,"dynasty":156,"author":4698,"museum":59,"description":5244,"tags":6442,"thumbUrl":6443,"material":321,"size":322,"collection":69,"collections":6444,"showCount":151,"zanCount":51,"manualWeight":51,"mainColor":52},287595,"xue-jiang-tu-luo-zhi-chuan-287595","雪江图",[23,25,33,122,440,7,442,748,2985,67,1480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f49c6e94f47e131b9e2f7bbb1c31cc.jpg",[],{"id":6446,"slug":6447,"title":6448,"dynasty":77,"author":222,"museum":59,"description":6449,"tags":6450,"thumbUrl":6453,"material":321,"size":322,"collection":69,"collections":6454,"showCount":151,"zanCount":11,"manualWeight":51,"mainColor":457},267678,"ci-xiu-bai-ju-ba-ge-tu-zhou-yi-ming-267678","刺绣柏菊八哥图轴","此作以靛蓝为底，清雅沉静。苍柏虬曲伸展，祥云状针叶以异色绒线锁边，层次饱满古拙。两只八哥意态灵动，枝头静立者侧目凝神，振翅穿空者羽翮舒展，绒线施色细腻，黑白晕染自然，将禽鸟的鲜活神采尽数勾勒。下方湖石以钉线绣勾边，蓝白晕染出剔透空灵，秋菊盛放，绒丝晕出花瓣明暗层次，枝叶舒展如生。\n整件绣品以针代笔，将院体花鸟的雅致意趣融于丝线间，既有工笔写实的生动，又带着绣物独有的柔润肌理，把秋日清旷悠然的氛围藏入绢底，尽显巧思匠心。",[26,104,4299,87,29,6451,726,7,6452,5805],"八哥","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b73b1aa1617a1f9fdd7d61efc5a53f9.jpg",[],{"id":6456,"slug":6457,"title":6458,"dynasty":77,"author":6459,"museum":207,"description":6460,"tags":6461,"thumbUrl":6462,"material":69,"size":69,"collection":46,"collections":6463,"showCount":151,"zanCount":51,"manualWeight":51,"mainColor":134},239054,"tang-ying-shan-shui-zhou-tang-ying-239054","唐英山水轴","唐英","此作用淡墨晕染出江南山居的悠然意趣，全景构图层层铺展，意境清寂淡远。远景山峦轻笼烟霭，平湖开阔澄澈，三两渔舟泛于波上，漾开闲静况味。中景坡岸虬松葱郁，村居错落相依，板桥横溪接引往来，揉入日常烟火暖意。近景庭院深隐林间，田亩溪涧环合相拥，将林下栖居的隐逸之趣藏入笔墨中。\n\n全画笔墨松秀柔和，以淡皴轻擦区分丘壑层次，弃绝浓丽设色，凭墨色干湿浓淡铺陈层次，尽显文人山水特有的简淡萧散，把江南乡野的静雅诗意晕染开来，藏着冲淡平和的文人心绪。",[25,122,104,33,37,38,40,7,41,123,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d73145b572ef6ffbad105060f81b9cb.jpg",[46],{"id":6465,"slug":6466,"title":6467,"dynasty":77,"author":6468,"museum":59,"description":6469,"tags":6470,"thumbUrl":6471,"material":321,"size":322,"collection":69,"collections":6472,"showCount":151,"zanCount":51,"manualWeight":51,"mainColor":134},238540,"fang-jiang-ting-xi-niao-pu-tu-ce-yu-sheng-238540","仿蒋廷锡鸟谱图册","余省","余省（1692年—1767年） 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幽雅，意境深邃取胜。用略为夸张的笔法去捕捉流动的大气，描绘多变莫测的云烟雨，使得绮丽多姿的山水更富有直观表现的色彩。",[23,25,122,1623,104,31,6544,256,257,41,124,748,2598,1563,7],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662a33e92c15e39c6775698df13687f8.jpg","123.2x51.9",[46],{"id":6549,"slug":6550,"title":6551,"dynasty":99,"author":222,"museum":119,"description":6552,"tags":6553,"thumbUrl":6556,"material":89,"size":6557,"collection":91,"collections":6558,"showCount":151,"zanCount":51,"manualWeight":51,"mainColor":134},218729,"dao-tian-qiu-que-tu-yi-ming-218729","稻田秋雀图","这幅画描绘了秋日田野里的野趣。有两只鸟，一只站在斧头上，用尾巴微微向上啄食，另一只站在树枝上，向上看。鸟类描绘得栩栩如生，笔触极其细腻，玉米穗先用酒糟黄涂上明暗色，然后点上白粉，再用尖细的笔画出，草茎用较慢的笔画出，先用老绿涂抹，一半是明色，一半是暗色，略带焦黄的一端用赭石涂抹，虽然笔触和着色都很简单，但描述性极强。",[23,25,24,489,30,29,87,6554,2193,7,6555],"稻穗","秋天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa12e0c00e97f6280d05f6a3ec26e2e3c.jpg","24x25.4",[91],{"id":6560,"slug":6561,"title":6562,"dynasty":6563,"author":6564,"museum":158,"description":6565,"tags":6566,"thumbUrl":6569,"material":69,"size":69,"collection":91,"collections":6570,"showCount":151,"zanCount":51,"manualWeight":51,"mainColor":6571},203391,"bai-qin-tu-juan-jiang-han-ting-203391","百禽图卷","近代","江寒汀","这幅长卷铺展百禽之态，或栖枝啁啾，或振翅掠空，或啄食嬉戏，神情毕肖。笔墨兼工带写，禽鸟羽毛勾勒精细，纹理毕现；花木枝干墨色灵动，设色清雅中见艳丽。梅、竹、牡丹等景致错落，与禽鸟相映成趣，画面疏密有致，动静相宜，满溢自然生机，尽显笔墨功底与对生命的细腻体察，堪称花鸟佳作。",[25,27,87,30,29,143,528,227,7,529,1625,6567,1135,6568,23],"羽毛纹理","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b255eb679be70f777ef7738be689750.jpg",[91],"000000",{"id":6573,"slug":6574,"title":6575,"dynasty":99,"author":6576,"museum":59,"description":6577,"tags":6578,"thumbUrl":6579,"material":321,"size":322,"collection":69,"collections":6580,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":52},290614,"ku-mu-zhu-shi-zhou-song-ren-290614","枯木竹石轴","宋人","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石块后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的展现，属元代枯木竹石画风。画中枯木与院藏赵孟俯《竹石古木》表现类似，此画上虽无款印，但可推测为此一画风的元代例证，学者推测或许正与赵孟俯关系密切。",[25,24,26,104,122,87,106,528,163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc68e00661dc7552efca8be1f446a08a.jpg",[],28,{"id":6583,"slug":6584,"title":657,"dynasty":18,"author":1212,"museum":59,"description":6585,"tags":6586,"thumbUrl":6587,"material":321,"size":322,"collection":69,"collections":6588,"showCount":6581,"zanCount":11,"manualWeight":51,"mainColor":52},290501,"hua-niao-zhou-lu-zhi-290501","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[24,25,26,104,30,29,87,143,7,1215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff287464e1e488bf57ac4980cd966922c.jpg",[],{"id":6590,"slug":6591,"title":6592,"dynasty":99,"author":6056,"museum":59,"description":6057,"tags":6593,"thumbUrl":6594,"material":321,"size":322,"collection":69,"collections":6595,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":52},290297,"hua-hua-niao-zhou-zhao-chang-290297","画花鸟轴",[25,104,87,30,29,7,238,301,32,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47da3bc28d94f9c87e40145887010832.jpg",[],{"id":6597,"slug":6598,"title":2211,"dynasty":99,"author":6599,"museum":59,"description":6600,"tags":6601,"thumbUrl":6602,"material":321,"size":322,"collection":69,"collections":6603,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":52},289884,"lu-yan-tu-lin-xue-289884","林雪","林雪 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，设色","纵60cm，横28.3cm",[651],{"id":6690,"slug":6691,"title":6692,"dynasty":77,"author":6693,"museum":207,"description":6694,"tags":6695,"thumbUrl":6696,"material":259,"size":6697,"collection":69,"collections":6698,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":134},233792,"chan-ji-hua-qu-zhou-kun-can-233792","禅机画趣轴","髡残","作者以一个僧人的目光把所赏阅的江南山川荟萃于尺幅之中。\n此画幅虽不大，呈一长条幅，但气势恢宏，只见远处群山叠嶂，诸峰矗立，云雾缠绕。\n山坡的平地坐落着寺院和房舍，在山坡和丛树间或隐或现：近景，山脚下水榭、房阁数间，坡岸乱石相连，在乱石坡岸上树木丛生，近处溪边水草茂盛，下端左侧一条长长的板桥，且有齐整的扶栅。\n右侧有一板桥将两溪岸相连，有一位身着长袍头戴风帽手持拐杖的长者，正在缓行过桥。\n中景，有山有水，有树木、房舍等，水随山转。\n有数只扁舟，渔人独坐轻舟浮荡，显得十分幽静清雅。\n画幅上端作者长题：“米南宫尝以玩好书画载之方舟，坐卧其中，适情乐性，任其所之，咸指之一：‘此米家书画船也。\n’石秃曰：‘此固前人食痴公癣，咄咄青溪亦后有此耶，虽然青溪好古博雅，胸中负古文奇字，此犹不过成都子昂之弄故琴耳。\n玄道隐于小成言：隐于荣华，若以天地为虚舟，万物为图籍，予坐卧其中，不知天地外更有此舟，不知舟之中更有子昂否耶？而为之偈曰：大地为舟，万物图画，坐卧其中，嗒焉洒洒，渺翩翩而独征兮，有谁知音机弦而歌兮，清风古今人山往返之劳兮，已为这个不了，若是了得兮。\n此画构图高旷清远，用笔苍劲老辣，颇具黄公望笔意。\n细察此画为中年笔墨，荒率枯淡，稍染淡赭，乃有苍厚之韵。\n构图上，近景的坡岸乱石及树木与远景苍山院寺房舍相对比；前景的溪水回转与远景的云雾轻绕遥相呼应。\n整幅构图繁复、饱满、充实，下不留地，上不留天，仅有上部空白处，经自长题而填补。虽画面的景物繁多，但仍能做到疏密有致。总体来说，整幅画浑然一体，气脉畅达。",[25,26,104,122,31,32,65,33,37,38,39,40,7,67,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d9169d444881f8ff792bc46e2b0aa1.jpg","125.7x31.4厘米",[],{"id":6700,"slug":6701,"title":6702,"dynasty":18,"author":722,"museum":207,"description":6703,"tags":6704,"thumbUrl":6705,"material":4273,"size":6706,"collection":69,"collections":6707,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":52},233144,"can-he-ying-lu-tu-zhou-lv-ji-233144","残荷鹰鹭图轴","画面描绘了秋日荷塘中惊心动魄的一幕，苍鹰俯冲搏击白鹭，白鹭冲进苇丛深处，希图逃脱。众鸟或纷纷躲避，或受惊鸣叫。劲风吹动芦苇残荷，更添肃杀之气。作者把握住禽鸟的自然特征，赋予了戏剧化的情节表现，使画面具有扣人心弦的感染力。画家用写意的笔法画出枯败的荷叶，效果逼真，体现出高超的水墨控制能力。",[25,104,87,30,122,29,426,7,704,934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ba363296fcd9a438b72bb73c541cba.jpg","纵190厘米，横105.2厘米",[],{"id":6709,"slug":6710,"title":6711,"dynasty":77,"author":252,"museum":59,"description":6712,"tags":6713,"thumbUrl":6714,"material":69,"size":69,"collection":69,"collections":6715,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":134},230168,"lan-zhu-ming-qin-tu-hua-yan-230168","兰竹鸣禽图","此作工写相融，意趣悠然。上端禽鸟俯身垂首，似将啄饮，羽色以淡赭晕染，蓬松柔润，神态灵动鲜活。旁侧枯枝缀浅叶，墨色清透疏朗，衬得禽鸟愈发温婉生趣。\n\n下方坡石以泼墨写意，淡绿晕染衬出苍润苔痕，兰草、新竹生于石畔，笔致秀逸舒展，墨色虚实相生，尽显草木清姿。整卷以清浅淡远的色调，将生灵意趣与林下幽寂融为一体，笔墨兼具雅致与野趣，尽显文人写意画的空灵韵味。",[23,25,26,104,87,122,29,528,5438,7,163,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb95074029fc5bb85e91a524cb89d6a.jpg",[],{"id":6717,"slug":6718,"title":6719,"dynasty":77,"author":252,"museum":59,"description":6720,"tags":6721,"thumbUrl":6723,"material":69,"size":69,"collection":69,"collections":6724,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":134},230167,"ba-ge-song-shu-tu-hua-yan-230167","八哥松鼠图","此作用笔兼工带写，冬日枯枝横斜，两只八哥相偎私语，墨色翎毛纤毫毕现，亲昵柔婉之态呼之欲出。下方松鼠曳着蓬松长尾，圆目灵动憨态可掬，驻足枝上似正侧目探看。\n\n淡墨晕染危石枯藤，飘零残叶点染出清寂冬意，留白空灵疏朗，将荒寒萧索的氛围铺陈开来。却以小生灵的鲜活暖意破了冷寂，静中藏动，虚实相生。软毛的蓬松温软、翎羽的油亮劲挺、枯木的苍劲淡远相映成趣，把冬日荒林间的盎然生趣刻画得精妙入微，尽显灵秀雅致的笔墨意趣。",[23,25,26,104,29,87,635,163,7,1753,6722,122,30],"落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c918a99a17b3d55a87fe514827c97c0.jpg",[],{"id":6726,"slug":6727,"title":6728,"dynasty":18,"author":222,"museum":59,"description":6729,"tags":6730,"thumbUrl":6733,"material":69,"size":69,"collection":69,"collections":6734,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":52},228822,"qi-ma-shou-lie-tu-yi-ming-228822","骑马狩猎图","画作以塞北秋原为底色，枯木疏枝晕染出荒寒辽远的意境。画面上方白鹤惊飞，一人纵马引弓，箭矢将发，将狩猎的张力拉满；下方猎手们或缓骑四顾，或驻马待命，猎犬伏地静伺，动静相映成趣。设色古雅沉郁，线条朴拙凝练，将游牧出猎的日常瞬间定格。萧瑟荒野呼应骑射英武，糅合边地的苍凉与出猎的野趣，笔意简淡却藏着质朴生机，尽显北国狩猎的自在豪情。",[25,26,29,30,35,553,7,440,6731,33,6732],"猎犬","狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e0832a905d1084788a315175c5a3cf.jpg",[],{"id":6736,"slug":6737,"title":6738,"dynasty":99,"author":1784,"museum":59,"description":6739,"tags":6740,"thumbUrl":6741,"material":69,"size":69,"collection":69,"collections":6742,"showCount":6581,"zanCount":11,"manualWeight":51,"mainColor":52},227981,"qiu-lu-fei-wu-tu-liang-kai-227981","秋芦飞鹜图","此作以简逸水墨绘就秋江野景。坡岸以浓淡墨晕染而出，苍朴浑拙，几丛芦草只以数笔挥写，便将秋风中欹侧摇曳之态尽现，萧瑟秋意扑面而来。\n\n四只飞鹜分作两组，淡墨轻勾身形，羽翼翩然灵动，破空掠飞于空茫江面。画面大片留白化作寒烟秋水，虚远空寂，与极简的物象相映成趣，以少胜多，将秋江荒寒澄澈的意境渲染到极致。笔意纵逸简淡，于萧索之中暗蕴灵动生机，寥寥数笔勾勒出秋日江天的澹泊野趣，尽显写意花鸟画的空灵悠远。",[23,24,25,26,2545,122,1479,934,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c37f9fecfb7b19133333a2cd8c3399.jpg",[],{"id":6744,"slug":6745,"title":6746,"dynasty":99,"author":1657,"museum":59,"description":4735,"tags":6747,"thumbUrl":6748,"material":69,"size":69,"collection":69,"collections":6749,"showCount":6581,"zanCount":11,"manualWeight":51,"mainColor":52},227614,"chun-xiao-tu-ye-zhao-ling-rang-227614","春晓图页",[23,24,25,26,210,29,31,388,37,163,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1006510c385afef8e45f522379aaf3d.jpg",[],{"id":6751,"slug":6752,"title":6753,"dynasty":435,"author":222,"museum":59,"description":6754,"tags":6755,"thumbUrl":6756,"material":321,"size":322,"collection":69,"collections":6757,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":52},223816,"mou-fu-jing-yi-ming-223816","某凫镜","唐代铜镜在造型上突破了汉式镜，创造出各种花镜，如葵花镜、菱花镜、方亚形镜等等。图案除了传统的瑞兽、鸟兽、画像、铭文等纹饰外，还增加了表现西方题材的海兽葡萄纹，表现现实生活的打马球纹等等。唐代铜镜的纹饰和总体布局，也突破了前期的程式规范。铜镜的构图虽然还是环绕式和对称式的表现手法，但是布局清新明朗，流畅华丽，自由活泼，特别是高浮雕技法，生气充沛，柔美自然。\n唐代铜镜在造型上已突破了汉式镜，如葵花镜、菱花镜、方亚形镜等。图案除传统的瑞兽、鸟兽、画像、铭文等纹外，还增加了表现西方题材的海兽葡萄纹，打马球纹等。盛唐以后，以花为主，多为吉祥图案，自由豪放，清新活泼，表现了大唐帝国蓬勃向上的精神面貌。装饰方法有浮雕、彩绘、镶嵌、鎏金等到，出现了金银平脱、螺钿镶嵌、涂釉、涂漆等新工艺。唐代铜镜的演变情况可分为三个时期。初唐，一方面继承隋代传统，多为四神镜、十二生肖镜、瑞兽镜；另一方面又受外影响，出现海兽葡萄镜。盛唐、中唐时，民族特点加强，多为花鸟镜、瑞花镜、人物故事镜、盘龙镜、对凤镜等，寓意吉祥。构图也不像传统汉式镜那样严格对称，而是采用绘画风格，但求均衡，不求对称。装饰手法也比以前增多，华丽精致，雄健豪放，是唐镜的最盛期，代表了唐镜的水平。晚唐处于衰落趋势，多为八卦镜，万字镜，有宗教意义，整个看上去，简单粗放，单调乏味。",[2586,4472,4473,7,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79f3940cd34c7651504a27ee17dfb630.jpg",[],{"id":6759,"slug":6760,"title":6761,"dynasty":77,"author":5579,"museum":1056,"description":6762,"tags":6763,"thumbUrl":6765,"material":362,"size":6766,"collection":69,"collections":6767,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":134},223039,"hong-lou-meng-164-sun-wen-223039","红楼梦164","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",[23,25,30,29,27,35,66,316,36,37,7,5582,1060,33,6318,6764],"红楼故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F723c41928dddb37a89147153dd533a62.jpg","纵43.3厘米、横76.5厘米",[],{"id":6769,"slug":6770,"title":6771,"dynasty":18,"author":311,"museum":207,"description":6772,"tags":6773,"thumbUrl":6781,"material":6782,"size":6783,"collection":651,"collections":6784,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":134},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,1047,64,65,27,122,32,334,563,33,39,37,38,40,7,1480,67,143,5438,528,726,426,227,34,2672,390,6774,6775,439,359,3061,6776,6777,6778,6779,6780],"风","雨","夜","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米",[651],{"id":6786,"slug":6787,"title":6788,"dynasty":99,"author":222,"museum":6789,"description":6790,"tags":6791,"thumbUrl":444,"material":89,"size":6792,"collection":46,"collections":6793,"showCount":6581,"zanCount":11,"manualWeight":51,"mainColor":52},219867,"song-ren-fang-chang-jiang-ji-xue-tu-yi-ming-219867","宋人仿长江积雪图","火奴鲁鲁艺术博物馆","此作为平远雪景长卷，以淡墨晕染出空濛寒雪，山峦覆雪如凝脂玉砌，留白尽显素净冷寂。江岸枯木虬曲，偶缀浅蓝霜色的苍松，于冰寒中透出些许生机；汀渚错落铺陈，江波敛息如镜，将雪色天光尽数揽入。\n\n用笔清简秀润，以留白代积雪，淡墨轻勾慢皴山体肌理，冷色调晕开冬日萧寒，铺陈开千里江天雪境，将冬日江野的空阔清寒融于尺幅，尽显静穆辽远的荒寒之美，带着雅致空灵的宋韵，把雪锁江山的清冷孤寂与天地一色的澹然意境刻画入微，观之如临朔雪江天。",[23,25,27,29,1623,31,2224,256,257,440,374,7,39,126,1355,32],"纵28.8厘米，横449.3厘米",[46],{"id":6795,"slug":6796,"title":5766,"dynasty":18,"author":6797,"museum":119,"description":6798,"tags":6799,"thumbUrl":6802,"material":89,"size":6803,"collection":91,"collections":6804,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":52},219306,"lu-yan-tu-zhou-liu-zhao-219306","刘炤","刘炤［明］字巢云，会稽（今浙江绍兴）人。善画翎毛、花卉，且喜吟咏、有自题芦雁图。巨幅精妙绝伦。《越画见闻》",[25,104,122,30,87,5096,7,6800,934,6801],"群雁","禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa920dcb117448210cb4372402005253a.jpg","291x128.2cm",[91],{"id":6806,"slug":6807,"title":6808,"dynasty":99,"author":486,"museum":119,"description":6809,"tags":6810,"thumbUrl":6811,"material":89,"size":6812,"collection":46,"collections":6813,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":134},218978,"han-xiang-shi-si-tu-ma-yuan-218978","寒香诗思图","图中是两株老梅在寒冷的山沟里的栅栏外散发出香味。寒冷的月亮照耀着远处的雪山，鸟儿们迅速回到了自己的家。这幅画上有马远的签名，他不一定是他真正的笔者，但他也是马、夏画派的学生，有自己的风格和规则。",[23,25,122,29,31,1624,33,7,440,163,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1a5aed98f76264eff7c54b963801ba.jpg","25.6x25.8",[46],{"id":6815,"slug":6816,"title":6817,"dynasty":156,"author":1933,"museum":119,"description":6818,"tags":6819,"thumbUrl":6821,"material":181,"size":6822,"collection":91,"collections":6823,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":52},218821,"chun-tang-qin-le-tu-sheng-mao-218821","春塘禽乐图","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。",[25,24,26,122,87,33,7,1033,6820,32,1627],"野鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907a0e23a9917f1bca565613adcaa56d.jpg","52x28.3cm",[91],{"id":6825,"slug":6826,"title":6827,"dynasty":77,"author":5967,"museum":101,"description":6828,"tags":6829,"thumbUrl":6830,"material":89,"size":6831,"collection":69,"collections":6832,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":134},218327,"shen-xian-gu-shi-tu-ce-9-leng-mei-218327","神仙故事图册-9","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,25,29,30,194,210,333,35,36,7,33,41,163,40,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e1457eaaddd10b6f13f3b0b2af97fe3.jpg","38x42",[],{"id":6834,"slug":6835,"title":296,"dynasty":77,"author":423,"museum":475,"description":6836,"tags":6837,"thumbUrl":6838,"material":181,"size":69,"collection":69,"collections":6839,"showCount":6581,"zanCount":51,"manualWeight":51,"mainColor":6840},216355,"hua-niao-ce-3-zhu-da-216355","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,24,25,26,122,87,7,64,32,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132cf789b8ee3ec3fcb32f156b958594.jpg",[],"FFFFFF",{"id":6842,"slug":6843,"title":6844,"dynasty":99,"author":222,"museum":119,"description":6845,"tags":6846,"thumbUrl":6848,"material":89,"size":6849,"collection":111,"collections":6850,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":52},290759,"tao-zhu-shuang-fu-tu-zhou-yi-ming-290759","桃竹双凫图轴","此作用笔兼具工致与写意之妙，古朴底色晕染出澹然春暮氛围。右侧虬曲桃枝缀满素白花苞，柔梢栖立幽禽，与劲挺青竹交错掩映，花瓣簌簌飘落，铺撒于浅草滩涂，坡石以淡墨晕皴，苍润朴拙。\n\n水面双凫姿态悠然，顾盼相随，羽毛绒羽层次细腻鲜活，粼粼水纹隐现其间。整体画面恬淡安宁，将水岸春景的幽寂野趣尽收卷中，于细微处尽显写生功力，暗合寄情林泉、观物察美的雅致意趣。",[25,87,30,29,34,528,4502,7,163,6847],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce05a7202359b07a2ba9cecc54873d7.jpg","163.3x103.1",[111],{"id":6852,"slug":6853,"title":6854,"dynasty":99,"author":222,"museum":59,"description":6855,"tags":6856,"thumbUrl":6858,"material":321,"size":322,"collection":69,"collections":6859,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":134},289937,"hong-liao-shui-qin-tu-yi-ming-289937","红蓼水禽图","此画中国美术史上的花鸟画名作，典型的宋院体画。《红蓼水禽图》构图精巧，有很高的写实水平，为我国古代扇面画的代表作。\n以前人们认为是五代名家徐崇矩所作，其所绘意境正如诗中所咏：“西风红蓼香，水禽破苍茫。小虾清滩里，涟漪泛斜阳。”",[23,25,24,489,26,87,30,29,7,6857,32],"红蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0378b85a33fe7e6d9ecc8e5d0578c912.jpg",[],{"id":6861,"slug":6862,"title":6863,"dynasty":99,"author":206,"museum":119,"description":2660,"tags":6864,"thumbUrl":6866,"material":89,"size":6867,"collection":69,"collections":6868,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":52},288457,"shi-quan-bao-xi-tu-lin-chun-288457","十全报喜图",[23,25,24,26,104,87,30,29,7,374,123,238,6865],"报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceae8d01d0cfba39399adf662cee49c.jpg","173.2x97.6",[],{"id":6870,"slug":6871,"title":6872,"dynasty":99,"author":619,"museum":59,"description":6873,"tags":6874,"thumbUrl":6878,"material":321,"size":322,"collection":69,"collections":6879,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":134},288368,"shui-mo-xie-sheng-tu-mu-xi-288368","水墨写生图","二图卷绘果蔬、花木禽鸟、鱼蟹果蔬有石榴、桃、梨、枇杷、萝卜、茄子；禽鸟有燕子、喜鹊、鹊鸽、赤麻鸭；水族有鱼、虾、蟹等全卷川水墨勾染，不施颜色，在南宋画坛极其罕见，为写意花鸟开创了新路。",[23,24,25,27,122,1729,87,6875,390,6876,7,426,6877,64],"虾","蟹","蔬果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4421a4fc00d03c3c87c5ed2ebd989b87.jpg",[],{"id":6881,"slug":6882,"title":6883,"dynasty":18,"author":2966,"museum":59,"description":6884,"tags":6885,"thumbUrl":6888,"material":69,"size":69,"collection":46,"collections":6889,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":52},239459,"qian-gu-jiu-long-shan-tu-zhou-qian-gu-239459","钱穀九龙山图轴","此作以全景式铺陈山川灵秀，主峰巍峨雄峙，层岩峻壑以细密披麻皴写就，笔致苍润松灵，尽现山石肌理的沉厚质感。近景松林蓊郁，古木虬枝俯仰生姿，掩映间梵宇茅舍错落，行旅缓行其间，为清寂山林晕染烟火意趣。\n\n远景烟波空蒙，屿渚如螺点染水天，留白铺就悠远虚灵的诗性意境。笔墨兼取元人山水的空灵雅致与北宋山水的苍浑丘壑，将林泉幽致与隐逸禅思融于一卷，既绘就九龙山的磅礴生机，又暗合文人寄情烟霞的林下襟怀，是气韵悠长的山水佳构。",[25,26,104,122,29,31,33,256,81,179,40,7,38,123,6886,6887],"林间建筑","山间小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77f7d990ba45fa42fb050c3a5d5b05.jpg",[46],{"id":6891,"slug":6892,"title":5361,"dynasty":77,"author":3021,"museum":59,"description":6893,"tags":6894,"thumbUrl":6895,"material":69,"size":69,"collection":69,"collections":6896,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":134},239052,"shan-shui-hua-niao-ce-yang-jin-239052","杨晋 ，字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[25,26,210,29,122,87,143,528,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd43799d0004778e938618486c94ebe75.jpg",[],{"id":6898,"slug":6899,"title":1007,"dynasty":18,"author":5739,"museum":59,"description":6325,"tags":6900,"thumbUrl":6901,"material":321,"size":322,"collection":69,"collections":6902,"showCount":94,"zanCount":11,"manualWeight":51,"mainColor":134},235725,"hua-niao-ce-tan-zhi-yi-235725",[1047,87,29,30,210,227,7,1033,32,301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ab96946ae2ed7db4b749f4c96637450.jpg",[],{"id":6904,"slug":6905,"title":6906,"dynasty":77,"author":6907,"museum":59,"description":6908,"tags":6909,"thumbUrl":6910,"material":321,"size":322,"collection":69,"collections":6911,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":134},234700,"hua-niao-wan-shan-zhu-cheng-234700","花鸟纨扇","朱偁","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，浙江嘉兴人。",[25,26,489,29,30,87,143,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7beb9f562f134873ff52e60f68afed1b.jpg",[],{"id":6913,"slug":6914,"title":6915,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":6916,"thumbUrl":6918,"material":321,"size":322,"collection":69,"collections":6919,"showCount":94,"zanCount":11,"manualWeight":51,"mainColor":134},226474,"ku-zhu-shi-bei-bi-yi-ming-226474","窟主室北壁",[332,333,29,35,7,40,6917],"唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d45984e666c87316ebe837b78138662.jpg",[],{"id":6921,"slug":6922,"title":6923,"dynasty":99,"author":222,"museum":59,"description":6924,"tags":6925,"thumbUrl":6926,"material":69,"size":69,"collection":69,"collections":6927,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":52},223690,"ji-ling-he-ye-tu-yi-ming-223690","鹡鸰荷叶图","《宋人画鹡鸰荷叶图》是宋代佚名创作的绢本设色画。\n里枯枝断茎，荷叶翻卷残破，一片残败的荷叶向上斜出，翻卷的叶面，满布虫蚀的痕迹，在一只鹡鸰的停驻下摇摇欲坠。\n鹡鸰双爪紧握荷茎，扭颈俯视，神情专注，为萧瑟的深秋平添了几许生气。\n鸟羽刻画细腻，先用色渲染，然后以极细之笔勾出，笔法生动秀逸。\n构图疏密有致，动静结合。\n本幅无款。\n钤鉴藏印“宋荦审定”、“嘉庆御览之宝”，又半印一方，印文模糊不辨。\n裱边题签：“宋人画梅竹双鹊”。\n绿竹丛中逶迤伸出白梅两枝，清丽冷艳。\n两只鸲鹆栖于枝头，翘首顾盼。\n鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。\n梅花用白粉和淡黄色勾填，层次丰富。\n竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。\n清《石渠宝笈》著录。",[23,24,25,26,30,29,87,7,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb89fa76fc24385671298b4fe2b9f1ef.jpg",[],{"id":6929,"slug":6930,"title":6931,"dynasty":99,"author":222,"museum":207,"description":6932,"tags":6933,"thumbUrl":6936,"material":4273,"size":6937,"collection":91,"collections":6938,"showCount":94,"zanCount":11,"manualWeight":51,"mainColor":52},223447,"han-ting-luo-yan-tu-zhou-yi-ming-223447","寒汀落雁图轴","图为寒冬枯树滩、野鸭、黑乌鸦、野雁。 老树枯干，几只黑乌鸦没能栖息； 野鸭在浅滩上成群结队，踱步，或觅食； 接吻雁扇动着翅膀飞了起来，以“一”字形飞向天涯。 这幅画以水墨构想了一个冰冷、寂静、空旷的场景。",[23,25,104,122,29,440,6934,6935,1756,1149,33,2818,7],"鸿雁","浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b41179185b48a7ca59003ff3966b6b.jpg","125.9＊92.6cm",[91,131],{"id":6940,"slug":6941,"title":6942,"dynasty":99,"author":884,"museum":119,"description":6943,"tags":6944,"thumbUrl":6945,"material":89,"size":6946,"collection":69,"collections":6947,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":52},221673,"a-ge-tu-zhou-zhao-bo-ju-221673","阿阁图轴","这幅画佛盤膝坐毡上说法，下方海神身披弓剑跪地合掌参拜。前置海神奉献的聚宝盆。几上瓶中有烟，将说法内容显现于后，作云中的宫阙。但因绢色陈旧，不容易看清楚。全幅人物勾画圆劲，著色明净沉静，神采不减于新画。",[23,25,24,28,194,29,30,36,33,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a4900b271346803958202ba89e9f1.jpg","73.3x55.6",[],{"id":6949,"slug":6950,"title":6951,"dynasty":1464,"author":1465,"museum":4279,"description":6952,"tags":6953,"thumbUrl":6955,"material":69,"size":69,"collection":69,"collections":6956,"showCount":94,"zanCount":11,"manualWeight":51,"mainColor":134},220534,"ye-qu-xu-bei-hong-220534","野趣","浓墨挥写古柳老干，苍劲朴拙尽显岁月沉凝，细枝柔条以淡墨轻曳，疏密间漾开清寂野趣。两只喜鹊俊挺灵动，兼工带写勾勒翎羽，黑白分明，于枯寂枝桠间栖息顾盼，鲜活之气跃然纸上。右下角赭色杂草与附生的青绿藤蔓相映，为萧索冬景晕染几分暖意生机。\n\n画作融写意的苍浑与工笔的精细于一体，将郊野冬日的清寂与生命的灵动相融，萧索底色晕染盎然生趣，寥寥笔墨勾勒出疏淡雅致的野间意韵。",[25,122,29,67,7,87,1033,6954,1266],"柳条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab67d6ee5f9c13333af53cc3a7868c6c.jpg",[],{"id":6958,"slug":6959,"title":6960,"dynasty":18,"author":222,"museum":253,"description":6961,"tags":6962,"thumbUrl":6963,"material":89,"size":6964,"collection":91,"collections":6965,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":52},218984,"ku-zhi-han-que-tu-yi-ming-218984","枯枝寒雀图","这幅画描绘了一只长尾小鸟站在一根枯枝上，羽毛蓬松，脖子略显萎缩，眼神略显呆滞，迎着寒风，周围是光秃秃的树枝和散落的树叶，一副荒凉的场景。",[25,26,87,1753,7,30,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30e7b258206ffc7c6e1012de8dece2a.jpg","17.8x22.4cm",[91],{"id":6967,"slug":6968,"title":6969,"dynasty":18,"author":222,"museum":253,"description":6970,"tags":6971,"thumbUrl":6973,"material":89,"size":6974,"collection":91,"collections":6975,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":52},218983,"shuang-feng-tu-yi-ming-218983","双凤图","双凤立于苍石之上，一昂首扬尾，羽色斑斓；一低首理翎，姿态娴静。笔触细腻处，翎羽纹理毕现，古朴色泽中透着温润；写意间，墨竹疏斜，花草点缀，衬出清幽之境。山石的厚重与凤鸟的灵秀相映，满含祥瑞之气，尽显古典花鸟的雅致韵致与自然生机。笔墨工写相济，将凤鸟的灵动与环境的静谧完美融合，传递出传统艺术中对生命与祥瑞的美好期许。",[23,25,26,30,29,87,6972,528,1915,83,7],"凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281d3ed1187e1095135d352c1b21d46.jpg","155.3x103.2cm",[91],{"id":6977,"slug":6978,"title":6979,"dynasty":156,"author":2805,"museum":119,"description":6980,"tags":6981,"thumbUrl":6982,"material":89,"size":69,"collection":46,"collections":6983,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":134},218781,"tao-sheng-song-yun-tu-qian-xuan-218781","涛声松韵图","松枝盘曲如篆，墨色苍润间见清劲；流泉漱石，涛声似可闻于纸上。山石以细劲线条勾廓，皴染相济显丘壑层次；松针挺劲如钉，笔笔含力，透出苍然生机。浅赭设色温润，衬得山林幽寂。天际孤鸟轻掠，为静景添丝灵动，更衬天地空阔。整幅画不重繁复布景，却以简淡之笔营造“天人合一”的清旷意境，藏着文人对自然的深情与尘外之境的向往。笔墨间漾着宋元之际文人的散淡襟怀，不追形似而重神韵，观之如置身林泉，心随松涛泉响，渐入澄明之境。",[23,25,489,29,31,33,374,38,7,123,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f58b1ae6d25b570dc4eefb629ed142.jpg",[46],{"id":6985,"slug":6986,"title":6987,"dynasty":77,"author":222,"museum":475,"description":6988,"tags":6989,"thumbUrl":6990,"material":1321,"size":6991,"collection":46,"collections":6992,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":52},217868,"wan-ya-gui-chao-tu-yi-ming-217868","万鸦归巢图","万鸦归巢图被认为是一件杰出的艺术品，它的画面表现力极强，能够很好地展现出乌鸦的自然姿态和生动的情感。画中的乌鸦们振翅高飞，翅膀展开，看起来十分活泼，而背景中的巢穴更是精致入微，画家用极为细腻的笔法勾勒出了巢穴的细节，使得画面更加逼真。\n\n此外，画家还运用了鲜艳的颜色，使得整幅画面更加生动。画中的乌鸦们以黑色为主色调，但是画家运用了不同的色彩，让乌鸦看起来更加丰富。而背景中的巢穴则用了深蓝色来表现，与乌鸦的黑色形成鲜明的对比。\n\n总的来说，万鸦归巢图是一幅充满生机和艺术气息的画作，画家通过精湛的绘画技巧和运用色彩的巧妙，将乌鸦的自然姿态和生动的情感展现得淋漓尽致。",[25,29,104,30,7,67,123,38,1753,33,87,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1b19db856e2814e964798fc097cea7.jpg","156.7x67.3cm",[46],{"id":6994,"slug":6995,"title":6996,"dynasty":77,"author":423,"museum":475,"description":6997,"tags":6998,"thumbUrl":6999,"material":625,"size":69,"collection":69,"collections":7000,"showCount":94,"zanCount":51,"manualWeight":51,"mainColor":134},214430,"shan-shui-tu-ce-1-zhu-da-214430","山水图册-1","清代画家朱耷的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了朱耷对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n朱耷是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，朱耷的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了朱耷对自然的热爱和对传统文化的尊重。",[23,25,26,210,122,31,33,41,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0403d9e777b773eaf5209313cbf74a82.jpg",[],{"id":7002,"slug":7003,"title":7004,"dynasty":99,"author":222,"museum":119,"description":7005,"tags":7006,"thumbUrl":7007,"material":89,"size":7008,"collection":111,"collections":7009,"showCount":7010,"zanCount":51,"manualWeight":51,"mainColor":52},290760,"yu-fu-tu-zhou-yi-ming-290760","渔父图轴","开阔无涯的江面，烟雾弥漫，寒气逼人。芦苇环绕汀渚，野雁几只点缀其间，另则凌空与游于江上者相呼应，为冷寂的江面凭添生意。",[24,25,104,122,29,33,35,7,38,934,515],"https:\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所创作的一幅画，现藏于 。\n此图为马麟所作，以清丽的笔法，绘出冰天雪地之中，山竹覆雪，两只寒禽躲在山石之下的杏枝上过夜的景象。\n以淡墨渲染全景，烘托出雪意，双钩写竹，用笔劲力。\n整幅画面萧瑟冷峭，意境幽远。\n这幅画卷描绘暮冬之际，岩壁下白雪覆盖著荆棘与翠竹，一对黄尾鸲相依避寒。\n通幅色泽沈厚，笔墨苍润稳健，为其粗笔风格的作品，和院藏其〈芳春雨霁〉册的画风极为相近；另一幅〈 〉册虽属细笔，然其中梅干的细枝则和本幅上荆棘细枝的笔法相类。\n此作在笔墨之外，画家还充分地掌握住一份寒冷中详和宁静的气氛，再配上诗句，更表现出了诗文因画而生，画因诗文而意足的旨趣。\n画幅右侧绘斜倾岩石，石旁有荆棘、老竹、积雪，山鸟瑟缩，栖于棘枝之上。\n左上方空白处有宁宗题“疏枝潜缀纷，并翅不禁寒”十个字。\n图中岩石直壁斜倾而上，在石这边数枝折枝棘枝，向左下方凌空伸张扩展，其中有一二枝权又折起指向左上方，与在悬崖的那边塌腰老竹低垂的枯枝交错。\n棘、竹枝上的积雪可见；还有那纷披的翠竹叶在岩石上负雪摇曳，在棘枝上残留着几处红叶。\n就在这岩石后背风的棘枝上，栖息着山鸟两只，一只是白羽，另一只是黑白两色，它们披着厚厚松软的冬装。\n白者缩颈回首，两爪紧抓枝上，长尾下垂，依偎在另一只身旁，黑白分明的这一只，抬首守之。\n两只山鸟安祥地相向，紧紧靠在一起，毫无飞欲之意。\n因为灰暗的暮色雪景笼罩着，造成了阴冷、萧疏、幽邃的气氛。\n所以飞鸟只有并翅不禁寒，才能渡过寒夜。\n只有盼到天明日出时，驱去寒意后，才会使寒禽离枝飞去。\n马麟这幅《暮雪寒禽图》的构意及内容，很像李迪的《雪树寒禽图》。\n但从图中直观马麟的《暮雪寒禽图》要比李迪之画苍劲洒脱。\n枯瘦的棘枝，用笔坚硬，画法苍劲有力；负雪的竹子，有的是冬篁的秃权枝，有的是重笔墨色直接画成的竹叶，也具有苍老浑厚的感觉。\n图中的这些景物，由于在暮雪中出现，所以作者没有显示它们本身固有的不同颜色，而将他们用灰暗的色调统一，即使有几处残留的红枫作点缀，也是具有同样的格调，呈暗红色。\n所以，此图在用色上成功地表现出雪天傍晚时分特有的自然景观。\n马麟（生卒年不详），南宋画家。\n原籍河中（治今山西永济西南），南渡后三代居钱塘。\n世荣孙，远子。\n父为光宗、宁宗两朝画院待诏，独步一时。\n麟传家学，工人物、山水、花鸟。\n宁宗嘉泰年间授画院祗候，颇得赵扩、恭圣杨后及杨妹子称赏，每于父子画上题句。\n或以“麟不逮父，而远爱之，多以己画得意者题作马麟”。\n但麟的笔法圆劲，比其父秀润。\n传世作品有《层叠冰绡图》，上有杨后题诗。",[24,25,26,30,29,122,87,1480,67,1036,7,163,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":7081,"slug":7082,"title":7083,"dynasty":156,"author":1712,"museum":59,"description":7084,"tags":7085,"thumbUrl":7086,"material":69,"size":69,"collection":69,"collections":7087,"showCount":7010,"zanCount":51,"manualWeight":51,"mainColor":134},228248,"jiang-cun-yu-le-tu-zhao-meng-fu-228248","江村渔乐图","《元·赵孟頫法书选:行书杜甫秋兴诗四首》是历代法书真迹萃编系列之一。\n元代对书法的重视不亚于前代，书法得到一定的发展。\n探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。\n久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。\n在应用价值上来说，算得是最伟大的。\n故能自后汉相传至今，历久而弥新。\n《元·赵孟頫法书选——行书杜甫秋兴诗四首》为其中代表作。\n《元·赵孟頫法书选:行书杜甫秋兴诗四首》由黄山书社出版。\n赵孟頫（1254-122年），元代书画家、文学家。\n字子昂，号松雪道人、水精宫道人，中年曾作孟俯。\n湖州（今属浙江）人杨维，宋宗室。\n宋亡，归里闸居。\n元世祖忽必烈搜访“遣逸”，经程巨夫荐举，始任兵部郎中，仁宗爱育黎拔力八连朝（111-12年），官至翰林学士承旨，封魏圃公，谨文敏。\n精通音乐，善鉴定古器物，于书法绘画成就尤高。\n山水取法董源、李成，人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法昼石，以书法用笔写竹。\n力主变革南宋院体格调，自谓“作画卖有古意，若无古意，虽工无益”，遥追迫五代、北宋法度，论者谓：“有唐人之致去其鳞，有北宋人之雄去其犷。\n”开创了元代新画凰。\n能诗文，风格和婉。\n兼工篆刻，以“圆朱文”著称。\n传世书迹较多，传世画作有《鹊华秋色图》、《红衣罗汉图》、《幼舆丘壑图》、《秋郊饮马图》、《江村渔乐图》等。\n着有《松雪斋文集》十卷（附外集一卷）。",[23,25,26,489,122,29,33,515,38,39,41,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96766e1c56502a11ade3361e84a7bffe.jpg",[],{"id":7089,"slug":7090,"title":7091,"dynasty":99,"author":222,"museum":119,"description":7092,"tags":7093,"thumbUrl":7094,"material":392,"size":7095,"collection":46,"collections":7096,"showCount":7010,"zanCount":51,"manualWeight":51,"mainColor":52},223446,"han-lin-lou-guan-yi-ming-223446","寒林楼观","表现冬日雪后树木萧瑟的景致，整幅作品设色淡雅，意境深幽，颇传宋人神韵。",[23,25,194,29,30,33,36,67,1480,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce11376d9ed52e44ecd59d7ed80b572b.jpg","纵145cm，横88cm",[46,131],{"id":7098,"slug":7099,"title":7100,"dynasty":18,"author":3913,"museum":3684,"description":7101,"tags":7102,"thumbUrl":7104,"material":7105,"size":7106,"collection":69,"collections":7107,"showCount":7010,"zanCount":51,"manualWeight":51,"mainColor":69},220736,"yan-jiang-die-zhang-tu-hua-xin-you-wen-bo-ren-220736","烟江叠嶂图画心右","此作用笔清隽秀雅，以平远之境铺展烟江盛景。左侧峰峦层叠，苍木氤氲在烟岚之中，山石皴擦简淡却见苍劲；右侧江岸怪石嶙峋，棕榈摇曳生姿，野意盎然。\n\n浩渺江面之上，帆影错落穿梭，岛屿隐现于烟波之间，云雾晕染柔化了山水边界，虚实相生间尽显江南烟水的朦胧柔婉。笔墨晕染柔和清润，将水雾空濛的氛围感尽数铺陈，把观者带入静穆又灵动的烟水天地，尽显吴门画派的写意风神，藏着文人画清雅淡远的诗意。",[23,25,26,27,122,33,31,2683,2985,7103,39,7,41,123,1561],"烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775d4d497ec1f44b4dd939d7664eb627.jpg","设色,纸本","25.6 × 360.8厘米",[],{"id":7109,"slug":7110,"title":7111,"dynasty":1464,"author":5926,"museum":4279,"description":5928,"tags":7112,"thumbUrl":7113,"material":69,"size":69,"collection":69,"collections":7114,"showCount":7010,"zanCount":51,"manualWeight":51,"mainColor":134},220482,"song-tao-lin-feng-mian-220482","松涛",[25,29,122,1479,33,374,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ecbc10766dc69df7ee10b85fc7ffb66.jpg",[],{"id":7116,"slug":7117,"title":7118,"dynasty":99,"author":222,"museum":475,"description":7119,"tags":7120,"thumbUrl":7122,"material":89,"size":7123,"collection":91,"collections":7124,"showCount":7010,"zanCount":51,"manualWeight":51,"mainColor":134},218969,"ying-sun-lie-hu-tu-yi-ming-218969","鹰隼猎狐图","振翅俯冲的猛禽携风而下，惊惶奔窜的狐兽攒足欲逃，劲挺的枯枝斜出岩隙，丛丛劲草在荒坡间摇曳。笔墨于精微处见真章：禽鸟羽翮层次分明，狐兽肌理细腻传神，岩石皴擦苍劲老辣。荒野的萧瑟与捕猎的焦灼交织，一瞬张力被定格成永恒。宋人笔下的野趣，在动静相衔间流淌，于形神兼备中尽显自然生息的生动与凛冽，每一处线条都藏着对生命状态的精准捕捉，每片墨色都晕染出荒野间的原始张力。",[23,24,25,26,489,29,30,635,7,163,7121],"枯草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3bc526ab9976cefd9af3dab0639ec3.jpg","24x25cm",[91],{"id":7126,"slug":7127,"title":511,"dynasty":77,"author":6314,"museum":101,"description":7128,"tags":7129,"thumbUrl":7130,"material":181,"size":7131,"collection":46,"collections":7132,"showCount":7010,"zanCount":11,"manualWeight":51,"mainColor":134},217886,"shan-shui-tu-dong-bang-da-217886","董邦达是中国清朝时期著名的画家，他以其精湛的山水画而闻名。他的山水画通常被认为是清朝山水画史上的里程碑式的作品。\n\n董邦达的山水画风格独特，他追求自然的写实，同时又注重画面的艺术性。他的山水画中通常会出现大量的细节，比如山的形态、树的形态、云的形态等。他善于运用技法，比如水墨描边、油墨浓淡等，使得他的山水画看起来栩栩如生。\n\n董邦达的山水画中通常会出现许多动物和人物，他善于捕捉动物和人物的形态和神态。他的山水画中常常会出现小溪流动、水鸟飞翔、山鹿奔跑等场景。\n\n董邦达的山水画对后来的中国山水画产生了很大的影响，他的作品被认为是中国山水画史上的经典之作。",[23,25,122,31,104,33,37,38,40,7,163,41,1990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d68ad231b9d749214643923db64fec.jpg","70.8x36cm",[46],{"id":7134,"slug":7135,"title":7136,"dynasty":77,"author":2702,"museum":475,"description":7137,"tags":7138,"thumbUrl":7140,"material":303,"size":69,"collection":69,"collections":7141,"showCount":7010,"zanCount":51,"manualWeight":51,"mainColor":134},214596,"fang-gu-shan-shui-ce-8-wang-hui-214596","仿古山水册-8","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[25,26,210,29,33,41,934,748,7,7139],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcc549ed03786bc248594ee37ecbe4da.jpg",[],{"id":7143,"slug":7144,"title":7145,"dynasty":156,"author":7146,"museum":119,"description":7147,"tags":7148,"thumbUrl":7149,"material":181,"size":7150,"collection":69,"collections":7151,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":134},290954,"zhen-song-bai-xue-xuan-tu-cao-zhi-bai-290954","贞松白雪轩图","曹知白","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[24,25,26,104,122,33,374,440,517,37,38,123,7,64,32,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9328cd8f464761861cb541b87a36e.jpg","125.9x49.7",[],{"id":7153,"slug":7154,"title":7155,"dynasty":99,"author":632,"museum":119,"description":7156,"tags":7157,"thumbUrl":7158,"material":89,"size":5167,"collection":69,"collections":7159,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":52},290331,"qiu-pu-rong-bin-zhou-cui-bai-290331","秋浦蓉宾轴","此图绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鹡鸰腾跃，翡翠踞，两鸿雁振翅凌空，意在千里。无画家款印。",[25,24,87,104,30,29,7,957,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59dfd4ed59160522d19f139d1cff84c2.jpg",[],{"id":7161,"slug":7162,"title":671,"dynasty":139,"author":672,"museum":59,"description":7163,"tags":7164,"thumbUrl":7165,"material":321,"size":322,"collection":69,"collections":7166,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":52},289962,"zhu-shi-jin-jiu-tu-huang-ju-cai-289962","《竹石锦鸠图》里虽有黄居采善画之怪石，但由于又有墨色浓淡对比强烈等南宋用笔特色，应是后人假托黄居采之名的作品。全画描写生动细致，是一件宋代花鸟画佳作。",[25,24,87,30,7,528,163,67,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c080b67f0446de1ed999dd47a308c5.jpg",[],{"id":7168,"slug":7169,"title":7170,"dynasty":99,"author":486,"museum":59,"description":7171,"tags":7172,"thumbUrl":7173,"material":321,"size":322,"collection":69,"collections":7174,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":52},289126,"shan-lou-lai-feng-tu-ma-yuan-289126","山楼来凤图","是融山水与人物画于一体的佳作。画面上崖壁虬松，溪桥殿宇，文人相偕而行，一旁稚童抱琴侍立。在笔墨运用上，山石多用长斧劈皴，画松瘦硬屈曲、用墨凝重、用笔刚健、笔锋显露，为典型的马远一派画风。",[25,24,104,122,33,194,35,36,37,7,67,123,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55bee4cd37aee0d3324f6d1431a67af2.jpg",[],{"id":7176,"slug":7177,"title":7178,"dynasty":99,"author":190,"museum":59,"description":7179,"tags":7180,"thumbUrl":7181,"material":321,"size":322,"collection":69,"collections":7182,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":52},288547,"la-mei-shan-qin-tu-zhao-ji-288547","腊梅山禽图","《腊梅山禽图》其绘有一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁，一只鸟扭首顾望枝上的梅花，另一只缩颈微昂首前望，俱皆生动传神。\n画家笔墨细致。兰草、梅树、花朵的轮廓，都用工细线条勾勒，枝干的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。",[25,87,30,143,2672,7,64,195,32,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968f64653325930c3b4a31126621e82a.jpg",[],{"id":7184,"slug":7185,"title":7186,"dynasty":99,"author":3715,"museum":59,"description":7187,"tags":7188,"thumbUrl":7189,"material":321,"size":322,"collection":69,"collections":7190,"showCount":113,"zanCount":11,"manualWeight":51,"mainColor":134},288277,"xiao-xiang-wo-you-tu-li-gong-lin-288277","潇湘卧游图","《潇湘卧游图》该画中主要描绘了当时的潇湘奇景。作者以轻灵、淡雅的水墨风格在纸上作画，使用了将画面大片留白的画法。",[23,24,25,27,26,122,33,5595,7,124,65,1123,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd68985dcb3dc40da32929dd1bf1f4.jpg",[],{"id":7192,"slug":7193,"title":7194,"dynasty":18,"author":222,"museum":59,"description":7195,"tags":7196,"thumbUrl":7198,"material":321,"size":322,"collection":69,"collections":7199,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":52},287796,"ma-que-guo-zhi-tu-ye-yi-ming-287796","麻雀果枝图页","枯褐绢底晕染出沉古底色，遒劲枝桠舒展穿插，叶片勾勒精细，脉纹宛然，叶缘带着柔润光泽，攒簇的小果莹润饱满，似携着轻浅甜香。\n\n栖枝的雀鸟是画面眼目，羽毛晕染层次入微，胸腹绒羽蓬松软和，墨色羽翼棱线分明。它侧首凝神，憨稚灵动的神态跃然绢上。\n\n全幅构图疏朗空灵，设色清隽古雅，笔致精细却不失生趣，将隅角小景绘就成静谧雅致的幽趣，尽显写生入微的功力，把禽鸟草木的鲜活生机定格在绢素之上，恬淡动人。",[23,25,30,87,7,7197,2061,5596],"果枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30152d34cf2da1df2d8552303659871.jpg",[],{"id":7201,"slug":7202,"title":1804,"dynasty":156,"author":1573,"museum":207,"description":7203,"tags":7204,"thumbUrl":7205,"material":362,"size":7206,"collection":69,"collections":7207,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":52},233823,"hua-zhu-jin-ji-tu-zhou-wang-yuan-233823","王渊（生卒年不详），字若水，号澹轩，浙江杭州人。他一生不仕，专擅墨笔花鸟、竹石。画意蕴藉清润、幽静深秀。",[24,25,104,30,29,87,528,145,3784,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd36673eec219f9e862caec47a108a50c.jpg","纵175.7cm; 横110.1cm",[],{"id":7209,"slug":7210,"title":7211,"dynasty":18,"author":222,"museum":59,"description":7212,"tags":7213,"thumbUrl":7215,"material":69,"size":7216,"collection":69,"collections":7217,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":52},232908,"fang-hui-zong-cha-hua-ge-niao-tu-yi-ming-232908","仿徽宗茶花鸽鸟图","中国茶花画历千年而不衰，名家辈出，流派风格纷纭，成为中华民族传统艺术瑰宝之一，屹立于世界美术之林。古往今来的画家以茶花为题作画，表现它的千姿百态，笔情墨韵。众多茶花画向我们展示了风云迭起的美的历程，给人以酣畅淋漓的美的享受和奋发向上的民族精神的感召。\n唐代茶花画的形成和发展具有深刻的社会历史背景。\n其一，从茶花栽培史看，三国时代至隋代，茶花已经从野生状态发展到人工栽培，成为观赏花卉；及至唐代，中国主要茶花产区的人工栽培已经普及，并出现了茶花品种的名称和重瓣茶花。这些茶花的物质财富必然要反映到文学艺术中来。\n其二，从社会文化看，唐代是中国长期封建社会的辉煌时代，经济繁荣，物力殷阜，宫苑私园遍于各地。茶花被视作最珍贵的花木，它与牡丹花一样，成为宫廷显贵的荣耀。在寺院里，这种具有深刻宗教色彩的曼陀罗花，受到成千上万信徒的顶礼膜拜。茶花成为盛唐文化的一个亮点。\n其三，从中国花鸟画的生存衍化来看，花鸟画历经南北朝的萌芽状态，到唐代逐渐发展成为一门独立的画科，出现一批专门的花鸟画家，其技艺亦达到精湛的水平。在这三大因素的作用和催化下，茶花题材的绘画作品应运而生。特别值得提出的是唐南诏名画《南诏画传》。在这幅唐光化二年（公元899年）由南诏画师绘就的画卷里，有两株高大的植于南诏奇王庭院圆形花坛中的山茶，画面生动精美，系典型的唐人笔法，为中国古代绘画珍品（该画卷原藏北京故宫，现在日本）。《南诏画传》中这两株高过屋檐开着大朵红色鲜花的古茶花树，是中国绘画中最早出现的山茶形象。\n此外，在唐代的花鸟画家中，晚唐的滕昌是一位具有代表性的画家。滕昌擅作花鸟草虫、蔬果，亦工书法，号称“滕书”。滕昌在居室旁栽植竹石花木，以供写生。《宣和画谱》记有滕昌茶花作品《山茶家鹩图》一幅。可以想见，画家在居室旁栽植的花木中，定然有茶花。《山茶家鹩图》当为写生之作。此传世作品后被宋徽宗藏于宫廷。滕昌的画，“笔迹轻利，傅彩鲜泽，宛有生意”。他的《山茶家鹩图》当为早期花鸟画中的茶花画代表作品。\n五代茶花画在唐人基础上迅速发展并走向成熟，至两宋，茶花画达到了兴盛时期。其主要标志有三：\n一是画院的成立和发展。这是茶花画兴盛的物质基础之一。五代西蜀、南唐正式成立画院，称“翰林图画院”，一时名画家皆归附，绘事盛极一时。至两宋，画院繁荣，尤其是在宋徽宗的倡导下，扩充画院、兴画学，画院及绘画得到空前的发展。\n二是宋代造园植树之风大盛，茶花的引种栽培发展到一个鼎盛时期。其茶花新品种之多，园艺技术水平之高，盆栽与插花艺术拓展之快，都是前所未有的。这是宋代茶花画兴盛的物质条件。\n三是茶花画领域出现以黄筌为代表的在绘画史上具有重要地位和成就的画家。五代和宋前期的花鸟画家，首推黄筌。黄筌（约903～965年）为五代西蜀画家，是五代院体画家主要代表人物。曾入西蜀画院为翰林待诏。黄筌承前启后，创黄筌画派。黄筌的“富丽画风”，适合统治者和宫庭的需要及审美趣味。所谓“黄氏富贵”，即以严谨的用笔，惟妙惟肖的形象刻画，富丽堂皇的色彩为基本特点。黄筌的茶花作品有四幅。《宣和画谱》记有三幅：《山茶鹑雀图》一幅和《山茶雪雀图》二幅，均无画迹可考。只有近代画家于非闇临黄筌《彩鸠山茶图》一幅尚存。摹本上有临宋徽宗题款：“彩鸠山茶，黄筌妙笔。”\n两宋时期的茶花画家，院体画家（即宫廷画家）主要有北宋画家崔悫、吴元瑜，南宋画家林椿、李嵩（1166～1243年）、苏汉臣、董祥（1068～？）等，其身份均为画院待诏。林椿工画花鸟翎，重布局经营，是一位卓有成就的花鸟画家，代表作有《山茶霁雪图》和《茶花鸽子图》。崔悫有《山茶图》。吴元瑜有《山茶鹩子图》。李嵩茶花代表作为《花篮图》（藏台北故宫博物院）。苏汉臣为人物画家，作品《冬日婴戏图》（现藏台北故宫博物院）是一幅以山茶为背景的人物画作。董祥茶花作品有《岁朝图》（现藏台北故宫博物院）。\n院外画家（非宫廷画家）主要有北宋画家赵昌（？～1016年）、易元吉、丘庆余等。赵昌的茶花作品有折枝茶花、二色茶花，其画作“不特取其形似，直与花传神者也”，称“写生赵昌”，名重一时。《宣和画谱》录有其茶花作品《山茶图》、《山茶竹兔图》等十幅之多，另有《四季花卉卷· 山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[23,25,24,26,27,30,29,62,87,7214,4615,7,165,123,83],"茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 206.5厘米",[],{"id":7219,"slug":7220,"title":7221,"dynasty":18,"author":7222,"museum":59,"description":7223,"tags":7224,"thumbUrl":7225,"material":69,"size":69,"collection":69,"collections":7226,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":134},228342,"qian-yan-tu-wang-shou-qian-228342","千雁图","王守谦","整卷群雁聚散自如，或振翅翱翔、或敛羽栖汀，姿态各不相同，灵动尽显。以淡墨晕染汀渚苇丛，留白铺就水天色空濛之境，虚实相生间，将秋日寒渚的清旷萧瑟铺展开来。\n\n水墨写意笔触简练苍润，大雁造型简括神完，芦苇繁花轻描淡写，野逸之趣扑面而来。画面两侧行书题跋与画作相得益彰，书画合璧，尽显明代文人画的雅致意趣，将江渚雁群的自然野态描摹得淋漓尽致，是写意花鸟中的精妙之作。",[23,25,26,27,122,29,30,7,934,1288,529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5f90b188d80a1c0e4720b5f1db3863.jpg",[],{"id":7228,"slug":7229,"title":7230,"dynasty":99,"author":7231,"museum":59,"description":7232,"tags":7233,"thumbUrl":7234,"material":69,"size":69,"collection":69,"collections":7235,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":52},227436,"han-lin-ju-qin-tu-gao-dao-227436","寒林聚禽图","高焘","美国克利夫兰艺术博物馆藏《寒林聚禽图轴》，因存名款而传为南宋画家高焘传世仅见的一幅绢本设色花鸟画轴。高居翰认为高焘有可能出仕金源，因此该画现被归为金代绘画作品。而笔者主张的观点是：从无史料证实高焘曾叛降金源，且高焘该画本事，更可能蕴涵有抗金时代征候并具有一定积极政治倾向。",[23,24,25,104,29,87,33,1756,440,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6da4737cf94d671b6dcd49e048fb69f.jpg",[],{"id":7237,"slug":7238,"title":6915,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":7239,"thumbUrl":7240,"material":321,"size":322,"collection":69,"collections":7241,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":52},226412,"ku-zhu-shi-bei-bi-yi-ming-226412",[332,333,194,29,35,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c19e20461b8d0693ecd8d89e928a2c9.jpg",[],{"id":7243,"slug":7244,"title":3905,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":7245,"thumbUrl":7248,"material":321,"size":322,"collection":69,"collections":7249,"showCount":113,"zanCount":11,"manualWeight":51,"mainColor":52},226353,"ku-zhu-shi-xi-pi-yi-ming-226353",[332,2583,333,7246,2587,7,29,7247,608],"佛教","佛窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74fdc04ae9c985745ef7c6c10c466e7.jpg",[],{"id":7251,"slug":7252,"title":4754,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":7253,"thumbUrl":7254,"material":321,"size":322,"collection":69,"collections":7255,"showCount":113,"zanCount":11,"manualWeight":51,"mainColor":52},226315,"ku-zhu-shi-bei-pi-yi-ming-226315",[332,29,333,33,35,7,635,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e7a45ac598bde267688c63fca13f886.jpg",[],{"id":7257,"slug":7258,"title":7259,"dynasty":77,"author":2408,"museum":59,"description":7260,"tags":7261,"thumbUrl":7262,"material":69,"size":69,"collection":69,"collections":7263,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":134},224506,"shan-shui-ce-kai-shi-yi-shi-tao-224506","山水冊开(十一)","淡墨晕染江天，烟霭轻笼远山，将春日春江晕染得愈发空濛柔婉。岸侧垂柳疏条袅袅，几只禽鸟栖止枝头，清寂中又添几分灵动生机。江心孤帆半展，随波缓行，似载着晚春归人，悠悠划入淡远烟波之中。\n整幅画作笔墨简淡空灵，不着浓艳色彩，以写意之笔勾勒出江乡暮春的闲散幽寂。题诗与画境浑然相融，把春昼悠长的慵懒恬然藏在浅淡笔墨间，寥寥数笔便将悠远空寂的江天胜境铺展开来，尽显雅致文心。",[23,25,26,210,122,31,33,39,38,7,1480,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a05b280c06a6313490c10405c040edb.jpg",[],{"id":7265,"slug":7266,"title":7267,"dynasty":77,"author":2408,"museum":59,"description":7268,"tags":7269,"thumbUrl":7270,"material":69,"size":69,"collection":69,"collections":7271,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":134},224498,"shan-shui-ce-kai-qi-shi-tao-224498","山水冊开(七)","此作用淡青晕染远山，朦胧如含烟笼雾，留白湖面恰似空濛烟波，汀渚苇草轻曳，将江渚清寂铺陈开来。近坡以浓墨点苔，苍润朴拙，村居隐于繁荫之下，檐下仿佛有幽人对坐，暗合题诗里的江村闲意。\n行书题跋错落排布，与水墨山水相融相生，笔墨随性却章法自洽。将江南野居的清寂诗意晕染纸上，淡而不薄，简而不空，把文人幽居寄情山水的意趣藏在每一处皴擦点染里，观之如临无人烟渚，坐忘林泉，尽得山野闲逸之味。",[23,25,122,210,31,29,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61e210656cf02ca4c403e9a8efe90f9.jpg",[],{"id":7273,"slug":7274,"title":7275,"dynasty":99,"author":222,"museum":191,"description":7276,"tags":7277,"thumbUrl":7278,"material":362,"size":7279,"collection":91,"collections":7280,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":52},223449,"han-ya-tu-juan-yi-ming-223449","寒鸦图卷","此图淡彩画雪霁严林、群鸭、寒塘衰草。",[23,25,26,27,122,29,30,31,64,32,440,67,7,442,38,1563,4130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ba2c5fb104dfc8ae7bd32e5b801ac1.jpg","27.1×113.2cm",[91,48],{"id":7282,"slug":7283,"title":7284,"dynasty":77,"author":7285,"museum":475,"description":7286,"tags":7287,"thumbUrl":7288,"material":122,"size":7289,"collection":46,"collections":7290,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":134},223250,"ku-mu-han-ya-pu-hua-223250","枯木寒鸦","蒲华","款识：枯木寒鸦。曾见李莹邱有此本，偶一效之，大略如是，作英蒲华。",[23,25,122,1479,31,106,7,33,163,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac8fd8af8dbebd94497968fae5fd6bb.jpg","33×127cm",[46,131],{"id":7292,"slug":7293,"title":7294,"dynasty":18,"author":3995,"museum":158,"description":7295,"tags":7296,"thumbUrl":7297,"material":69,"size":69,"collection":69,"collections":7298,"showCount":113,"zanCount":430,"manualWeight":51,"mainColor":134},222513,"shen-xian-tu-ce-2-zhang-lu-222513","神仙图册2","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,25,26,210,122,29,35,7,2756,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6025a28885115b652deb28c15e6d8196.jpg",[],{"id":7300,"slug":7301,"title":7302,"dynasty":18,"author":2775,"museum":1597,"description":7303,"tags":7304,"thumbUrl":7305,"material":210,"size":69,"collection":69,"collections":7306,"showCount":113,"zanCount":11,"manualWeight":51,"mainColor":134},221911,"hua-niao-jing-pin-ce-8-chen-hong-shou-221911","花鸟精品册8","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[25,26,210,29,30,87,67,7,163,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f428190af9d8e38adbc8575cb53afae.jpg",[],{"id":7308,"slug":7309,"title":7310,"dynasty":156,"author":7311,"museum":207,"description":7312,"tags":7313,"thumbUrl":7314,"material":7315,"size":7316,"collection":69,"collections":7317,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":134},221824,"xiu-ye-xuan-tu-juan-zhu-de-run-221824","秀野轩图卷","朱德润","该图末有朱德润自识：“至正二十四年歲甲辰(1364年)四月十日，睢陽山人時年七十一歲。朱德潤並肩。”后钤私印两方。系朱氏临终前的极晚之作。是图画江南山川的平远之景，山林间有文人对坐于书斋中，笔法粗放纵逸，墨色简洁，有苍茫之意。画家大胆地将北宋李成、郭熙描绘北方山水的笔墨转化为表现江南风物的造型语言，并揉进了文人儒雅清澹的审美意趣。画中的书斋为“秀野轩”，将文人的书斋和活动绘于佳山秀水中，是这个时期新出现的山水画题材，直接影响了元末明初早期吴派山水画的审美取向。\n清《佩文斋画谱》、《江村画目》著录。",[23,25,26,27,122,31,65,64,32,33,40,41,37,38,163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02fb9773db03d4b1979437c1858da6bd.jpg","纸本，水墨淡设色","纵28.3厘米，横210厘米",[],{"id":7319,"slug":7320,"title":7321,"dynasty":18,"author":7322,"museum":207,"description":7323,"tags":7324,"thumbUrl":7325,"material":181,"size":7326,"collection":46,"collections":7327,"showCount":113,"zanCount":430,"manualWeight":51,"mainColor":134},220397,"chen-zong-yuan-hong-ya-shan-fang-tu-juan-chen-zong-yuan-220397","陈宗渊洪崖山房图卷","陈宗渊","《洪崖山房图》是陈宗渊唯一的传世作品，为其受友人胡俨之请按实景创作的。胡俨怀着还乡归隐之情，在家乡筑室名“洪崖山房”，以慰归思。他曾请王绂为其作图，但王绂当时因病重便作诗推辞，胡俨遂转请其弟子陈宗渊创作了此图。胡俨十分珍爱此作，多次在图后题识。图中抒写了胡俨身居庙堂、心怀归思的志向和情怀，同时也反映了在明初严酷的政治环境中，文人士大夫思隐的心态。\u2028　　画面上山峦起伏，江面开阔，景色壮观，反映出江西一带的风貌特征。所画人物占画幅比例很小，虽只寥寥数笔，须眉皆无，但姿态休闲生动，或展卷堂上，或携琴访友，巧妙地突出了人物在画中的地位，增添了恬静安逸的情致，表现出文人优雅的生活环境和超凡出尘的意趣。画中的山石用荷叶皴与披麻皴表现，线条多用中锋，自上而下拖长，错落纷披，转折灵动。陈宗渊的画法继承元代绘画风格，近似王绂，意境清远，笔墨苍秀，其作品对了解吴门前期绘画的传承关系具有重要的作用。",[23,25,26,27,122,29,33,30,31,65,64,32,516,441,1355,41,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f656c3500b27f604686ec7a544e47c9.jpg","纵27.1厘米，横106.2厘米",[46,131],{"id":7329,"slug":7330,"title":5637,"dynasty":77,"author":7331,"museum":119,"description":7332,"tags":7333,"thumbUrl":7334,"material":303,"size":7335,"collection":91,"collections":7336,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":134},218804,"mei-que-tu-dai-hong-218804","戴洪","戴洪，生卒年藉贯均不可考，高宗乾隆时，任职内廷画院为供奉，擅长山水画，以和丁观鹏、程志道、金昆、孙佑等人，合画清明上河图出名。\n他的画，不论用笔勾画输廓，用墨分染明暗，都非常工细，着色尤其是明净鲜丽，予人一种情眞景实的实境感觉。\n本幅画梅树和山雉便是一例。但是，这种崇尚技巧的院画，并不受一般「重意象轻形似」的文人画家所欢迎。",[25,26,24,104,87,30,122,143,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3557fdc9c807ebe9bebe162eb18b2de.jpg","167.6x91.1cm",[91],{"id":7338,"slug":7339,"title":7340,"dynasty":77,"author":222,"museum":59,"description":7341,"tags":7342,"thumbUrl":7343,"material":89,"size":69,"collection":69,"collections":7344,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":52},216708,"hong-lou-meng-fu-tu-ce-15-yi-ming-216708","红楼梦赋图册-15","木桥横卧溪上，涟漪轻漾着细碎的光。两位女子立于桥间，红衣者凭栏远眺，眉目间似凝着云边的愁绪；白衣者执扇低眉，身姿柔婉如风中垂柳。岸边树影婆娑，枝叶错落间漏下天光，远处屋宇隐在绿意里，飞鸟掠过天际，带起的风拂动了树的影、水的纹。整幅画晕染着江南园林的雅致，将红楼闺阁的闲静时光，凝成一抹诗意的温柔。每处细节都藏着细腻情思：树的繁荫、屋的隐现、鸟的翩跹，仿佛能让人嗅到那时的草木香，听见风穿过叶隙的轻响，触到闺中女儿未说出口的幽思。这抹水墨里的静，恰是红楼故事里最动人的闲愁与清欢。",[23,25,210,29,30,35,66,37,38,41,7,36,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd36dfa8e558b65b38a8956433ff60ad.jpg",[],{"id":7346,"slug":7347,"title":7348,"dynasty":6563,"author":1544,"museum":158,"description":7349,"tags":7350,"thumbUrl":7351,"material":69,"size":69,"collection":91,"collections":7352,"showCount":113,"zanCount":51,"manualWeight":51,"mainColor":7353},202856,"mei-hua-shou-dai-tu-zhou-qi-bai-shi-202856","梅花绶带图轴","这幅画作以墨笔绘梅，枝干虬曲苍劲，墨色浓淡交错，尽显老干新枝的生机；花朵圈点简约，朴拙中藏雅趣。绶带鸟以朱砂设色，羽色明艳，长尾飘逸，姿态亲昵似私语，与墨梅的素雅形成鲜明对比，动静相生。笔墨简练却神形兼备，融文人意趣与民间质朴于一体，画面清新自然，满溢生活情味，尽显独特艺术风貌。",[25,26,87,122,29,143,7,32,65,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a9ba3139fcb27fd1cc3a53a4107d46.jpg",[91],"e1ddcf",{"id":7355,"slug":7356,"title":7357,"dynasty":18,"author":1738,"museum":119,"description":7358,"tags":7359,"thumbUrl":7360,"material":89,"size":322,"collection":69,"collections":7361,"showCount":72,"zanCount":51,"manualWeight":51,"mainColor":52},290360,"san-you-bai-qin-tu-zhou-bian-wen-jin-290360","三友百禽图轴","《三友百禽图》是明代画家边景昭创作的一幅设色花鸟画作品，现收藏于台北故宫博物院。\n《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。",[25,104,29,30,87,7,179,143,52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设色","114.5x66.5厘米",[],{"id":7516,"slug":7517,"title":7518,"dynasty":18,"author":1609,"museum":119,"description":7519,"tags":7520,"thumbUrl":7521,"material":1321,"size":7522,"collection":69,"collections":7523,"showCount":72,"zanCount":51,"manualWeight":51,"mainColor":134},222445,"qiu-ying-zhou-lin-liang-222445","秋鹰轴","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意"没骨"技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[23,25,26,104,87,122,1479,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436250ff57a682c1ca1c0fb07cbd8b47.jpg","136.8×74.8cm",[],{"id":7525,"slug":7526,"title":759,"dynasty":18,"author":954,"museum":119,"description":7527,"tags":7528,"thumbUrl":7529,"material":259,"size":7530,"collection":69,"collections":7531,"showCount":72,"zanCount":51,"manualWeight":51,"mainColor":134},222413,"yuan-yang-zhou-zhi-mian-222413","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。\n有明以来写花草者，无如吴郡，而吴郡自沈周之后，无如陈道复（1483—1544）陆叔平（1496—1576）然道复妙而不真，叔平真而不妙，周之冕似能兼之。周之冕采陈道复、陆治二家之长，为吴门画派重要画家。\n万历三十年（1602）作《竹石雄鸡图》轴和《百花图》卷，现藏故宫博物院；（1601）作 桃柳春燕图 手卷；《桂树榴雀图》轴藏南京博物院；万历十三年（1585）作《芙蓉凫鸭》图轴藏上海博物馆；十五年（1587）作《芙蓉双凫图》轴藏沈阳故宫博物院；三十年作《墨花图》卷藏天津市艺术博物馆；同年作《杏花锦鸡图》轴藏苏州市博物馆；二十四年作《梅花野雉图》轴藏辽宁省博物馆。",[23,489,29,30,87,759,67,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98587f1cbafb6c6a4d818fd057a66c80.jpg","17.5x47.3",[],{"id":7533,"slug":7534,"title":7535,"dynasty":99,"author":2541,"museum":838,"description":7536,"tags":7537,"thumbUrl":7538,"material":197,"size":7539,"collection":69,"collections":7540,"showCount":72,"zanCount":11,"manualWeight":51,"mainColor":52},221625,"xiao-ya-hong-yan-zhi-shen-tu-ma-he-zhi-221625","小雅·鸿雁之什图","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。\n擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[25,26,27,63,29,65,35,41,7,33,163,564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb39b1e043ef15aca59080d2812129.jpg","32.4 1304.9 cm",[],{"id":7542,"slug":7543,"title":7544,"dynasty":18,"author":5235,"museum":3684,"description":7545,"tags":7546,"thumbUrl":7547,"material":210,"size":7548,"collection":69,"collections":7549,"showCount":72,"zanCount":51,"manualWeight":51,"mainColor":69},220749,"fang-ge-jia-shan-shui-7-dong-qi-chang-220749","仿各家山水-7","近景苍松虬曲古拙，针叶层叠如盖，旁侧杂木疏朗灵动。中景水面渔舟错落，渔人隐于舟间，似在休憩闲坐。层岩以干笔淡墨皴擦，山峦起伏间林木簇生，墨色浓淡晕染出山峦向背。远景峰峦以淡墨轻描，融于空蒙烟波，留白尽显湖山悠远空寂。\n\n全作用笔松秀空灵，简淡中饱含苍润意趣，脱略具象形态而独取山水神韵，将平淡天真的文人意境藏于虚实笔墨之间，尽显萧散简远的山水格调，寥寥笔墨铺展出清雅绝尘的林下幽居之境。",[23,24,25,26,33,122,31,62,32,41,123,7,38,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa816efc8ede313cf979ab484ec12fee.jpg","30.5 × 23.8厘米",[],{"id":7551,"slug":7552,"title":7553,"dynasty":77,"author":2481,"museum":838,"description":7554,"tags":7555,"thumbUrl":7557,"material":3570,"size":69,"collection":69,"collections":7558,"showCount":72,"zanCount":51,"manualWeight":51,"mainColor":134},220465,"tong-zi-shui-niu-ren-yi-220465","童子水牛","此作用笔简淡写意，芦汀浅水间，两童子踞石垂竿，神态松弛憨稚，不见垂钓的焦灼，只余嬉游闲趣。水牛浮于清波，随水悠悠。浅蓝晕染芦苇，清润朦胧，衬出水乡初夏的凉意。淡墨点苔写岸石，留白铺就水天，将郊野的清寂松弛晕满扇面。简笔勾勒人物形神兼具，以轻描淡写铺就江南野逸日常，把闲散田家意趣藏在水墨间，淡远清宁，尽显悠然诗意。",[25,26,489,24,122,29,35,1628,7556,528,257,82,7],"水牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ad1853876e08b4ff2603682f045162.jpg",[],{"id":7560,"slug":7561,"title":7562,"dynasty":139,"author":1748,"museum":119,"description":7563,"tags":7564,"thumbUrl":7566,"material":89,"size":7567,"collection":91,"collections":7568,"showCount":72,"zanCount":51,"manualWeight":51,"mainColor":52},219140,"fang-xu-chun-qin-tu-huang-quan-219140","芳溆春禽图","高柳浓阴绿幄齐。翠绦摇曳啭双鹂。文鸳结伴春波浴。唼蕊浮香趁涧蹊。",[23,25,24,26,210,30,29,87,7,83,38,7565],"水边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdd61102aafdb6695917809633bfa6f.jpg","39.1x75.5cm",[91],{"id":7570,"slug":7571,"title":7572,"dynasty":99,"author":2721,"museum":59,"description":7573,"tags":7574,"thumbUrl":7577,"material":321,"size":322,"collection":69,"collections":7578,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":52},290064,"wen-ji-gui-han-ce-ye-li-tang-290064","文姬归汉册页","宋李唐《文姬归汉图》：该画册共计十八幅，形式属于“上文、下图”的连环故事画。内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[25,24,2915,26,64,195,29,35,553,7,7575,564,863,7576],"毡帐","文姬归汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2f1beef670706c52b0b48a9f76ecc8.jpg",[],{"id":7580,"slug":7581,"title":7582,"dynasty":18,"author":7583,"museum":59,"description":7584,"tags":7585,"thumbUrl":7587,"material":321,"size":322,"collection":69,"collections":7588,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":134},289749,"yue-ming-xing-xi-wu-que-nan-fei-cheng-jia-sui-289749","月明星稀乌鹊南飞","程嘉燧","程嘉燧（1565～1643）明代书画家、诗人。字孟阳，号松圆、偈庵，又号松圆老人、松圆道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，释名海能。",[25,26,122,33,39,7,38,515,32,7586,934],"崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f836bf2e69fec4b97726af8a6dc5d83.jpg",[],{"id":7590,"slug":7591,"title":5252,"dynasty":99,"author":190,"museum":59,"description":1794,"tags":7592,"thumbUrl":7593,"material":321,"size":322,"collection":69,"collections":7594,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":52},288846,"zi-li-shan-qin-tu-zhao-ji-288846",[24,25,489,29,30,87,7,1796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1993c3d1fc50df920d458bb332713c96.jpg",[],{"id":7596,"slug":7597,"title":7598,"dynasty":99,"author":2119,"museum":59,"description":7599,"tags":7600,"thumbUrl":7601,"material":321,"size":322,"collection":69,"collections":7602,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":52},288548,"xiang-xiang-xiao-jing-tu-zhao-shi-lei-288548","湘乡小景图","字公震，承平王孙，生卒年不详，曾任襄州观察使等职。\n描绘的是仲夏时节宁静安谧的湖塘一隅。该画卷是赵士雷唯一的传世画迹。",[23,24,25,27,26,29,33,87,7,161,38,163,41,1288,32,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847e87be85d07444a5c7951d5d0f349.jpg",[],{"id":7604,"slug":7605,"title":7606,"dynasty":77,"author":2711,"museum":59,"description":7607,"tags":7608,"thumbUrl":7613,"material":321,"size":322,"collection":69,"collections":7614,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":134},236041,"hua-bao-xiang-guan-yin-xiang-zhou-ding-guan-peng-236041","画宝相观音像轴","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[25,104,30,29,7609,7610,7611,7,608,7612],"宗教画","宝相观音","千手观音","莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb804a43c5a811feb151144b6aeb2e1ef.jpg",[],{"id":7616,"slug":7617,"title":7618,"dynasty":18,"author":7619,"museum":59,"description":7068,"tags":7620,"thumbUrl":7621,"material":69,"size":69,"collection":69,"collections":7622,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":134},234670,"cong-shan-shui-shan-mian-gong-yun-234670","从山水扇面","龚云",[489,25,26,122,29,33,37,38,39,7,40,516,36,35,32,31,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0deb888dcc6e61f9401f6daf73a09633.jpg",[],{"id":7624,"slug":7625,"title":7626,"dynasty":18,"author":7627,"museum":59,"description":7628,"tags":7629,"thumbUrl":7630,"material":392,"size":69,"collection":69,"collections":7631,"showCount":201,"zanCount":11,"manualWeight":51,"mainColor":52},234164,"nan-ping-yan-yu-tu-juan-zhou-han-234164","南屏烟雨图卷","周翰","[明]工山水。北京故宫绘画馆有嘉靖三十四年（一五五五）所画南屏烟雨图卷，绢本，似王巩而秀润，云烟烘染尤妙。《榆园画志》",[23,24,25,26,27,29,31,33,36,37,38,39,40,7,41,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6585ae0baa2edac4fe97f120f7e3f49d.jpg",[],{"id":7633,"slug":7634,"title":7635,"dynasty":156,"author":3623,"museum":207,"description":7636,"tags":7637,"thumbUrl":7638,"material":3442,"size":7639,"collection":69,"collections":7640,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":52},233460,"liu-yan-tu-zhou-sheng-chang-nian-233460","柳燕图轴","画面细嫩的柳枝倒垂，枝叶稀疏，临风摇曳，一双燕子翻飞其间，笔墨间透出浓浓春意。燕子秋去春来，表示一年的时光已经流逝，迁徒无定的行踪牵动了无数行旅之人的思乡之情。本幅作品简洁清淡，取景自然，疏朗的构图，剪裁得宜，寥寥数笔勾画出一幅充满诗意的抒情佳景。自识“武林盛昌年元龄为良友吴郡沈彦肃戏作于梁谿寓所，岁至壬辰三月也”。另有葵丘生题诗：“杨柳风多暑气微，一双下上故飞口。如何恋芳塘景，秋社归时也不归。”",[25,26,104,122,87,7,388,3454,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930e8ccb1f2c104fc399bd3913fc72b0.jpg","纵75.9厘米、横25.5厘米",[],{"id":7642,"slug":7643,"title":7644,"dynasty":99,"author":897,"museum":59,"description":7645,"tags":7646,"thumbUrl":7647,"material":69,"size":69,"collection":69,"collections":7648,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":52},227635,"chun-jiao-hui-yan-tu-ye-ma-lin-227635","春郊回雁图页","马麟（？－？），中国南宋画家，原籍河中（今山西省永济），南渡后三代居钱塘，遂为钱塘（今浙江省杭州市）人。\n\n马麟之父马远是宋光宗、宋宁宗两朝（1190-1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰（1201-1204）间授画院祗候，颇得宋宁宗赵扩、皇后杨氏称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”《画史会要》谓：“麟不逮父。远爱其子，多于己画上题麟，盖欲其章也。”",[23,25,24,26,2915,29,33,7,564,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f17cd983e2e0d63867687a89a84056.jpg",[],{"id":7650,"slug":7651,"title":7652,"dynasty":77,"author":252,"museum":59,"description":7653,"tags":7654,"thumbUrl":7655,"material":69,"size":69,"collection":69,"collections":7656,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":52},224187,"hua-niao-cao-chong-tu-ba-06-hua-yan-224187","花鸟草虫图八-06","此作用笔兼工带写，墨色层次清润雅致。垂落柳丝以淡墨勾勒轮廓，浓墨点染叶瓣，随风舒展尽显柔媚之态。枝头禽鸟身形灵动，侧目下望将观者视线引向水面。波中水禽以焦墨晕染羽翼，蓬松苍劲，正振翅拨弄清波，野趣盎然。左侧题字与画面相映成趣，将文人雅意融入水乡小景，寥寥数笔便将禽鸟的灵动生姿与塘边清趣尽数铺陈，把春日塘间的幽微生机勾勒得淋漓尽致。",[23,25,26,122,29,87,7,958,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4ed4c433fe50dc6a11c97d92f4b862.jpg",[],{"id":7658,"slug":7659,"title":7660,"dynasty":18,"author":1476,"museum":191,"description":7661,"tags":7662,"thumbUrl":7663,"material":2433,"size":7664,"collection":69,"collections":7665,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":134},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,24,25,26,27,122,29,65,64,32,31,1679,40,81,37,38,35,164,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":7667,"slug":7668,"title":7669,"dynasty":156,"author":1933,"museum":838,"description":7670,"tags":7671,"thumbUrl":7672,"material":3467,"size":7673,"collection":69,"collections":7674,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":52},221758,"qiu-lin-yu-yin-tu-sheng-mao-221758","秋林渔隐图","《传世名画题诗品赏》是26年 出版的图书。\n本书以“一图一文”的组合形式构成，为每幅名画配上一篇品赏文字，内容包括画幅收藏处，画家、诗人生平简介，画幅技巧、布局、意境的评述，诗篇词语典故的诠释，技巧、诗境的阐发等。\n开本: 2开 ISBN: 72224564 条形码: 978722245644 尺寸: 21 14.2 4.2 cm 重量: 721 g 绘画艺术品受战乱兵燹等社会因素和风化水蚀等自然因素的损毁和破坏，大量散佚，很难传留。\n因此，传世名画更显名贵，成为我国文化遗产宝库中的重要部分，值得珍视。\n画上题诗，是诗画艺术结合的产物，“诗书画”三绝，构成一件艺术珍品，使图像、线条、色彩、笔情、墨趣、诗境、画意，和谐地融合在一起，形成东方民族美学的独特艺术形态，集中反映和体现华夏民族的审美观念和文化精神，足以屹立于世界艺术之林。\n为帮助爱好诗画艺术的朋友们欣赏传世名画上的题画诗，笔者特意从海内外各大博物馆（院）以及私家收藏的传世名画中，遴选出若干幅作品，品赏评析画上题诗，编撰成这本《传世名画题诗品赏》，并就题画诗的艺术特质和艺术功能，题画诗的发展轨迹，以及本书的编写体例等问题，详作阐述，以说明笔者的编撰意图。\n上篇 两宋 第一图 赵佶《蜡梅山禽图》 第二图 徐禹功《雪中梅竹图》 第三图 马远《踏歌图轴》 第四图 梁楷《泼墨仙人图》 第五图 马麟《层叠冰绡图》 第六图 马麟《漳冷梅康馨图页》 第七图 赵孟坚《墨兰图》 第八图 龚开《骏骨图》 元代 第九图 玉涧《庐山瀑布图》 第十图 陆文圭《扁舟傲睨图》 第一一图 钱选《归去来辞图》 第一二图 钱选《 》 第一三图 钱选《山居图卷》 第一四图 钱选 《牡丹图》 第一五图 高克恭《黑竹坡石图》 第一六图 赵孟頫《人骑图卷》 第一七图 赵孟頫《秀石疏林图》 第一八图 黄公望《天池石壁图》 第一九图 曹知白《疏松幽岫图轴》 第二十图 吴镇《松石图》 第二一图 吴镇《芦花寒雁图轴》 第二二图 吴镇《草亭诗意图》 第二三图 吴镇《多福图轴》 第二四图 吴镇《松泉图》 第二五图 吴镇《芦滩的艇图》 第二六图 吴镇《渔父图》 第二七图 张渥《竹西草堂图》 第二八图 王渊《牡丹图卷》 第二九图 盛懋《秋江待渡图》 第三十图 盛懋《秋林渔隐图》 第三一图 王冕《墨梅图》 第三二图 王冕《墨梅图卷》 第三三图 王冕《寒梅图》 第三四图 王冕《南枝春早图》 第三五图 倪瓒《古木幽篁图》 第三六图 倪瓒《江岸望山图》 第三七图 倪瓒《虞山林壑图》 第三八图 倪瓒《梧竹秀石图》 第三九图 倪瓒《琪树秋风图》 第四十图 倪瓒《六君子图》 第四一图 倪瓒《幽涧寒松图》 第四二图 倪瓒《秋林新兴图》 第四三图 倪瓒《水竹居图》 第四四图 倪瓒《秋亭嘉树图》 第四五图 倪瓒《雨后空林图》 第四六图 倪瓒《渔庄秋霁图》 …… 明代 下篇 清代 下册",[23,25,489,122,31,33,2234,39,7,515,81,123,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264a3578244bd0799ebe3b6cf74625e3.jpg","26.7×33.7cm",[],{"id":7676,"slug":7677,"title":7678,"dynasty":156,"author":7679,"museum":475,"description":7680,"tags":7681,"thumbUrl":7682,"material":1321,"size":69,"collection":46,"collections":7683,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":52},220094,"jin-biao-tu-wang-zhen-peng-220094","锦标图","王振鹏","该画作描绘了北宋宫廷金明池的龙舟竞渡活动，一方面显示夺标争锦之意，另一方面又有君民同乐的太平盛世意涵。",[23,24,25,26,27,194,29,35,36,37,38,358,403,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6c7809bff9a5428579d2095a8cda8f.jpg",[46],{"id":7685,"slug":7686,"title":7687,"dynasty":18,"author":222,"museum":7688,"description":7689,"tags":7690,"thumbUrl":7691,"material":89,"size":69,"collection":46,"collections":7692,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":134},217983,"lin-liu-guan-qiu-tu-yi-ming-217983","临流观秋图","布里斯托尔博物馆","临流观秋图是明朝时期佚名所作的一幅著名图画。这幅图画描绘了一个秋天的景象，主要内容是一条清澈见底的河流，周围是绿树成荫的山坡。在河对岸，可以看到一座小山丘，上面建有一座庙宇。\n\n在河流中，可以看到许多游鱼，它们在水面上跃起，似乎在欢迎秋天的到来。此外，还可以看到许多水鸟在河上飞翔，整幅画面非常宁静而美丽。\n\n临流观秋图被认为是明朝时期中国绘画史上的杰作之一，其中融合了自然风景和人文景观，使得画面更加丰富多彩。该图画被认为是明朝绘画的一个典型代表，其中体现了明朝时期中国文人画的特点。",[25,122,29,33,38,40,440,163,7,31,865,748,1588,1479,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11e058cdac214e74ff20a01c13c4c98.jpg",[46],{"id":7694,"slug":7695,"title":7696,"dynasty":77,"author":423,"museum":475,"description":6997,"tags":7697,"thumbUrl":7698,"material":181,"size":69,"collection":69,"collections":7699,"showCount":201,"zanCount":11,"manualWeight":51,"mainColor":134},214429,"shan-shui-tu-ce-2-zhu-da-214429","山水图册-2",[23,25,26,122,210,31,33,7,67,123,38,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4cf7726b542ef74bf52a253e399bd0.jpg",[],{"id":7701,"slug":7702,"title":5361,"dynasty":77,"author":423,"museum":158,"description":7703,"tags":7704,"thumbUrl":7705,"material":69,"size":69,"collection":91,"collections":7706,"showCount":201,"zanCount":51,"manualWeight":51,"mainColor":7707},203419,"shan-shui-hua-niao-ce-zhu-da-203419","画面以浓淡交织的水墨铺陈，笔墨简劲却内蕴千钧。两只禽鸟以焦墨挥写，羽色浓黑如泼，质感沉厚；眼目留白斜睨，神态孤傲倔强，似含遗世之慨。下方孤石以淡墨皴擦，线条寥寥却见嶙峋风骨，背景淡墨晕染出远山隐迹，空寂冷逸的氛围漫溢纸面。整幅作品于极简中藏深致，笔墨间裹挟着沉郁孤愤的情愫，寥寥数笔便将生命的倔强与环境的荒寒熔于一炉，尽显写意之精髓。",[25,122,87,163,7,31,32,210,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ee1c67b3cf42ae09f05a38c5493af.jpg",[91],"eae6e0",{"id":7709,"slug":7710,"title":7711,"dynasty":77,"author":7712,"museum":59,"description":7713,"tags":7714,"thumbUrl":7715,"material":321,"size":322,"collection":69,"collections":7716,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":134},290470,"hua-niao-hua-ce-liu-qi-kan-290470","花鸟画册","刘期侃","刘期侃，清代画家。生卒年不详。字湛园，安徽宣城人。善指画",[25,26,210,122,87,143,7,32,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c09fbc9658481fbcdd43a9d1303adc5.jpg",[],22,{"id":7719,"slug":7720,"title":7721,"dynasty":77,"author":823,"museum":59,"description":7722,"tags":7723,"thumbUrl":7724,"material":321,"size":322,"collection":69,"collections":7725,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":52},290382,"bai-niao-tu-juan-jiang-ting-xi-290382","百鸟图卷","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[23,25,27,465,7,374,1036,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4220530ed51478e9da3375c4925bc9f.jpg",[],{"id":7727,"slug":7728,"title":7729,"dynasty":18,"author":7730,"museum":59,"description":7731,"tags":7732,"thumbUrl":7733,"material":321,"size":322,"collection":69,"collections":7734,"showCount":7717,"zanCount":11,"manualWeight":51,"mainColor":52},290158,"hou-chi-bi-tu-ding-yu-chuan-290158","后赤壁图","丁玉川","丁玉川（生卒年不详），明代中期画家。江右（今江西）人。山水宗马、夏。亦善人物，行笔草草，徒逞狂态，比于邪学。刘珝题其画云：“彼美玉川子，素慕青溪翁。远浓近淡不停手，神机所到天然工。”丁氏虽然出身江西，却主要活动于山东与北京两地，可能活到九十二岁以后。在晚明以后，丁氏被归为浙派画家之列，存世作品多被改款，以致今日难以辨识。",[24,25,26,104,122,33,163,39,7,38,35,31,32,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5736d6ab4b5a37a671ca41168a10c90e.jpg",[],{"id":7736,"slug":7737,"title":7738,"dynasty":77,"author":7739,"museum":59,"description":7740,"tags":7741,"thumbUrl":7742,"material":321,"size":322,"collection":69,"collections":7743,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":134},289968,"fang-ni-shan-shui-wang-shi-min-289968","仿倪山水","王时敏","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[24,25,26,104,122,33,62,67,7,37,38,163,32,64,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf804a5c772a5924000eff3f02dc044c.jpg",[],{"id":7745,"slug":7746,"title":7747,"dynasty":18,"author":7748,"museum":59,"description":7749,"tags":7750,"thumbUrl":7751,"material":321,"size":322,"collection":69,"collections":7752,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":52},289789,"shan-cun-tu-li-zai-289789","山村图","李在","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[24,25,33,36,1355,39,7,1480,67,38,40,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501868e78597399ce0c3278de9863e44.jpg",[],{"id":7754,"slug":7755,"title":7756,"dynasty":99,"author":7757,"museum":59,"description":7758,"tags":7759,"thumbUrl":7760,"material":321,"size":322,"collection":69,"collections":7761,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":52},289731,"mei-xi-pu-bu-tu-cui-que-289731","梅溪瀑布图","崔慤","。崔悫与及他的兄长崔白，都是北宋著名的花鸟画家。他们的画风朴素、重视自然野趣，对於当时的画院有很深的影响。这件作品除了取材自山林野趣之外，画中直接用墨色点染，不用笔描（即所谓的「没骨画法」），是宋代花鸟画中少见的表现手法，但却能将鹌鹑与蝼蛄的形态表现得准确而生动，令人赞佩。",[25,24,33,35,143,7,38,123,1990,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca51841a1807ebc44e9f4ff79541c6c.jpg",[],{"id":7763,"slug":7764,"title":7765,"dynasty":99,"author":897,"museum":59,"description":3005,"tags":7766,"thumbUrl":7767,"material":321,"size":322,"collection":69,"collections":7768,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":134},289454,"shi-liu-la-zui-tu-ma-lin-289454","石榴蜡嘴图",[24,25,87,30,29,900,7,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316f8844aafa1f77b64073a164171e98.jpg",[],{"id":7770,"slug":7771,"title":7772,"dynasty":99,"author":222,"museum":59,"description":7773,"tags":7774,"thumbUrl":7777,"material":321,"size":322,"collection":69,"collections":7778,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":52},288198,"xue-jing-dai-du-tu-yi-ming-288198","雪景待渡图","以淡墨晕染铺就江天寒寂，留白尽展冬日空濛。岸渚之上枯木虬枝错落，寒叶稀疏，旅人裹衣伫立石畔，引颈遥望江心，待渡的怅然悄然弥散。远山隐在氤氲寒雾中，只剩淡远轮廓，寒鸦掠过长空，更添清寥。江面寥寥淡笔勾出水波，扁舟隐约浮沉，似正缓缓渡来。\n\n全幅未施白粉，却以墨色浓淡晕出积雪凝寒之意，将冬日江渡的萧索宁静揉入尺幅之间，尽显山水留白的悠远意趣，把萧寒冬日里的羁旅况味藏在淡墨清岚之中，清冷空寂直入人心。",[23,489,25,122,33,442,440,163,7,7775,7776],"渡口","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32408b9658940e6f1d83b48259817af5.jpg",[],{"id":7780,"slug":7781,"title":7782,"dynasty":18,"author":7783,"museum":59,"description":7784,"tags":7785,"thumbUrl":7786,"material":321,"size":322,"collection":69,"collections":7787,"showCount":7717,"zanCount":11,"manualWeight":51,"mainColor":52},287943,"shan-que-shuang-tu-tu-li-yong-287943","山鹊双兔图","李鄘","李鄘（yōng）（？－820年9月14日 ），字建侯。鄂州江夏县（今湖北省武汉市武昌区）人。唐朝宰相，江夏太守李邕从孙。\n李鄘出身“江夏李氏” 。唐代宗时登进士第，补秘书省正字，擢累吏部员外郎，进御史中丞。唐宪宗时，由河东节度使被召拜为门下侍郎、同平章事（宰相）。晚年以太子少傅致仕，累封江夏县开国侯。\n元和十五年（820年），李鄘去世，追赠太子太保，谥号“肃”。《唐文拾遗续拾》录有其文一篇",[23,25,30,29,346,7,67,126,465,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0a93abe923ed1343f9eb30ea9c799f.jpg",[],{"id":7789,"slug":7790,"title":5361,"dynasty":77,"author":3021,"museum":59,"description":7791,"tags":7792,"thumbUrl":7793,"material":69,"size":69,"collection":69,"collections":7794,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":134},239055,"shan-shui-hua-niao-ce-yang-jin-239055","此帧以淡墨绘就江乡秋景，浅滩芦荻丛生，扁舟渔翁垂竿独钓，自在悠然。右侧汀上古木倚石，野趣天成。远景山峦以简笔晕染，空濛悠远，雁阵掠过长空，更衬江天寥廓。\n\n留白铺就无尽秋意，笔墨秀雅清润，萧疏淡远间尽显闲逸襟怀。题诗与画作相映，将秋日江乡的清冷疏旷，与渔樵忘机的隐逸之思相融，尽显文人画平淡天真的意趣，悠悠古韵沁入纸面。",[25,122,210,31,33,39,1225,7,163,334,515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91d92407b63081d12b841b16dc7887d.jpg",[],{"id":7796,"slug":7797,"title":7798,"dynasty":77,"author":2702,"museum":59,"description":5370,"tags":7799,"thumbUrl":7800,"material":69,"size":69,"collection":91,"collections":7801,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":134},236882,"yang-liu-xiao-yue-zhou-wang-hui-236882","杨柳晓月轴",[25,26,104,122,29,31,33,1858,334,7,440,125,748,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff957e7b95f4b3c3cb57f8c7616ebfbf9.jpg",[91],{"id":7803,"slug":7804,"title":7805,"dynasty":77,"author":7806,"museum":59,"description":7807,"tags":7808,"thumbUrl":7809,"material":321,"size":322,"collection":46,"collections":7810,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":134},235916,"shan-shui-tu-ce-mei-chong-235916","山水图册","梅翀","梅翀，明末清初画家，字培翌、培翼，号鹿墅，安徽宣城人，生卒年不详，艺术家，代表作《幽林探胜图》等。",[25,26,210,122,29,31,33,256,81,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9e4c67409d1d348e7ede1eed98b32c.jpg",[46],{"id":7812,"slug":7813,"title":7814,"dynasty":18,"author":5936,"museum":59,"description":7815,"tags":7816,"thumbUrl":7817,"material":321,"size":322,"collection":46,"collections":7818,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":134},235764,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-dou-ya-tu-ye-chen-chun-235764","吴门诸家寿袁方斋三绝册-斗鸭图页","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[25,26,210,122,33,39,38,40,163,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65850c37b4775f5d75358b0352c4b4.jpg",[46],{"id":7820,"slug":7821,"title":7822,"dynasty":77,"author":2408,"museum":207,"description":7823,"tags":7824,"thumbUrl":7825,"material":6686,"size":7826,"collection":69,"collections":7827,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":134},235000,"yuan-ji-shan-shui-tu-ce-shi-tao-235000","原济山水图册","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[25,122,210,31,33,163,7,40,41,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F827300976b1c7e0d41a3cb96f2232948.jpg","纵33.2cm，横22.8cm",[],{"id":7829,"slug":7830,"title":7831,"dynasty":99,"author":222,"museum":119,"description":7832,"tags":7833,"thumbUrl":7834,"material":89,"size":7835,"collection":111,"collections":7836,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":52},231054,"cui-zhu-ling-mao-tu-yi-ming-231054","翠竹翎毛图","《宋人翠竹翎毛图轴》是宋代画作，作者佚名，采用南唐后主李煜金错刀的手法，是一幅花鸟图轴，表达了宋代绘画所谓“写生”的精义。此画幅对生态有着深刻的观察和了解，是一幅形神皆兼的写实作品；在构图上以近景为主，各景物均匀地分布在画面中，具有前后的空间感。这幅画的笔墨质朴，除了部分细枝外，都以先钩轮廓线再填染颜色的“双钩填彩法”画成，行笔有很多起伏提顿的地方，其中以坡石和竹叶的轮廓线最为明显。而竹叶部份，采用特别的颤动式的线条，整体用笔方面，起伏变化较明显，偏向于南宋的风格。",[23,24,25,26,30,29,87,1797,528,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551ae374ee32752aeb4c0996f85ae3d1.jpg","185×109.9厘米",[111],{"id":7838,"slug":7839,"title":7840,"dynasty":99,"author":7841,"museum":59,"description":7842,"tags":7843,"thumbUrl":7844,"material":69,"size":69,"collection":69,"collections":7845,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":52},227778,"yuan-yang-tu-wan-shan-zhang-mao-227778","鸳鸯图纨扇","张茂","《双鸳鸯图》页，宋，张茂绘，纨扇页，绢本，设色，纵24.4厘米，横18.3厘米。\n\n本幅款识：“张茂”。\n\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。\n\n画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二\n只，它们的顾盼关系使得上半部画面更加充实生动。\n\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n\n存《纨扇画》册中。《石渠宝笈初编》著录。",[23,24,25,26,489,30,29,87,759,934,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab6dc118a52cfd44c31806284697cf7.jpg",[],{"id":7847,"slug":7848,"title":7849,"dynasty":18,"author":3565,"museum":7850,"description":7851,"tags":7852,"thumbUrl":7853,"material":4779,"size":7854,"collection":46,"collections":7855,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":1528},222581,"lin-da-chi-shan-shui-tu-juan-lan-ying-222581","临大痴山水图卷","美国芝加哥艺术学院","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,25,26,27,62,31,29,64,65,32,33,41,123,37,38,40,7,1480,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf31e04d0d80d510a4c1e05e83812c0.jpg","纵58 58厘米，横962 98厘米",[46,48],{"id":7857,"slug":7858,"title":7859,"dynasty":18,"author":7860,"museum":191,"description":7861,"tags":7862,"thumbUrl":7866,"material":2829,"size":7867,"collection":69,"collections":7868,"showCount":7717,"zanCount":51,"manualWeight":51,"mainColor":134},222432,"ren-wu-cao-chong-tu-quan-juan-du-da-cheng-222432","人物草虫图全卷","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,25,24,26,27,63,122,30,32,64,35,7863,374,1036,5438,163,7,7864,7865,690],"草虫","棕榈","桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc23865987ff0a8c397d24a26b83c9f.jpg","30x336",[],{"id":7870,"slug":7871,"title":7872,"dynasty":18,"author":1738,"museum":101,"description":7873,"tags":7874,"thumbUrl":7876,"material":89,"size":7877,"collection":91,"collections":7878,"showCount":7717,"zanCount":11,"manualWeight":51,"mainColor":52},219045,"su-chun-tu-bian-wen-jin-219045","粟鹑图","画的是细高的粟杆，粟穗下垂，草地上画着小米草和杂草，五只鹌鹑悠然自得，一只在天空中即将飞翔；画面中间的两只麻雀，一只在粟穗上晃动，偷吃粟粒，自然是美不胜收。",[23,25,26,87,30,29,104,7,3876,7875,167],"粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ab1e393798b5942b180f5334e5e8a5.jpg","纵139.7横50.8厘米",[91],{"id":7880,"slug":7881,"title":657,"dynasty":156,"author":222,"museum":119,"description":7882,"tags":7883,"thumbUrl":7884,"material":321,"size":322,"collection":69,"collections":7885,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":52},291025,"hua-niao-zhou-yi-ming-291025","锦鸡一对，游于花石间，另燕鹊各有一对，点缀著画面。锦鸡的羽毛鲜姘夺目，与盛开的花朵相互辉映。使得画面更显得色彩缤纷，华贵富丽。花、鸟的用笔相当工细，有秀雅的气质。叶面的填色，似较草率，已有多处糢糊或脱落。",[25,104,87,30,29,7,6619,238,413,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc0af266237c1c204632960c1c6e023.jpg",[],21,{"id":7888,"slug":7889,"title":7890,"dynasty":156,"author":1573,"museum":59,"description":7891,"tags":7892,"thumbUrl":7893,"material":321,"size":322,"collection":69,"collections":7894,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":52},290132,"san-bai-tu-wang-yuan-290132","三白图","坡岸一角，以枯柳、翠竹、丹叶为伴，三只雪白的鹭鸶，或翘首，或远眺，或俯视，各逞其优雅的姿态。用笔工细，设色穠丽，但构景单纯，留出大片空白，具有一种清新高雅的气韵。",[24,25,26,104,87,30,29,2916,7,1033,528,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F468c5fc1d6904a02bd64a6307a9645b2.jpg",[],{"id":7896,"slug":7897,"title":7898,"dynasty":77,"author":222,"museum":59,"description":7899,"tags":7900,"thumbUrl":7903,"material":321,"size":322,"collection":69,"collections":7904,"showCount":7886,"zanCount":430,"manualWeight":51,"mainColor":52},270528,"zhu-bing-sha-di-dui-ling-jia-xiu-hua-niao-shi-liu-shan-yi-ming-270528","竹柄纱地堆绫加绣花鸟石榴扇","花边形扇面温婉雅致，纱底暗纹朦胧柔和，衬得堆绫绣饰愈发生动鲜活。折枝月季柔蔓舒展，粉红花瓣饱满娇嫩，层叠间晕染出盛放之态，翠羽禽鸟栖于枝梢，翎毛纤毫毕现，灵动如生。堆绫工艺让花叶禽鸟颇具立体感，辅以刺绣勾勒细节，明暗相宜，将庭院清趣凝于盈尺扇面之上。\n竹柄髹漆描金，搭配錾刻纹饰的护托，工细雅致，兼顾美观与握持实用性。整扇融多工艺于一体，配色柔丽和谐，既有工笔花鸟的文雅意趣，尽显旧时工艺精巧，晕染出温婉雅致的闺阁韵致。",[489,87,227,7,4299,7901,7902,5796],"堆绫加绣","日用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c67ed14c11d02ff76b1345ac1ac1f52.jpg",[],{"id":7906,"slug":7907,"title":7908,"dynasty":77,"author":7909,"museum":59,"description":7910,"tags":7911,"thumbUrl":7912,"material":321,"size":322,"collection":46,"collections":7913,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":134},239371,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239371","画载月十咏诗意册","永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[25,26,210,122,29,33,440,39,7,334,123,2412],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802a3fac4a620ea4ffc6e3e70fcfe962.jpg",[46,48],{"id":7915,"slug":7916,"title":6670,"dynasty":77,"author":6671,"museum":59,"description":6672,"tags":7917,"thumbUrl":7918,"material":69,"size":6675,"collection":69,"collections":7919,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":134},238028,"hong-ren-shan-shui-tu-ce-hong-ren-238028",[25,26,122,33,210,31,63,123,41,1355,1149,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12cd8e2a8b9ef7aa9b3c431dd9e276fe.jpg",[],{"id":7921,"slug":7922,"title":7923,"dynasty":77,"author":252,"museum":59,"description":7924,"tags":7925,"thumbUrl":7926,"material":69,"size":7927,"collection":244,"collections":7928,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":52},236308,"lie-zi-yu-feng-zhou-hua-yan-236308","列子御风轴","列子是与老子、庄子同时代的道家学术代表人物，著有《列子》学说一书。关于列子有一则非常有名的典故，便是“列子御风”，体现出“大道至简”的理念，而华喦将这则典故变成一幅飘逸洒脱的画作。",[25,26,104,122,33,35,41,359,7,31,67,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5baafd21ec43e88cc5e6ae79800d83c.jpg","长78、宽32.5厘米",[244,48],{"id":7930,"slug":7931,"title":7932,"dynasty":77,"author":2481,"museum":59,"description":7933,"tags":7934,"thumbUrl":7939,"material":288,"size":7940,"collection":69,"collections":7941,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":134},234989,"hua-hui-ling-mao-ping-7-ren-yi-234989","花卉翎毛屏7","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[25,26,87,104,29,30,7,165,123,7935,7936,7937,7938,238],"红花","粉花","白花","蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6f696c4310601d6245936bdbdeacd5.jpg","149 x 61 cm",[],{"id":7943,"slug":7944,"title":7945,"dynasty":77,"author":222,"museum":207,"description":7946,"tags":7947,"thumbUrl":7948,"material":197,"size":7949,"collection":46,"collections":7950,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":52},234898,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234898","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[25,26,210,29,65,64,32,33,36,123,41,7,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5d9b3ab8de6f6a73f21664055f4b51a.jpg","25.7×33厘米",[46,48],{"id":7952,"slug":7953,"title":7954,"dynasty":77,"author":2408,"museum":59,"description":7955,"tags":7956,"thumbUrl":7958,"material":259,"size":7959,"collection":69,"collections":7960,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":134},233389,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233389","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[25,26,210,122,31,33,41,1355,7957,748,374,7],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dd07e263d6842255d1b2f9f64607308.jpg","纵24.6cm横17.6cm",[],{"id":7962,"slug":7963,"title":7964,"dynasty":18,"author":222,"museum":59,"description":7965,"tags":7966,"thumbUrl":7967,"material":69,"size":69,"collection":69,"collections":7968,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":52},228792,"zao-chun-tu-yi-ming-228792","早春图","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,24,25,26,27,29,28,30,31,32,64,33,36,37,38,40,41,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":7970,"slug":7971,"title":7972,"dynasty":156,"author":222,"museum":59,"description":7973,"tags":7974,"thumbUrl":7975,"material":69,"size":69,"collection":69,"collections":7976,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":52},228183,"dan-feng-niao-que-tu-yi-ming-228183","丹枫鸟鹊图","画面截取深秋一角，虬曲苍劲的枫树枝桠间，残红秋叶点缀，晕开萧索清寒的秋意。三只禽鸟错落栖于枝梢，引吭啼鸣的山雀羽翼晕染细腻写实，将灵动生机揉入冷寂秋景，另外两雀或静立或垂悬，动静相映成趣。\n\n设色调和古雅，工写相融，淡墨皴擦尽显枝干枯涩质感，禽鸟刻画精细入微，将秋日郊野的幽寂野趣藏于笔底，简淡笔意间晕开幽远沉静的林下意趣，尽显雅致空灵的秋日审美意韵。",[23,25,26,24,104,30,29,87,7,1525,2236,2370,165,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bfefdf57d7bfd435a7b35b437dd982.jpg",[],{"id":7978,"slug":7979,"title":6738,"dynasty":99,"author":1784,"museum":59,"description":7980,"tags":7981,"thumbUrl":7982,"material":69,"size":69,"collection":69,"collections":7983,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":52},227980,"qiu-lu-fei-wu-tu-liang-kai-227980","以淡墨晕开秋江空蒙的冷寂氛围，枯瘦芦草欹斜舒展，迅疾老辣的笔致带着野逸秋意。水畔坡岸以泼墨点染，浓淡墨色自然晕化，混融天成，静立坡头的小禽与振翅掠空的飞鹜形成动静对照。\n\n远飞的水禽仅以寥寥数笔勾勒，形神俱足，活现掠空姿态。画面以大片留白衬出江天寥廓，将秋日江汀的萧疏淡远藏在简淡笔墨中，以少胜多，把秋日清寂与禅意文思揉合一处，余韵悠长。",[23,24,25,26,104,122,1479,934,7,163,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917b71480910d4f702db28eefc181657.jpg",[],{"id":7985,"slug":7986,"title":7987,"dynasty":99,"author":1499,"museum":59,"description":7988,"tags":7989,"thumbUrl":7990,"material":69,"size":69,"collection":69,"collections":7991,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":52},227951,"qin-yu-tu-li-di-227951","禽浴图","画面截取禽鸟沐水的日常一隅，乌鸫探身木盆，翅羽蓬松乍起，墨色晕染分出干湿层次，将沾水后濡重的绒羽与翻扬的飞羽区别开来。圆目灵动带着憨态，黄喙轻点水面，漾开浅淡水痕，仿佛能闻声水泽轻响。木盆篾编纹理刻画写实，分毫毕现。\n\n整幅笔墨工细却不失生机，以小景见真趣，把野禽自在沐浴的瞬间定格，将对生灵的细致观察尽显无遗，于寻常日常里，晕染出雅致鲜活的自然意趣。",[23,24,25,26,30,29,87,7,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e7161b3e35c7b6a5e1f6d4a3f7707c.jpg",[],{"id":7993,"slug":7994,"title":7995,"dynasty":4467,"author":222,"museum":59,"description":7996,"tags":7997,"thumbUrl":7998,"material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bēi）即 汉代碑刻。碑文字体以隶为主，碑额文字多用篆书。汉碑（包括拓本）流传甚多﹐著名的有《张迁碑》﹑《乙瑛碑》《华山庙碑》﹑《礼器碑》﹑《史晨碑》﹑《曹全碑》等。\n与汉碑体制的高度成熟相适应，汉碑碑文也已成为典型化的文体，即诔文。文字多达千字左右。详细记载墓主的姓名、职官、功绩、生卒日期以及立碑人书碑人姓名，并有华丽腴饰的四言韵文的颂词。\n东汉晚期，汉碑构成礼仪文化的中心“语境”，同时，儒学也开始向汉碑全面渗透。一个明显的事实是，汉碑多出在儒学中心的黄河下游的山东地区，尤其是山东省济宁市地区，有“天下汉碑半济宁”之称。这个时期，汉碑在整体上已消蚀掉早期汉隶的博大气象和自然意味，但由于刀与石的营构，进一步夸张修饰了简帛书法的特征，使汉隶在本体语言上趋于全面成熟。\n传世汉碑数量庞大，风格类型多样，被称为“一碑一奇，莫有同者”。由此，从风格类型方面研究汉碑便构成一个专门的课题。\n朱彝尊在《西岳华山庙碑跋》中说：“汉隶凡三种，一题方整，《鸿都石经》、 《尹宙》、《鲁峻》、《武荣》、《郑固》、《衡方》、《刘熊》、《白石神君》诸碑是已。一种流丽，《韩勃》，《曹全》，《史晨》、《乙瑛》《张迁》诸碑是已。一种奇古，《夏承》、《戚伯著》诸碑是已。”王澍在《虚舟题跋》中说：“汉碑分雄古、浑劲、方整三类。”康有为《广艺舟双楫·本汉》则将汉碑分为：“骏爽，疏宕，高深、丰茂、华艳，虚和，凝整、秀额八类。此外，还有学者依据制作目的将汉碑分为五类：歌颂神冥灵验者，有神碑，神庙石阙；记述祖庙祭祀与修造者的庙碑；歌颂个人德行者，有德政碑、墓碑、墓门石阙；纪念土木工程完工者，有竣功纪念碑。其它，有画像题字，墓记，买冢记，石经等。这种分类充分体察到汉碑的文化功用，并将汉碑不同书风的形成与汉碑体制结合起来加以考察。因而这种分类视角较之仅仅从审美形态上划分汉碑风格类型无疑更具有史学认识价值。",[23,4467,4890,4880,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaf530111f1f1f78168e1256dab89ff.jpg",[],{"id":8001,"slug":8002,"title":3848,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":8003,"thumbUrl":8008,"material":321,"size":322,"collection":69,"collections":8009,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":52},226349,"ku-zhu-shi-nan-bi-yi-ming-226349",[332,29,194,333,8004,8005,36,7,35,635,2587,8006,8007],"洞窟","佛像","龛","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4dfaa5206eec695f799960c865e1ce4.jpg",[],{"id":8011,"slug":8012,"title":8013,"dynasty":18,"author":1609,"museum":500,"description":8014,"tags":8015,"thumbUrl":8016,"material":8017,"size":8018,"collection":69,"collections":8019,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":134},222449,"he-tang-ji-qin-tu-zhou-lin-liang-222449","荷塘集禽图轴","林良有些花气画，专绘群乌聚集景象，品类众多，情态各异，生动活泼，极富自然天趣。此幅集禽图以荷塘为背景，塘内荷叶绽开，莲蓬结子，苇丛摇曳，正是盛夏季节。一对豆雁在水中叼着莲茎嬉玩，相依相偎；两只鸬鹚在觅食，一只正衔着小鱼飞向另一只伸颈等待的伴侣，透出相濡以沬的情感；天空有一燕子展翅鸣叫，正飞向栖止荷花上的雏燕，又别呈哺育之情。成对禽鸟的不同情感，既真实地揭示出它们的天性，又赋以强烈的感情色彩，使这些生物不仅活泼可爱，也亲切感人。禽鸟欢悦和谐的生活景象与盛夏池塘生意盎然的环境气氛相交融，奏出了一曲十分优美悦耳的生命交响乐。作品所传达的情凋、氛围，在林良花鸟画中是不多见的。\n此图画法比较工整，荷花、莲蓬均用细线勾勒后再加色晕染，阴阳向背分明。禽鸟亦勾染结合，形态准确，物类——可辨。芦苇、荷茎比较写意，但粗细、深浅也很有分寸，各具轻薄、圆韧质感。此为林良工写相兼画风中的精细之作。（单国强）",[23,25,24,104,122,1479,87,426,1287,7,1403,934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf4364f9bd90694c020b7ec431ffec25.jpg","绢本、设色","152 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近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[23,25,26,24,104,122,29,529,1033,7,6306,163,165,1383,33,1479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","画心纵128，横66.5厘米",[],{"id":8041,"slug":8042,"title":8043,"dynasty":99,"author":486,"museum":119,"description":8044,"tags":8045,"thumbUrl":8046,"material":197,"size":8047,"collection":69,"collections":8048,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":134},221526,"song-quan-shuang-niao-ma-yuan-221526","松泉双鸟","画士人执拂尘坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝枒笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[23,25,26,122,29,33,374,7,163,3392,31,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31ef069753d13621bc1dbd599e4da8c.jpg","41.5x60厘米",[],{"id":8050,"slug":8051,"title":8052,"dynasty":435,"author":222,"museum":3331,"description":8053,"tags":8054,"thumbUrl":8055,"material":3336,"size":69,"collection":69,"collections":8056,"showCount":7886,"zanCount":51,"manualWeight":51,"mainColor":52},217280,"jiang-mo-bian-dun-huang-tu-juan-7-yi-ming-217280","降魔变·敦煌图卷-7","长卷舒展如流动的经卷，将佛教降魔的奇幻与庄严缓缓铺陈。帐幔轻垂处，法相庄严的尊像端坐，身旁弟子凝神谛听；云端神兽振翅而来，羽翼间携着缥缈仙气；山林间的魔众与力士对峙，动态鲜活如临其境。线条柔劲相济，似春蚕吐丝般勾勒出人物的衣袂飘举与神情百态；设色淡雅古拙，赭石与墨色晕染出唐代的雍容韵致。每一处场景皆为叙事切片，从论法的肃穆到斗法的惊心，将佛教义理融入生动的视觉语言，尽显敦煌艺术的灵动与深邃。",[24,25,26,27,333,29,30,2583,35,553,635,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e702adf2feb12b6085fb4ec31e73ed.jpg",[],{"id":8058,"slug":8059,"title":8060,"dynasty":18,"author":19,"museum":59,"description":8061,"tags":8062,"thumbUrl":8063,"material":89,"size":69,"collection":69,"collections":8064,"showCount":7886,"zanCount":11,"manualWeight":51,"mainColor":52},216287,"er-shi-si-xiao-tu-1-chou-ying-216287","二十四孝图-1","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[25,26,30,29,35,635,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a201c122e43a69fe2dbf9bbc6f891c4.jpg",[],{"id":8066,"slug":8067,"title":8068,"dynasty":77,"author":8069,"museum":158,"description":8070,"tags":8071,"thumbUrl":8073,"material":69,"size":69,"collection":69,"collections":8074,"showCount":7886,"zanCount":11,"manualWeight":51,"mainColor":8075},201855,"ba-ge-xue-zhu-tu-zhou-luo-mu-201855","八哥雪竹图轴","罗牧","寒雪覆竹，枝桠交错间，数只八哥情态各异：或聚于高枝相顾，羽色浓淡层叠；或独立低梢翘首，喙爪点染鲜活。竹叶以浓墨撇写，苍劲中含秀逸；雪色借淡墨晕染留白，清寒之气扑面而来。旁侧孤石皴擦简练，与竹、鸟相映成趣。笔墨简淡却意韵悠长，于冬日冷寂中透出灵动生机，尽显文人画的雅致清逸，观之如沐寒林，感幽趣自生。",[25,122,87,528,7,163,104,32,8072],"皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83f887d8b080072491c10e9e2acd0cc.jpg",[],"a29076",{"id":8077,"slug":8078,"title":2201,"dynasty":156,"author":1573,"museum":119,"description":8079,"tags":8080,"thumbUrl":8081,"material":181,"size":8082,"collection":69,"collections":8083,"showCount":8084,"zanCount":51,"manualWeight":51,"mainColor":134},290056,"qiu-shan-xing-lv-tu-wang-yuan-290056","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[25,24,26,104,122,33,3676,35,553,564,41,126,7,38,64,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49dc5b3e0ed601d4c95f7accbb93912c.jpg","96.1x28.2",[],20,{"id":8086,"slug":8087,"title":8088,"dynasty":77,"author":4042,"museum":59,"description":4043,"tags":8089,"thumbUrl":8090,"material":321,"size":322,"collection":69,"collections":8091,"showCount":8084,"zanCount":11,"manualWeight":51,"mainColor":134},289917,"luo-fu-qing-meng-qu-zhao-lin-289917","罗浮情梦",[23,25,24,104,87,30,29,143,528,7,38,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77179de6e62fc77d07380b922dd90cc1.jpg",[],{"id":8093,"slug":8094,"title":8095,"dynasty":435,"author":222,"museum":119,"description":8096,"tags":8097,"thumbUrl":8099,"material":321,"size":322,"collection":69,"collections":8100,"showCount":8084,"zanCount":51,"manualWeight":51,"mainColor":52},289765,"chun-jiao-you-qi-tu-yi-ming-289765","春郊游骑图","画面右侧古木虬劲抽芽，新叶轻缀枝梢，左侧巉岩错落，浅淡春意在古旧绢色里晕开。几位游骑穿行郊野，或缓辔徐行，或纵马轻驰，衣袂随春风轻扬，人马姿态舒展安然，不见鞍马劳顿，尽是春日郊游的闲逸兴味。\n画作线条清劲简练，设色浅淡柔和，将踏青的从容雅致烘托尽致，古雅底色晕染出沉静古意，把郊野疏朗春景与游赏的悠然意趣相融，尽显雅致松弛的唐风况味。",[23,25,29,35,553,33,67,7,8098,30],"郊游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d48213d8d56329e91d86926c79c0722.jpg",[],{"id":8102,"slug":8103,"title":8104,"dynasty":99,"author":632,"museum":119,"description":3812,"tags":8105,"thumbUrl":8106,"material":1321,"size":8107,"collection":69,"collections":8108,"showCount":8084,"zanCount":51,"manualWeight":51,"mainColor":52},289552,"lu-ting-su-yan-tu-cui-bai-289552","芦汀宿雁图",[24,25,26,104,87,122,30,2214,934,4701,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f3c582e431eef1721b986b98811681.jpg","106.5x51",[],{"id":8110,"slug":8111,"title":8112,"dynasty":99,"author":1499,"museum":119,"description":3874,"tags":8113,"thumbUrl":8114,"material":89,"size":3878,"collection":69,"collections":8115,"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出版。",[25,24,26,104,30,29,1035,934,7,163,623,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e4009402f3bfb576c6fa71004de73d.jpg",[],{"id":8160,"slug":8161,"title":8162,"dynasty":99,"author":222,"museum":59,"description":8163,"tags":8164,"thumbUrl":8165,"material":69,"size":69,"collection":69,"collections":8166,"showCount":8084,"zanCount":51,"manualWeight":51,"mainColor":134},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n江山行旅图画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。 依据款署“太古遗民”推断，此画作者应为一位北宋遗民画家，他隐姓埋名，深居简出，不忘大宋，不愿屈服而甘当遗民。另根据“东皋”钤印判断，这位画家有可能籍贯为东皋 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边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[23,25,26,104,122,31,33,39,7,67,38,163,515,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":8339,"slug":8340,"title":8341,"dynasty":1017,"author":2530,"museum":59,"description":2531,"tags":8342,"thumbUrl":8343,"material":321,"size":322,"collection":69,"collections":8344,"showCount":133,"zanCount":51,"manualWeight":51,"mainColor":52},230505,"shi-ting-shi-dai-si-ji-hua-niao-tu-ping-feng-er-ping-xue-zhou-230505","室町时代 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其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[25,26,104,122,31,256,359,82,7,1036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8320ab5ca362924ab59d1050aabcc8c.jpg",[46],{"id":8531,"slug":8532,"title":8533,"dynasty":77,"author":8534,"museum":207,"description":8535,"tags":8536,"thumbUrl":8537,"material":69,"size":69,"collection":244,"collections":8538,"showCount":217,"zanCount":11,"manualWeight":51,"mainColor":134},236654,"wen-ji-gui-han-wan-shan-fei-dan-xu-236654","文姬归汉纨扇","费丹旭","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[25,24,26,489,29,35,635,440,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F947b3912a7c51011632d767e96514f60.jpg",[244],{"id":8540,"slug":8541,"title":8542,"dynasty":18,"author":5235,"museum":59,"description":8543,"tags":8544,"thumbUrl":8545,"material":69,"size":69,"collection":69,"collections":8546,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":134},234976,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234976","董其昌山水册","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[25,26,210,122,33,31,41,123,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35669f9a6c064ad0c4e3ef80e9ba71b.jpg",[],{"id":8548,"slug":8549,"title":8550,"dynasty":77,"author":8551,"museum":207,"description":8552,"tags":8553,"thumbUrl":8556,"material":2433,"size":8557,"collection":69,"collections":8558,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":134},234243,"yu-jia-le-shi-tu-juan-zhang-ruo-cheng-234243","渔家乐事图卷","张若澄","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。\n人物 简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,25,27,122,30,63,32,35,8554,38,41,934,7,515,33,5832,8555,8489,1752,1033,1225,39],"渔船","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":8560,"slug":8561,"title":8562,"dynasty":18,"author":3095,"museum":207,"description":8563,"tags":8564,"thumbUrl":8565,"material":2829,"size":69,"collection":69,"collections":8566,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":134},234242,"shan-shui-juan-sun-zhi-234242","山水卷","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,25,26,27,122,29,31,64,65,33,516,441,2684,41,1355,374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":8568,"slug":8569,"title":8570,"dynasty":77,"author":252,"museum":207,"description":8571,"tags":8572,"thumbUrl":8575,"material":2433,"size":8576,"collection":69,"collections":8577,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":134},234064,"qiu-shu-ba-ge-tu-hua-yan-234064","秋树八哥图","八哥是华嵒擅画的题材之一。此图绘溪野中的八哥或栖于红枫枝头、或盘旋而下、或于水中鸣浴的欢快景象。笔法上勾染兼施，简约传神地塑造了八哥的各种体态，反映了画家娴熟的笔墨技巧和善于想象、巧于构思的艺术才能。",[25,1479,29,122,104,87,67,7,1149,934,6722,865,8573,8574],"鸟禽","水边植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd744f410ea61ce30a13c0ce4ef3ca7c0.jpg","纵161厘米，横87.9厘米",[],{"id":8579,"slug":8580,"title":8581,"dynasty":18,"author":175,"museum":59,"description":8582,"tags":8583,"thumbUrl":8586,"material":69,"size":69,"collection":69,"collections":8587,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":52},228844,"yan-shui-sheng-ya-tu-juan-dai-jin-228844","烟水生涯图卷","此作以长卷铺展江南烟水之致，淡赭晕开汀洲烟波，墨色劲爽勾勒江岸山石，斧劈皴意苍劲利落。芦荻萧萧覆岸，林麓间茅舍错落，水面渔舟星列，渔人或垂纶放流，或泊舟炊煮，将渔家烟火日常尽纳卷中。\n\n画作兼融笔墨刚健与文人清雅意趣，以淡墨轻岚晕染空濛水汽，把江湖野逸的隐逸之思，和渔家乐的世俗生机相融。远山近渚虚实相生，苍郁林木与澹澹烟水相映，将江南水乡的静谧闲适，绘成世外烟霞，淡远空灵间满是鲜活的烟火意趣。",[23,25,27,122,31,30,33,38,39,1225,35,7,41,40,515,934,8584,8585,8554,7775,2574],"岸芷","汀草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2883f5aa258e7dba7014124bd5e0a60.jpg",[],{"id":8589,"slug":8590,"title":8591,"dynasty":18,"author":1476,"museum":59,"description":8592,"tags":8593,"thumbUrl":8594,"material":69,"size":69,"collection":69,"collections":8595,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":134},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,25,26,27,122,33,37,38,39,40,7,41,64,65,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":8597,"slug":8598,"title":8599,"dynasty":99,"author":8600,"museum":59,"description":8601,"tags":8602,"thumbUrl":8604,"material":69,"size":69,"collection":69,"collections":8605,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":52},227615,"liu-yin-xiu-qi-tu-ye-yang-ri-yan-227615","柳荫休憩图页","杨日严","杨日严，字垂训，宋朝河南人。进士及第，曾任安丘知县，通判亳、陈二州。杨日严任益州转运使时，颇为蜀人所信爱，却在任内因贪污被欧阳修弹劾，从此与欧阳修结怨，并且设法攻击。后为开封府代理知府，有囚犯自杀因被罢官。后判太常、司农寺，同知审官院，卒于官。",[23,24,25,26,210,29,30,35,1033,7,33,163,8603],"休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24620bc6c89ce952d0373ed3f8835188.jpg",[],{"id":8607,"slug":8608,"title":2582,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":8609,"thumbUrl":8611,"material":321,"size":322,"collection":69,"collections":8612,"showCount":217,"zanCount":11,"manualWeight":51,"mainColor":52},226350,"ku-zhu-shi-nan-pi-yi-ming-226350",[332,2583,7246,29,2587,7,3334,8610],"佛龛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f6b33aafcc0d2bcee5f9ccd2ecb791.jpg",[],{"id":8614,"slug":8615,"title":8616,"dynasty":77,"author":6216,"museum":119,"description":8617,"tags":8618,"thumbUrl":8621,"material":8622,"size":8623,"collection":46,"collections":8624,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":134},222844,"hua-wan-bang-sui-lv-tu-juan-hong-wu-222844","画万邦绥屡图卷","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,25,27,29,33,31,35,553,4065,4836,41,7,123,1266,8619,8620,359],"牧童","牧民","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf84832b44c645958e870473163f5207.jpg","立轴，纸本，设色","112.2×53cm",[46,48],{"id":8626,"slug":8627,"title":5766,"dynasty":77,"author":6225,"museum":207,"description":8628,"tags":8629,"thumbUrl":8630,"material":2433,"size":8631,"collection":91,"collections":8632,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":134},222801,"lu-yan-tu-zhou-bian-shou-min-222801","此画写两雁在寒沙折芦之间，一雁已息落，一雁盘旋将下，相望相依，宛如一对旅外的伴侣。一支芦花，秃笔蓬松；隐约渚沙，墨色枯淡。作者所画的鸿雁，墨中带赭色，头颈弯曲，一笔而成，由浓而淡；羽翮柔软润泽，无不情趣横溢。这种大写意的泼墨芦雁，是边寿民独特的创造。自题：“壬子立冬后二日，边寿民写于白沙旅馆。”作者时年四十七岁，正是画艺达到炉火纯青之际，这是其重要的传世代表作。",[23,25,122,104,1479,2214,934,2444,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472873d5cf2f6c5f97c9b24377863181.jpg","纵128.5厘米，横48.5厘米",[91],{"id":8634,"slug":8635,"title":8636,"dynasty":156,"author":5840,"museum":838,"description":8637,"tags":8638,"thumbUrl":8639,"material":197,"size":8640,"collection":46,"collections":8641,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":52},221864,"gu-hu-heng-jiang-tu-zhao-yong-221864","孤隺横江图","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[23,25,122,29,489,31,33,39,67,35,2985,748,126,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa61b15cb42e538616214b20fadc245b.jpg","26x25cm",[46,48],{"id":8643,"slug":8644,"title":8645,"dynasty":99,"author":8646,"museum":838,"description":8647,"tags":8648,"thumbUrl":8649,"material":288,"size":8650,"collection":69,"collections":8651,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":8652},221471,"xi-sai-yu-she-tu-juan-li-jie-221471","西塞渔舍图卷","李结","此图为画家李结归隐湖州苕霅西塞山居的理想生活之景。绘丘岭起伏，水碧山青，草木葱茸，沟壑清晰，坡脚石块高低起休，溪水围岸而流。庄园依山傍水，高士放怀得失。李结，字次山，善诗文绘画。",[23,25,26,27,33,515,39,1225,38,37,29,31,40,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d95a85cebca99604ce1166ce014ea99.jpg","40.2*135.5CM",[],"FDD835",{"id":8654,"slug":8655,"title":511,"dynasty":77,"author":8656,"museum":475,"description":8657,"tags":8658,"thumbUrl":8659,"material":1321,"size":8660,"collection":46,"collections":8661,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":52},220066,"shan-shui-tu-zha-shi-biao-220066","査士标","查士标，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。后寓扬州。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。",[25,26,104,122,31,33,37,38,40,7,41,126,179,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0361e879716fd117dcac527202ca88.jpg","193×47.5cm",[46],{"id":8663,"slug":8664,"title":8665,"dynasty":156,"author":222,"museum":838,"description":8666,"tags":8667,"thumbUrl":8668,"material":89,"size":69,"collection":91,"collections":8669,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":52},219299,"yan-shang-ji-ling-tu-yi-ming-219299","岩上鹡鸰图","疏枝如篆，瘦劲墨痕牵起清寂。岩块朴拙，淡墨晕染承着岁月沉影。鹡鸰栖石，羽翅敛微光，尾羽轻垂，神态悠然，似在静听风过枝桠的细响。右上角题字错落，笔墨与画境相融，文气暗生。画面简而不空，淡而有味，将元代文人画的空灵意趣凝于绢素——枯枝的疏朗、石的厚重、鸟的灵动，交织成一曲静谧的笔墨清歌，于简约中见生机，于静谧中藏深致。每一处线条皆含书法意韵，每片墨色都透着凉润，似能触到古人观物时的那份悠然心境。",[25,26,104,122,29,30,163,7,440,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538cf45217440ab8e483e722eede9383.jpg",[91],{"id":8671,"slug":8672,"title":8673,"dynasty":156,"author":1573,"museum":119,"description":8674,"tags":8675,"thumbUrl":8676,"material":89,"size":8677,"collection":69,"collections":8678,"showCount":217,"zanCount":11,"manualWeight":51,"mainColor":52},219132,"hua-hui-ce-hu-er-cao-wang-yuan-219132","花卉册-虎耳草","叶片展如虎耳，脉络细若蚕丝，淡绿晕染出层次分明的肌理。细茎托着素白小花，轻盈似欲随风摇曳。枝间小虫匍匐，梢头轻羽掠过，静中藏动，仿佛能嗅到草叶的清冽气息。墨线勾勒简洁精准，设色温润内敛，赭色背景衬得草木愈发清新。以极简物象捕捉生机，无浓艳之姿，却有静谧雅致的韵致，尽显对自然细微之美的深情凝视与文人画的空灵意趣。每一处笔触都藏着对生命的珍视，将平凡草木绘成诗意的存在，于无声中传递出自然与心灵的共鸣。",[23,25,26,210,30,29,87,238,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ab3628f34bb94d9d39c9594686daf2.jpg","25.9x23.6cm",[],{"id":8680,"slug":8681,"title":8682,"dynasty":77,"author":8683,"museum":207,"description":8684,"tags":8685,"thumbUrl":8686,"material":89,"size":8687,"collection":244,"collections":8688,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":134},218403,"wang-shi-zhen-fang-bai-xian-tu-yu-zhi-ding-218403","王士禛放白鹇图","禹之鼎","这幅画描绘了王士禛坐在花园前的沙发上，手里拿着卷轴沉思的样子，而他面前的一个孩子打开笼子的门，放出一只白野鸡。画面上，云雾缭绕，远处的山头，山下的房屋掩映在云雾之中，一派开阔宁静的景象，恰如其分地表达了一个身居高位的人思念故土、想要逃离牢笼的内心感受。场景和情境的交织，充分表达了王诗的内容，并通过绘画表达了其内在的韵律，具有诗意和极强的感染力。",[23,25,26,27,30,29,35,7,41,33,64,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989f7c06a8f4982a8994af915a0e707f.jpg","26.1x110.7",[244],{"id":8690,"slug":8691,"title":8692,"dynasty":18,"author":19,"museum":119,"description":8693,"tags":8694,"thumbUrl":8695,"material":89,"size":8696,"collection":69,"collections":8697,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":134},218178,"chun-xiao-tu-3-chou-ying-218178","纯孝图-3","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[25,26,29,30,35,635,1895,7,33,81,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71bda439eb3eb85356e82377734aec1d.jpg","32.8x21.9",[],{"id":8699,"slug":8700,"title":8701,"dynasty":6563,"author":6424,"museum":158,"description":8702,"tags":8703,"thumbUrl":8704,"material":69,"size":69,"collection":91,"collections":8705,"showCount":217,"zanCount":51,"manualWeight":51,"mainColor":8706},202992,"mu-dan-xiao-niao-tu-zhou-yu-fei-an-202992","牡丹小鸟图轴","艳红牡丹盛放如霞，花瓣层叠晕染，浓丽中见细腻质感；翠叶脉络分明，深浅相生，尽显蓬勃生机。老干虬曲苍劲，与柔花嫩羽相映成趣。枝头小鸟俏立，羽色鲜活灵动，似欲啁啾，为画面添几分逸趣。整作工笔细腻入微，设色富丽雅致，融书画印于一体，尽显传统花鸟之韵致，是工笔重彩的典范之作。",[30,29,227,87,7,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36cbd9f69ebd3d624531f11b9788fd9e.jpg",[91],"d7ceb9",{"id":8708,"slug":8709,"title":8710,"dynasty":18,"author":19,"museum":59,"description":8711,"tags":8712,"thumbUrl":8713,"material":321,"size":322,"collection":69,"collections":8714,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},290871,"lin-ting-jia-qu-zhou-chou-ying-290871","林亭佳趣轴","此幅似文征明画风，用笔细谨，设色雅丽。画幅细长，前景柴门半掩，曲径通幽；中景高士倚榻闲憩；远景云山垂瀑，楼宇参差。逐步引人入胜，呈现文士徜徉于园林、陶然于山光水色之际。",[25,104,29,30,33,40,37,38,7,123,1990,319,35,41,6319,32,7407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa492d3f099905bddb7c324dd3f269059.jpg",[],{"id":8716,"slug":8717,"title":8718,"dynasty":99,"author":206,"museum":119,"description":2660,"tags":8719,"thumbUrl":8720,"material":89,"size":6867,"collection":69,"collections":8721,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":52},290324,"shi-quan-bao-xi-zhou-lin-chun-290324","十全报喜轴",[25,24,104,87,30,29,7,179,528,126,83,6865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e4eb9e64c0112fda03b22f51f0d9e8.jpg",[],{"id":8723,"slug":8724,"title":8725,"dynasty":77,"author":6424,"museum":59,"description":6425,"tags":8726,"thumbUrl":8727,"material":321,"size":322,"collection":69,"collections":8728,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},289905,"cui-niao-hong-ye-cheng-shan-yu-fei-an-289905","翠鸟红叶成扇",[25,489,87,528,7,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f139abf1c18966e381f8f6c34c725bf.jpg",[],{"id":8730,"slug":8731,"title":8732,"dynasty":99,"author":1865,"museum":59,"description":8733,"tags":8734,"thumbUrl":8736,"material":321,"size":322,"collection":69,"collections":8737,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":52},289873,"xue-an-han-ya-tu-li-an-zhong-289873","雪岸寒鸦图","画中，几棵古木参天，树木虬屈，乱藤攀援。坡石苍润，主峰凸兀，气整伟峻。土坡用笔卷动如风，枯木则中峰勾勒，寒木风骨，平正势奇，枯枝多变，壮如屈铁，气韵深厚。悬崖旷野间，寒鸦或枝头落，或成群飞舞，空中盘旋。仿佛寒鸦群的呜鸣声在山谷间回荡着，忽远忽近。气象萧疏，烟林清旷，峰峦深厚，势伏雄强。",[24,25,104,30,29,87,442,440,7,542,8735],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd545dfce38be3dfe405f73584480cd6b.jpg",[],{"id":8739,"slug":8740,"title":8741,"dynasty":156,"author":8742,"museum":59,"description":8743,"tags":8744,"thumbUrl":8745,"material":321,"size":322,"collection":69,"collections":8746,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":52},289566,"qiu-jiang-chui-diao-tu-sheng-zhu-289566","秋江垂钓图","盛著","画山水高洁秀润，兼工人物、花鸟。能修复古画，补绘处运笔著色，与古不殊。明洪武中(1368—1398)供事内府，得到赏遇，待遇优厚。后画天界寺影壁，以水母乘龙背，不合旨意，被杀。",[25,24,489,33,67,2985,748,7,122,31,515,8555,5596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d32f3efec9d5e9f87a3efcba9b14fd8.jpg",[],{"id":8748,"slug":8749,"title":8750,"dynasty":99,"author":1784,"museum":59,"description":8751,"tags":8752,"thumbUrl":8754,"material":321,"size":322,"collection":69,"collections":8755,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":52},289455,"dai-xue-gui-yu-tu-liang-kai-289455","戴雪归渔图","梁楷，生于1150年，父亲梁端，祖父梁扬祖，曾祖梁子美皆为宋朝大臣。东平须城（今山东东平）人，南宋画家。南渡后流寓钱塘（今浙江杭州）。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。他喜好饮酒，酒后的行为不拘礼法，人称是“梁风（疯）子”。\n梁楷传世的作品包含了《六祖伐竹图》《李白行吟图》《泼墨仙人图》《八高僧故事图卷》等，但以《泼墨仙人图》最为有名。",[25,489,122,33,67,7,1225,442,8753,6417],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b8b1f2538144ea090b404283cfbe23.jpg",[],{"id":8757,"slug":8758,"title":8759,"dynasty":99,"author":6303,"museum":59,"description":6304,"tags":8760,"thumbUrl":8761,"material":321,"size":322,"collection":69,"collections":8762,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":52},288944,"xiao-xiang-ba-jing-jiang-tian-mu-xue-wang-hong-288944","潇湘八景-江天暮雪",[25,27,1623,122,31,442,1163,1756,123,39,7,6318,1755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6cad3d138a2f588d7e6ddb399c2267.jpg",[],{"id":8764,"slug":8765,"title":8766,"dynasty":99,"author":6303,"museum":59,"description":6304,"tags":8767,"thumbUrl":8768,"material":321,"size":322,"collection":69,"collections":8769,"showCount":247,"zanCount":11,"manualWeight":51,"mainColor":52},288737,"xiao-xiang-ba-jing-tu-juan-san-wang-hong-288737","潇湘八景图卷三",[24,25,26,27,122,1623,440,123,38,39,7,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec63f68e44ae6e7dd4c928b05b0d73f.jpg",[],{"id":8771,"slug":8772,"title":8773,"dynasty":156,"author":8774,"museum":119,"description":8775,"tags":8776,"thumbUrl":8777,"material":303,"size":8778,"collection":69,"collections":8779,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":52},287768,"lin-luan-fu-di-zhou-zhao-xi-yuan-287768","林峦福地轴","赵希远","原题。福地真传霹雳开。仰空虚窦瞰崔嵬。千盘磴道穿深黑。万古仇池接往来。颇怪洞中常见日。翻从地底一登台。耸身且自崖间出。回首仙踨怅□来。茂苑文嘉。钤印二。休。承。\n鉴藏宝玺 乾隆御览之宝。乾隆鉴赏。五玺全。宝笈三编。宣统御览之宝。\n收传印记 文谦光印。君珂鉴赏。潘志省印。又三印漫漶。\n谨按赵希远。与王蒙同时。蒙有香光居士图。希远爱而临之。见画史会要。",[24,25,104,1623,31,29,516,1990,36,374,38,564,2588,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb027e2c1284cdaf85c752a1e80f0f639.jpg","127.5x31.1",[],{"id":8781,"slug":8782,"title":5040,"dynasty":18,"author":5041,"museum":59,"description":8783,"tags":8784,"thumbUrl":8786,"material":321,"size":322,"collection":69,"collections":8787,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},287358,"lin-wang-meng-tai-bai-shan-tu-du-qiong-287358","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[23,25,27,1623,62,122,29,31,516,5595,2574,1355,8785,125,7,65,64,32],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0297dd5ace6aed29811f36a49e164bc.jpg",[],{"id":8789,"slug":8790,"title":8791,"dynasty":77,"author":222,"museum":59,"description":1533,"tags":8792,"thumbUrl":8794,"material":321,"size":322,"collection":69,"collections":8795,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},272872,"tian-qi-bian-ke-si-hua-niao-tu-gua-ping-yi-ming-272872","填漆边缂丝花鸟图挂屏",[25,226,5060,87,29,30,7,8793,5805],"桃枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d23b1ff357a4285778be1e97782960.jpg",[],{"id":8797,"slug":8798,"title":8799,"dynasty":77,"author":8128,"museum":59,"description":8800,"tags":8801,"thumbUrl":8802,"material":321,"size":322,"collection":69,"collections":8803,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},239095,"hua-hui-ce-ma-yuan-yu-239095","花卉册","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[25,24,26,210,29,87,7,238,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b30ddd64bda961704f25e2e005f1a5a.jpg",[],{"id":8805,"slug":8806,"title":3020,"dynasty":77,"author":3021,"museum":59,"description":3022,"tags":8807,"thumbUrl":8809,"material":69,"size":69,"collection":69,"collections":8810,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},237879,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237879",[25,29,33,4661,31,210,39,7,38,748,8808,41,515],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d62a312a70c8a4d5387a7961afd06.jpg",[],{"id":8812,"slug":8813,"title":8814,"dynasty":18,"author":8815,"museum":59,"description":8816,"tags":8817,"thumbUrl":8818,"material":321,"size":322,"collection":69,"collections":8819,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},237400,"shan-shui-shan-mian-xie-dao-ling-237400","山水扇面","谢道龄","字邢台，一作彬台，吴（今江苏苏州）人。移寓江宁（今南京）。与周亮工望衡而居。善花鸟，尤工折枝，兼善山水，类赵伯驹、赵孟頫。崇祯元年（一六二八）尝作山水扇",[25,489,33,122,31,7,41,123,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5582f9fe454ac3f2d4b16e06fe5aefe9.jpg",[],{"id":8821,"slug":8822,"title":8823,"dynasty":77,"author":8824,"museum":59,"description":8825,"tags":8826,"thumbUrl":8827,"material":69,"size":69,"collection":46,"collections":8828,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":52},236426,"hua-lu-jian-ceng-chu-sai-xiang-gao-feng-han-bu-jing-zhou-zhang-hang-236426","画卢见曾出塞像高风翰补景轴","张珩","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》。",[25,26,104,29,35,553,3988,7,564,33,32,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef365da266c40d5b375e28de2dc4011.jpg",[46,131,651],{"id":8830,"slug":8831,"title":8832,"dynasty":77,"author":222,"museum":59,"description":8833,"tags":8834,"thumbUrl":8835,"material":69,"size":69,"collection":69,"collections":8836,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},235160,"hong-ren-shan-shui-ce-yi-ming-235160","弘仁山水册","此作为诗画合璧，行书题笔隽雅清逸，与山水景致相映成趣。淡墨轻扫出平远秋湖之景，远山如黛晕染天际，汀渚渔舍错落浅滩，不见浓墨重彩，唯有疏淡笔墨勾勒出水乡秋寂。左下角枯木疏枝清隽，湖面扁舟随波，似载着题诗里的秋闲意趣。\n整体萧散极简，脱尽繁缛，以清和淡墨铺就幽旷静穆的氛围，将秋日湖港泊舟的闲适禅意晕开，诗画相生，尽显文人山水的简淡天真，观之如临秋水，心神亦随之沉敛安宁，悠悠野趣藏于留白淡墨之间。",[25,122,210,31,64,33,39,440,1149,516,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcefcc066a3d8ae189ca1d151c47dd72.jpg",[],{"id":8838,"slug":8839,"title":8840,"dynasty":77,"author":2481,"museum":59,"description":7933,"tags":8841,"thumbUrl":8842,"material":288,"size":7940,"collection":69,"collections":8843,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},234985,"hua-hui-ling-mao-ping-3-ren-yi-234985","花卉翎毛屏3",[25,26,104,29,30,87,34,163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87555a203978651137c3d5d142b277ac.jpg",[],{"id":8845,"slug":8846,"title":8847,"dynasty":18,"author":5407,"museum":59,"description":8848,"tags":8849,"thumbUrl":8850,"material":2433,"size":69,"collection":69,"collections":8851,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},234194,"fang-xia-gui-xian-shan-tu-juan-song-xu-234194","仿夏圭仙山图卷","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[23,25,27,122,31,62,32,33,41,1355,39,37,7,748,124,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e63cf3c48e1f03acef519e28f9af90a.jpg",[],{"id":8853,"slug":8854,"title":8855,"dynasty":77,"author":8856,"museum":207,"description":8857,"tags":8858,"thumbUrl":8859,"material":8860,"size":8861,"collection":69,"collections":8862,"showCount":247,"zanCount":11,"manualWeight":51,"mainColor":134},233401,"shan-shui-ren-wu-ce-jin-nong-233401","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。",[25,26,24,210,29,122,33,35,7,41,38,32,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c812a5aeb034b109fa0e234d163af6b.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[],{"id":8864,"slug":8865,"title":8866,"dynasty":99,"author":222,"museum":207,"description":8867,"tags":8868,"thumbUrl":8869,"material":288,"size":8870,"collection":69,"collections":8871,"showCount":247,"zanCount":11,"manualWeight":51,"mainColor":52},233006,"shuang-xiao-han-chu-tu-ye-yi-ming-233006","霜篠寒雏图页","5只文鸟集于枯棘上，姿势各异，神态如生。枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。",[24,25,26,210,30,29,87,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f2c2bf72a185f58ce3b0cc514e0a6b6.jpg","纵28.1cm，横28.7cm",[],{"id":8873,"slug":8874,"title":8875,"dynasty":77,"author":3021,"museum":59,"description":8876,"tags":8877,"thumbUrl":8878,"material":69,"size":69,"collection":69,"collections":8879,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":52},230226,"fang-gu-shan-shui-shi-er-kai-yang-jin-230226","仿古山水十二开","此作以淡彩晕染江南春岸晓景，堤岸垂柳柔丝拂水，水汽清润朦胧，晕开浅淡氤氲的晨雾。戴笠行旅骑牛缓行于田埂，为乡野添上鲜活意趣。远景山峦以淡墨轻扫，林麓含烟，归雁掠过长空，将平远山水的空阔疏朗铺陈开来。笔墨秀雅工致，设色明洁温润，把江南水乡的恬静诗意融于尺幅之中，尽显平淡天真的文人画韵致，将春日郊野的闲适悠然娓娓铺展，晕染出一派生机盎然的田园雅景。",[25,29,33,210,31,4661,32,35,7,1704,564,40,38,748,41,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387a052644e1585c611187534130e0d3.jpg",[],{"id":8881,"slug":8882,"title":8883,"dynasty":77,"author":8884,"museum":59,"description":8885,"tags":8886,"thumbUrl":8887,"material":69,"size":69,"collection":69,"collections":8888,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},228937,"fang-gu-shan-shui-tu-ce-8-zhen-lu-han-228937","仿古山水图册8帧","陆汉","此作用浅绛糅合青绿晕染山峦，远山以淡墨轻笼云气，晕开幽谷空濛之态。近坡苍松虬曲，桃枝缀花，点染出春日融融生机。溪桥田舍错落排布，渔人操舟、乡人行聚，将武陵桃源的恬适日常铺陈开来。\n\n线条细劲秀雅，皴染柔和，将山水清润与村居和乐融为一体，笔墨间藏着对隐逸田园的向往，把出世之思揉进烟火日常的描摹里，恬淡悠然，意趣绵长。",[25,29,28,33,210,31,37,38,39,40,7,81,1355,34,528,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d30e9ffc96d3a4b2b4aa3622ccefd3.jpg",[],{"id":8890,"slug":8891,"title":8892,"dynasty":18,"author":3913,"museum":59,"description":8893,"tags":8894,"thumbUrl":8895,"material":69,"size":69,"collection":69,"collections":8896,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},228853,"si-wan-shan-shui-tu-wen-bo-ren-228853","四万山水图","以极简淡墨铺陈江天，大片留白漾开空濛水色，将天地浩渺揉入卷中。近岸枯木虬根盘错，浅滩蒲草疏疏曳动，扁舟横卧，渔翁静憩，野逸闲趣暗藏其间。远景山峦以淡墨轻扫出柔缓轮廓，恍如黛色浮于云水之畔。数点飞雁列阵划破空寂，愈发衬出江天寥廓。题款小字错落留白之上，诗画相映，晕开江南秋闲的空阔清远。笔致松秀简淡，不见繁缛皴染，却将平远山水的空灵通透娓娓道来，尽显寄情丘壑、淡远萧散的文人意趣，观之如沐江风，心随水色一同沉敛安宁。",[23,25,122,104,33,39,7,81,163,748,1149,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa85fe8825904bddc6b0c2e6a9aa859.jpg",[],{"id":8898,"slug":8899,"title":8900,"dynasty":99,"author":222,"museum":59,"description":8901,"tags":8902,"thumbUrl":8905,"material":69,"size":69,"collection":69,"collections":8906,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},227838,"xian-nv-cheng-luan-tu-yi-ming-227838","仙女乘鸾图","《五代周文矩仙女乘鸾图》是五代南唐画家 所创作的一幅 。\n此图原载《历代名笔集胜册》第一册。\n此图线条工谨精细，如春蚕吐丝，柔中见刚。\n《五代周文矩仙女乘鸾图》，图画明月一轮，一仙女乘鸾飞翔。\n笔墨精妙飞动，设色艳丽，构图简洁，为宋画中精品。\n无款，旧题周文矩作。\n画中钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍赏」、「珍秘」、「会侯珍藏」、「明安国玩」、「宜尔子孙」等印多方。\n对幅有耿昭忠题，经《虚斋名画录》著录。\n耿昭忠题云：“风格高妙，飘飘然有凌霞绝尘之姿，是盖周文矩胸中迥出天机，故落笔超乎物表。\n张、吴、顾、陆、何难继踵。\n”襄平耿昭忠题。\n”本幅及裱边、对幅钤耿昭忠“真赏”、“黔宁王子孙永保之”、“丹诚”、“都尉耿信公书画之章”、“信公珍藏”、“珍秘”、“宜尔子孙”、“公”等鉴藏印，共17方。\n《圣朝名画评》云：“周文矩，建康句容人。\n美风度，学丹青，颇有精思。\n仕李煜，为待诏，能画冕服车器人物仕女。\n”又云：“周文矩用意深远，于繁富则尤工。\n”按此图虽无款，而作风飞动精丽，允为北宋早期的作品。\n旧题 作，今从之。\n《五代周文矩仙女乘鸾图》图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。\n画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。\n仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。\n画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。\n周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。\n与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。\n周文矩，生卒年代不详，句容（今属江苏）人，曾在南唐后主李煜时任画院翰林待诏。\n工画佛道、人物、车马、屋木、山水，尤精于仕女，多以宫廷或文人生活为题,以“用意深远”著称。\n其仕女画师从周昉，作风更加纤丽繁复，用笔多以“战笔”为特点。\n现藏故官博物院的《重解会棋图》是他的传世作品之一。\n传世作品有《重屏会棋图》、《 》等。",[23,25,489,30,29,35,66,8903,7,8904,124,32],"神鸟","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd1fa7526358a03d725c63f905f8a92.jpg",[],{"id":8908,"slug":8909,"title":6313,"dynasty":77,"author":6377,"museum":59,"description":8910,"tags":8911,"thumbUrl":8914,"material":69,"size":69,"collection":69,"collections":8915,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},224401,"xi-hu-shi-jing-tu-juan-wang-yuan-qi-224401","此作以全景长卷铺陈湖山胜景，浅绛设色清润雅致。峰峦以干笔积墨皴擦勾勒，层叠苍秀，兼具浑厚古朴与秀润之气。湖面浩渺空阔，洲渚星罗，烟柳桃林、亭台梵塔错落点缀，渔舟轻泛波心，将西湖温婉灵韵尽数铺展。\n\n既承娄东画派笔墨法度，又以细腻写实还原十景雅致意境，将江南山水的旖旎柔媚与文人山水的书卷气相融。静穆苍劲的山峦与明秀澄澈的湖光交织，晕染出晴日西湖的通透明丽，于淡逸间藏深秀，是实景山水画中的上乘佳制。",[23,25,27,29,33,31,40,36,37,38,7,41,2684,8912,8913],"岛屿","湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718e976d8d85dc8f898d2ea2d0f8eb5b.jpg",[],{"id":8917,"slug":8918,"title":8919,"dynasty":435,"author":222,"museum":59,"description":8920,"tags":8921,"thumbUrl":8922,"material":321,"size":322,"collection":69,"collections":8923,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":6840},223860,"long-feng-jing-1-yi-ming-223860","龙凤镜-1","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[2586,4472,4473,403,6972,7,238,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a7cf55f4b575cebd38c27b2e2cbe53.jpg",[],{"id":8925,"slug":8926,"title":8927,"dynasty":99,"author":222,"museum":59,"description":8928,"tags":8929,"thumbUrl":8930,"material":69,"size":69,"collection":69,"collections":8931,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":52},223657,"jin-ming-chi-zheng-biao-tu-yi-ming-223657","金明池争标图","此作用精工界画描摹池苑盛景，朱红飞檐沿水铺展，虹桥凌波串联洲屿，殿台廊榭的斗拱榫卯分毫毕现。\n\n水面之上楼船列阵、彩旗微漾，竞渡健儿挥棹如飞，争标嬉水的喧闹仿佛冲破古绢。城垣垂柳轻拂水岸，往来小艇点缀烟波，将皇家游赏的闲逸与赛事的紧张相融，定格下汴京春日的鲜活盛景。\n\n设色调和古雅，笔致细腻写实，带着宋画特有的雅致沉静，让千年前的升平跃然眼前，将彼时的游观雅趣与竞技热络尽数藏在绢素方寸间，尽显入微观察力与写实传神的宋画魅力。",[23,25,24,194,29,30,36,37,38,5832,35,7,41,6318,888,6111,2684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd85e658915ce503fbd031386625d9a8.jpg",[],{"id":8933,"slug":8934,"title":8935,"dynasty":156,"author":222,"museum":3204,"description":8936,"tags":8937,"thumbUrl":8938,"material":89,"size":8939,"collection":91,"collections":8940,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":52},219100,"xue-xi-ju-qin-tu-yi-ming-219100","雪溪聚禽图","绢素之上，雪意轻笼溪山。枯树老枝虬曲如篆，枝间似凝薄雪，墨线劲挺却藏温润。坡岸间数羽禽鸟相嬉：或敛翅梳翎，或振翼掠地，墨色点染的羽翮与淡扫的雪痕相映，生机暗蕴于萧寒。远处山影朦胧，溪流隐于雪下，留白处尽是清旷之气。整幅画以简驭繁，墨色浓淡相宜，将冬日聚禽的闲趣与溪山的冷寂融于一体，尽显山水花鸟合一的空灵意境，冷寂中藏着鲜活的生趣，如同一首无声的冬日短歌。",[25,29,30,439,2653,529,440,123,7,33,87,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560750d4ca79c942cea94696d542cf1b.jpg","纵24.5横21.8厘米",[91],{"id":8942,"slug":8943,"title":8944,"dynasty":77,"author":4833,"museum":119,"description":8945,"tags":8946,"thumbUrl":8947,"material":303,"size":69,"collection":69,"collections":8948,"showCount":247,"zanCount":51,"manualWeight":51,"mainColor":134},218033,"tian-wang-xiang-8-yao-wen-han-218033","天王像-8","画面中心人物端坐石上，衣袂间蓝橙交织的纹路如流水般舒展，手持法器的姿态从容安详。身侧小僧凝眸专注，侍者俯身的姿态里藏着虔诚，动静之间皆见生动。背景山石苍劲，草木葱茏，飞鸟振翅的瞬间似划破静谧，远山处的佛影与云气相融，似将尘嚣隔绝在外。整幅画作工笔细腻，设色妍雅，线条流转间尽显人物神态之真，意境悠远中透着庄严，仿佛能让人在笔墨里触摸到那份清净与肃穆。",[25,24,104,30,29,333,35,7,123,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e37c2500822c5fa456bd1e2074b1e9.jpg",[],{"id":8950,"slug":8951,"title":8952,"dynasty":99,"author":222,"museum":119,"description":8953,"tags":8954,"thumbUrl":8956,"material":321,"size":8957,"collection":69,"collections":8958,"showCount":8959,"zanCount":51,"manualWeight":51,"mainColor":134},290715,"qing-xi-wan-mu-tu-zhou-yi-ming-290715","清溪晚牧图轴","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[25,104,122,29,35,1704,7,38,33,32,8955],"牧乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89651633828c154e4081949ee032c05c.jpg","75.6x44.3",[],16,{"id":8961,"slug":8962,"title":8963,"dynasty":99,"author":222,"museum":59,"description":5859,"tags":8964,"thumbUrl":8967,"material":321,"size":322,"collection":69,"collections":8968,"showCount":8959,"zanCount":51,"manualWeight":51,"mainColor":134},290146,"wu-kuan-he-yan-tu-hua-niao-yi-ming-290146","无款荷雁图-花鸟",[25,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宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,25,24,489,122,1704,35,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2bdd190ae6f5953eca07721acf56ac.jpg",[],{"id":9207,"slug":9208,"title":9209,"dynasty":99,"author":222,"museum":59,"description":9210,"tags":9211,"thumbUrl":9212,"material":321,"size":322,"collection":69,"collections":9213,"showCount":231,"zanCount":51,"manualWeight":51,"mainColor":134},289116,"tao-zhi-qi-que-tu-ye-yi-ming-289116","桃枝栖雀图页","此作为宋画小品中的清丽佳构，以疏简折枝托举幽淡春景。蜿蜒桃枝错落舒展，留白铺就空灵韵致，尽显宋人的雅致意趣。桃花以淡墨勾边，轻敷白粉晕染，瓣尖微透莹润质感，如凝着晨露的初绽花苞，柔婉素雅。枝上栖雀造型写实入微，羽色晕染层次分明，暖棕腹羽与苍灰背羽相映，侧目凝神间姿态悠然，似静聆春风拂花轻响，于静谧中暗蕴鲜活生机。整体笔致秀润精细，设色温婉柔和，将格物观照的审美追求藏于尺幅，定格下春日枝间闲逸恬然的诗意瞬间。",[25,26,87,30,29,34,7,2915,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0865527a000659e4a83fb3a70a7fc7b5.jpg",[],{"id":9215,"slug":9216,"title":9217,"dynasty":156,"author":2441,"museum":59,"description":9218,"tags":9219,"thumbUrl":9221,"material":321,"size":322,"collection":69,"collections":9222,"showCount":231,"zanCount":51,"manualWeight":51,"mainColor":134},289012,"jia-he-ba-jing-tu-wu-zhen-289012","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。",[23,24,25,27,26,122,33,748,36,37,38,40,7,1355,41,64,32,65,1123,9220],"水乡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fc8353ae0102fb4a9641a461d079bf.jpg",[],{"id":9224,"slug":9225,"title":9226,"dynasty":77,"author":222,"museum":59,"description":9227,"tags":9228,"thumbUrl":9233,"material":321,"size":322,"collection":69,"collections":9234,"showCount":231,"zanCount":51,"manualWeight":51,"mainColor":457},268425,"dian-cui-shi-liu-wen-tou-hua-yi-ming-268425","点翠石榴纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[7050,9229,9230,900,7,9231,238,9232],"头饰","点翠","螃蟹","吉祥纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfd0b87b46b706ecaa4e57cd4a978bd.jpg",[],{"id":9236,"slug":9237,"title":9238,"dynasty":77,"author":222,"museum":59,"description":9239,"tags":9240,"thumbUrl":9242,"material":321,"size":322,"collection":69,"collections":9243,"showCount":231,"zanCount":430,"manualWeight":51,"mainColor":134},267444,"mi-se-duan-xiu-hua-lan-hua-hui-wen-nv-pei-yi-ming-267444","米色缎绣花篮花卉纹女帔","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[286,5796,4299,9241,238,7,272],"花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ec3f050151365eb1a2e756a9ac401b3.jpg",[],{"id":9245,"slug":9246,"title":9247,"dynasty":77,"author":222,"museum":59,"description":1533,"tags":9248,"thumbUrl":9249,"material":321,"size":322,"collection":69,"collections":9250,"showCount":231,"zanCount":51,"manualWeight":51,"mainColor":52},263681,"ke-si-qiu-tao-shou-dai-tu-zhou-yi-ming-263681","缂丝秋桃绶带图轴",[25,26,104,226,87,29,30,7,4119,726,163,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6711d2ba142659702743237925acf7.jpg",[],{"id":9252,"slug":9253,"title":9254,"dynasty":77,"author":2702,"museum":59,"description":9255,"tags":9256,"thumbUrl":9257,"material":69,"size":69,"collection":46,"collections":9258,"showCount":231,"zanCount":51,"manualWeight":51,"mainColor":134},238947,"shan-shui-ye-wang-hui-238947","山水页","图绘万壑千岩、草木葱茏、瀑布高悬直泻的江南风光。王翚约16岁师从同邑张珂学画时，就以元黄公望（号井西道人）的笔墨为宗，刻苦摹学始终不怠。此图是他早年学黄氏画法的代表作。图中山石以赭色和绿色交替晕染，学黄氏用纵线的披麻皴皴擦石面，笔势潇洒而秀润。其石边缘上的苔点要比黄氏的更为繁密，排列整齐的苔点，给高崖峻壑增添了青绿之美，同时，它与以卧笔横点表现的树叶，形成点与点的呼应，全图在“点”的统一下，具有湿润华滋的艺术效果。",[25,26,122,29,31,210,33,41,37,38,7,123,5483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8241595b412879fd3462585f1b6fb1.jpg",[46,48],{"id":9260,"slug":9261,"title":9262,"dynasty":77,"author":8683,"museum":207,"description":9263,"tags":9264,"thumbUrl":9266,"material":259,"size":9267,"collection":91,"collections":9268,"showCount":231,"zanCount":51,"manualWeight":51,"mainColor":134},237367,"tong-qin-tu-zhou-yu-zhi-ding-237367","桐禽图轴","本幅左上自题：“余摹蓝田叔先生《得子图》非一本矣。乙亥立秋后二日，偶于京邸，因秋实老堂翁谈及故园风景，又属（嘱）写此幅，感其嗜痂，不知愧耳。广陵禹之鼎识。”钤“慎斋禹之鼎印”、“广陵涛上渔人”印二方。乙亥为清康熙三十四年（1695年），禹之鼎时年49岁。从自题中得知画家此年寓居京师。\n此图用大写意法画桐树几枝，引来两只飞鸟栖息。树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n画家用劲健的粗笔描绘树干，笔断意不断；树叶先用深浅不同的墨点出，然后以浓墨勒出叶筋；小鸟用淡墨勾轮廓，然后染出躯干，最后再用焦墨画两翅和头部。用笔雄健豪迈，奇宕多变，用墨层次丰富，厚而不滞，轻而不淡。\n自题中的“蓝田叔”指明末清初著名的山水画家蓝瑛，虽然目前尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。",[25,104,122,87,7,9265,529,1479,32],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694c514f9fac1228a658eb652771f0d0.jpg","纵109.5厘米，横48厘米",[91],{"id":9270,"slug":9271,"title":9272,"dynasty":18,"author":9273,"museum":59,"description"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“群雁图”是一幅非常有名的水墨画，其中描绘了一群雁鸟在天空中飞翔的场景。这幅画被认为是陈璧的杰作之一，其中展现了他对自然和动物的精准描绘能力。群雁图被认为是清朝时期水墨画的代表作之一，因其精美的线条和逼真的描绘而备受赞誉。",[25,26,104,122,30,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe128ea304571dfed7b6e1e74fd8595a7.jpg",[91],{"id":9444,"slug":9445,"title":9446,"dynasty":77,"author":9447,"museum":158,"description":9448,"tags":9449,"thumbUrl":9452,"material":69,"size":69,"collection":91,"collections":9453,"showCount":231,"zanCount":51,"manualWeight":51,"mainColor":9454},201530,"qiu-tang-lu-si-tu-zhou-huang-song-201530","秋塘鹭鸶图轴","黄松","秋塘岸畔，残荷半倾，菊影疏横。两只鹭鸶静栖矶上，羽色轻润，神态悠然；一羽飞鸟振翅掠过，翅尖带风，与静谧的鹭鸶形成动静对照。笔墨兼工带写，花叶以水墨晕染，浓淡交错间尽显秋意萧疏；鹭鸟刻画细致，形神兼备。整幅画作意境清寂却暗含生机，寥寥数笔勾勒出秋日荷塘的闲雅之趣，韵味悠长。",[25,122,29,104,87,9450,453,7,9451,726,23],"鹭鸶","秋塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca12f8fd78693c2dcfbab1cf8797fb2.jpg",[91],"af9063",{"id":9456,"slug":9457,"title":9458,"dynasty":156,"author":222,"museum":119,"description":9459,"tags":9460,"thumbUrl":9463,"material":303,"size":9464,"collection":91,"collections":9465,"showCount":9466,"zanCount":11,"manualWeight":51,"mainColor":52},290741,"jiu-que-xian-chun-tu-zhou-yi-ming-290741","鸠雀先春图轴","水傍石上，水鸟两只，一微露背，一见全体，足趾间有蹼相系，当系野鸭之属。其上重叠作茶花、竹、石、梅、雀、花卉俱用双钩，虽粗细不同，而笔力一皆挺秀，用色傅粉，亦极沉着。",[24,25,26,104,30,29,87,143,2643,528,5750,7,9461,969,9462],"鸠","春意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea2b2e763b0ca5b7e1db8a44f60e5d.jpg","150.9x31.3",[91],14,{"id":9468,"slug":9469,"title":9470,"dynasty":99,"author":222,"museum":59,"description":9471,"tags":9472,"thumbUrl":9473,"material":321,"size":322,"collection":69,"collections":9474,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},290685,"ke-si-chen-ju-zhong-tian-xian-gong-shou-tu-zhou-yi-ming-290685","缂丝陈居中天仙拱寿图轴","将南天竹果和水仙、蜡梅花共衬,配一对绶带鸟,隐含吉祥寿瑞之意",[24,25,26,104,87,29,226,143,2672,7,32,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d66807053d65d71c73e71a6d2fb4d15.jpg",[],{"id":9476,"slug":9477,"title":9478,"dynasty":18,"author":1738,"museum":59,"description":8478,"tags":9479,"thumbUrl":9480,"material":321,"size":322,"collection":69,"collections":9481,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},290363,"chun-hua-san-xi-zhou-bian-wen-jin-290363","春花三喜轴",[25,104,87,30,29,528,238,7,5750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9d58ed3b1b546865062b1b7eae98d5.jpg",[],{"id":9483,"slug":9484,"title":2211,"dynasty":156,"author":222,"museum":119,"description":5859,"tags":9485,"thumbUrl":9486,"material":89,"size":322,"collection":69,"collections":9487,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},290137,"lu-yan-tu-yi-ming-290137",[24,25,87,30,29,7,2214,957,934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1ac17d1694dd9db326460d303213a3.jpg",[],{"id":9489,"slug":9490,"title":9491,"dynasty":99,"author":486,"museum":59,"description":9492,"tags":9493,"thumbUrl":9495,"material":321,"size":322,"collection":69,"collections":9496,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},289229,"han-zhi-shuang-que-tu-ma-yuan-289229","寒枝双鹊图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[24,25,489,87,30,1753,7,123,9494],"清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7287e190573d7da521bd0f0cbe226cd.jpg",[],{"id":9498,"slug":9499,"title":9500,"dynasty":99,"author":222,"museum":59,"description":9501,"tags":9502,"thumbUrl":9504,"material":321,"size":322,"collection":69,"collections":9505,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},288971,"zhu-shu-xun-que-tu-yi-ming-288971","竹树驯雀图","此作以圆面取景，枯枝新竹错落交织，晕开清寂冬意。三只麻雀是画面灵动的核心，竹梢亲鸟噙虫悬停，目光柔落向下。枯枝上两只幼雏，一只昂首啾啾索食，喙角轻张满是稚态，一只振翅翘首，雀跃不已。\n\n画师用笔精微，禽鸟羽色以细墨线勾出轮廓，淡墨晕染铺就绒羽蓬松质感，羽翼层叠鲜活逼真。竹枝劲挺舒展，竹叶带着迎风轻颤之姿，枯枝皴擦简练，衬出疏淡萧索又藏着暖意的氛围。\n尺幅之间将亲鸟育雏的脉脉温情，融于冬日小景，以小见大，把自然里的细碎温情凝在绢素之上，雅致动人。",[489,25,24,30,29,87,528,7,9503],"温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be9369472d793fb1dc270c4bcff83d7.jpg",[],{"id":9507,"slug":9508,"title":4157,"dynasty":99,"author":1378,"museum":59,"description":9509,"tags":9510,"thumbUrl":9511,"material":321,"size":322,"collection":69,"collections":9512,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},288365,"yuan-lu-tu-yi-yuan-ji-288365","山野古松上，猿猴振臂而挥，惊得上面白鹭啼叫而逃。画家着重刻划瞬间冲突的情节，艺术处理十分神妙。",[24,25,489,30,29,4063,7,41,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9fce78e66c5d2246f135ff668caf7e.jpg",[],{"id":9514,"slug":9515,"title":9516,"dynasty":77,"author":222,"museum":59,"description":9517,"tags":9518,"thumbUrl":9519,"material":321,"size":322,"collection":69,"collections":9520,"showCount":9466,"zanCount":430,"manualWeight":51,"mainColor":134},273645,"zi-tan-mu-bian-xiu-hua-hui-tu-gua-ping-yi-ming-273645","紫檀木边绣花卉图挂屏","这幅挂屏以刺绣摹写花鸟小景，构图疏朗清雅。古拙湖石错落而立，虬曲花枝斜逸而出，缀满柔蕊繁花，两只文禽栖于枝上，顾盼呼应，姿态悠然灵动。\n\n绣法细腻匀整，配色浅淡柔和，将湖石的苍润肌理、花枝的柔婉之态，与禽鸟绒羽的蓬松质感一一呈现，把工笔花鸟的雅致意趣，以绣线晕染开来。紫檀回纹边框古雅端方，与绣面的温婉柔润相映，整体娴静雅致，尽显文人寄情林泉花鸟的澹然心境，是极具闲情雅趣的精巧之作。",[5060,5795,6208,5796,87,7,163,143,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e749fa0b6526b3ea6160a3ed54f8f6b.jpg",[],{"id":9522,"slug":9523,"title":9524,"dynasty":77,"author":222,"museum":59,"description":9525,"tags":9526,"thumbUrl":9528,"material":321,"size":322,"collection":69,"collections":9529,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},270166,"hong-se-ke-si-hai-wu-tian-chou-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270166","红色缂丝海屋添筹图面乌木雕花柄团扇","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[489,226,6208,5796,4473,36,33,7,9019,29,194,9527],"海屋添筹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e1ce388117c9c6ad5e7754b14a35556.jpg",[],{"id":9531,"slug":9532,"title":9533,"dynasty":77,"author":222,"museum":59,"description":9239,"tags":9534,"thumbUrl":9536,"material":321,"size":322,"collection":69,"collections":9537,"showCount":9466,"zanCount":11,"manualWeight":51,"mainColor":134},270158,"duan-xiu-hua-niao-tu-mian-jin-bian-gu-bing-tuan-shan-yi-ming-270158","缎绣花鸟图面锦边骨柄团扇",[489,9535,87,227,7,29,30,4299,5796],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6de0eb13b3a66299e0e47d833ce0dd8.jpg",[],{"id":9539,"slug":9540,"title":9541,"dynasty":77,"author":9542,"museum":59,"description":9543,"tags":9544,"thumbUrl":9545,"material":321,"size":322,"collection":69,"collections":9546,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},239077,"hua-niao-ping-liao-yun-jin-239077","花鸟屏","廖云锦","廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。",[25,30,29,87,163,7,5438,41,2061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F011e8653f2125ec769fee1900f4fdaaf.jpg",[],{"id":9548,"slug":9549,"title":9550,"dynasty":77,"author":9551,"museum":59,"description":9552,"tags":9553,"thumbUrl":9554,"material":69,"size":69,"collection":131,"collections":9555,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},237925,"gu-bai-han-ya-zhou-fu-shan-237925","古柏寒鸦轴","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[25,26,104,122,31,67,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98462ef39975b740790320e8961aa39.jpg",[131],{"id":9557,"slug":9558,"title":9559,"dynasty":18,"author":9061,"museum":59,"description":9560,"tags":9561,"thumbUrl":9562,"material":69,"size":69,"collection":69,"collections":9563,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},235836,"tai-hu-tu-ye-wen-jia-235836","太湖图页","此作淡设色绘就湖山胜景，烟波浩渺间群岛错落如星子散落湖面，近岸山峦清润秀雅，林木轻覆崖畔，湖面舟楫缓行，漾开闲澹悠然的江南意趣。左侧题书隽秀雅致，以文述太湖掌故，书画合璧，晕染出独有的温婉文气。\n画面用笔简淡写意，以清浅设色晕染水汽空濛，将太湖包纳万境的浩渺，化作文人笔下的澹泊空灵，把悠游湖山的隐逸意趣藏在湖光波色之间，尽显山水小品融景抒情的绝佳意韵。",[25,26,210,122,33,39,7,8912,41,748,1149,32,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4688beca4b60516f1eb021c0a349bb4.jpg",[],{"id":9565,"slug":9566,"title":9567,"dynasty":77,"author":2367,"museum":59,"description":2368,"tags":9568,"thumbUrl":9569,"material":321,"size":322,"collection":69,"collections":9570,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},235294,"huang-li-ming-liu-zhou-yuan-jiang-235294","黄鹂鸣柳轴",[24,25,26,104,29,87,7,388,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfee4bca22c5f86a39d248aa74512a2e.jpg",[],{"id":9572,"slug":9573,"title":9574,"dynasty":77,"author":1453,"museum":207,"description":9575,"tags":9576,"thumbUrl":9577,"material":69,"size":69,"collection":69,"collections":9578,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},234820,"qing-chu-liu-da-jia-ji-ce-shan-shui-ce-ye-wu-li-234820","清初六大家集册-山水册页","吴历（1632年—1718年），清代著名画家。本名启历，号渔山、桃溪居士。因所居有言子墨井，又号墨井道人。江苏常熟人。为“清初六家”之一。幼学画，稍长学琴。早年多与西人牧师、神父往来。1681年，吴历决意随柏应理神父赴罗马觐见教皇，原欲经澳门乘荷兰船赴欧洲，已至澳门，却未能成行，遂留居澳门约5个多月。1682年在澳门加入耶稣会，受洗名为西满·沙勿略，并遵习俗取葡式名雅古纳。常居圣保禄教堂，吟诗作画，有《渔山袖珍册》《白传湓江图卷》《秋山红叶图》等作品面世。此时他的绘画，明显有吸收西方绘画艺术之处。同时还著有《三巴集》，“三巴”即以其居地澳门圣保禄教堂之译音为名，其《澳门杂咏》30首，均与澳门有关，实为早期澳门重要的文学史料。1682年离澳，在江浙一带传教。卒于上海。",[25,122,31,210,33,39,7,1036,123,1149,7482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372024be031a85f24ba524143d396600.jpg",[],{"id":9580,"slug":9581,"title":9582,"dynasty":18,"author":3565,"museum":59,"description":9583,"tags":9584,"thumbUrl":9585,"material":69,"size":69,"collection":69,"collections":9586,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},234632,"fang-bei-yuan-shan-shui-shan-ye-lan-ying-234632","仿北苑山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[489,122,31,33,36,41,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2468ed648fd299f606049d48ceee37.jpg",[],{"id":9588,"slug":9589,"title":9590,"dynasty":77,"author":2702,"museum":207,"description":5370,"tags":9591,"thumbUrl":9594,"material":4779,"size":9595,"collection":69,"collections":9596,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},234192,"han-jiang-xue-yi-tu-juan-wang-hui-234192","邗江雪意图卷",[23,25,27,122,30,33,442,441,2684,41,888,7,37,9592,1356,9593,32],"村庄","岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纵39.3cm 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余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[25,26,210,29,87,7,143,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fd54133a0f6a38efa9e9bbcff52f16.jpg",[],{"id":9605,"slug":9606,"title":1007,"dynasty":77,"author":252,"museum":2057,"description":9600,"tags":9607,"thumbUrl":9608,"material":303,"size":8123,"collection":69,"collections":9609,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},233944,"hua-niao-ce-hua-yan-233944",[24,25,29,87,7,167,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278310beb50feb1c1543485ef6eba788.jpg",[],{"id":9611,"slug":9612,"title":7954,"dynasty":77,"author":2408,"museum":59,"description":7955,"tags":9613,"thumbUrl":9614,"material":259,"size":7959,"collection":69,"collections":9615,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},233382,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233382",[25,122,31,210,33,39,7,41,1355,38,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd5561b8af9b8a8f168bf1d305d0bda.jpg",[],{"id":9617,"slug":9618,"title":9619,"dynasty":99,"author":222,"museum":207,"description":9620,"tags":9621,"thumbUrl":9622,"material":288,"size":9623,"collection":69,"collections":9624,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},233005,"ji-ling-he-ye-tu-ye-yi-ming-233005","鹡鸰荷叶图页","图中荷塘里枯枝断茎，一片残败的荷叶向上斜出，翻卷的叶面，满布虫蚀的痕迹，一只鹡鸰停驻其上，双爪紧握荷茎，扭颈俯视，神情专注，为萧瑟的深秋平添了几许生气。鸟羽刻画细腻，先用色渲染，然后以极细之笔勾出，笔法生动秀逸。构图疏密有致，动静结合。",[25,26,87,210,30,122,29,7,702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c23f1fd4e2835e55c1e6774b7eac60.jpg","纵26厘米，横26.5厘米。",[],{"id":9626,"slug":9627,"title":9628,"dynasty":99,"author":222,"museum":207,"description":9629,"tags":9630,"thumbUrl":9631,"material":362,"size":9632,"collection":69,"collections":9633,"showCount":9466,"zanCount":11,"manualWeight":51,"mainColor":52},233003,"xiu-yu-ming-chun-tu-ye-yi-ming-233003","绣羽鸣春图页","图中画一只美丽的山鸟，单足立于太湖石上，神情凄楚，啼鸣不止，右爪不安地刨动。细观乃知其被一细绳系于石上，失去自由。作者用心至为深婉。宋欧阳修有句云：“始知锁向金笼听，不及林间自在啼”，亦即此意。\n太湖石的皴染较为粗疏，与小鸟翎毛之精细形成对比，主次分明。周围不设衬景，更显鸟之孤独。禽类本无表情，画家借鉴人类眼睛的画法表现其心理，堪称妙笔。",[24,25,26,2915,30,122,29,87,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d0c9f127df677be284b99a0e58c917.jpg","纵25.7cm，横24.1cm",[],{"id":9635,"slug":9636,"title":9637,"dynasty":18,"author":3663,"museum":207,"description":9638,"tags":9639,"thumbUrl":9640,"material":259,"size":9641,"collection":69,"collections":9642,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},232962,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232962","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[25,26,210,122,29,31,65,64,32,33,81,123,36,37,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74cf6574391d8f609ec56377466c02c.jpg","28.5×15.8厘米",[],{"id":9644,"slug":9645,"title":9646,"dynasty":1017,"author":1021,"museum":59,"description":9647,"tags":9648,"thumbUrl":9653,"material":321,"size":322,"collection":69,"collections":9654,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},230598,"la-anunciaci-n-you-hua-230598","La-Anunciación","神性的光晕自左上角铺陈而下，鎏金天光里伸出神之手，一道光束破空穿透葱郁林野，将天国的启示引渡向尘世。\n\n林间草木丰茂，柑橘缀满枝头，棕榈舒展阔叶，细腻笔触晕开满溢生机。天使敛翼俯身，神态恭谨低垂，亚当夏娃居于画下，懵懂的神情里藏着未觉的命运波澜。\n\n柔和的色调消解了宗教叙事的厚重，金箔柔光与青翠绿意交融，将天启的肃穆融于伊甸的宁谧静雅，把神圣瞬间定格在静谧林间，静穆中暗涌着命运流转的张力。",[1021,29,333,35,9649,7,41,2734,2061,888,9650,9651,9652],"天使","柱子","光线","翅膀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b9e6f3b8816a416fecae111668883b.jpg",[],{"id":9656,"slug":9657,"title":9658,"dynasty":1017,"author":222,"museum":59,"description":9659,"tags":9660,"thumbUrl":9662,"material":321,"size":322,"collection":69,"collections":9663,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},230544,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-yi-ping-yi-ming-230544","室町时代 浜松图屏风-第一屏","这幅以金箔为底，晕染出柔婉的烟云水色，垂柳枝条袅袅垂落，拂过细劲勾勒的粼粼水波。群鸟灵动错落，或栖于柳梢私语，或掠波振翅，或静立汀渚理羽，将幽寂水岸的春日生机尽数铺陈。墨色苍润的汀渚点缀浅滩，华贵金底晕开朦胧柔美的氛围感，工细的笔致揉合写意的松弛，将雅致闲静的水岸意趣，揉进富丽又清寂的和风意境里，静中藏动，尽显幽闲雅致的东方意韵。",[23,24,29,30,9661,87,7,1033,359,257,1915,1266],"金箔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de117802efd0cb25b10b9881d05f169.jpg",[],{"id":9665,"slug":9666,"title":9667,"dynasty":1017,"author":222,"museum":59,"description":9668,"tags":9669,"thumbUrl":9677,"material":321,"size":322,"collection":69,"collections":9678,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":457},230512,"fu-nie-pan-tu-yi-ming-230512","佛涅槃图","整体色调沉穆古旧，晕染出哀戚而庄严的氛围。释迦牟尼右胁安卧，面容恬然平和，尽显圆寂时的超脱自在。环绕的诸天眷属与弟子，或垂首哀哭，或肃穆伫立，悲恸之态与佛陀的安然形成强烈对冲。朦胧错落的林间花枝，将尘世悲绪融于苍茫禅意。岁月斑驳侵蚀了画面，却未掩去画师的精妙笔力，把涅槃之际的神圣氛围与众生哀恸交织一处，观者仿佛踏入这场肃穆法会，在静谧与悲怆的碰撞之间，体悟寂灭背后的永恒禅机。",[25,333,29,35,41,7,30,692,9670,9671,9672,9673,9674,9675,9676],"人物画","宗教题材","设色人物","树木景观","飞鸟元素","工笔技法","传统国画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8172060eb990fda95c7360f8fb135bca.jpg",[],{"id":9680,"slug":9681,"title":9682,"dynasty":18,"author":9683,"museum":59,"description":9684,"tags":9685,"thumbUrl":9686,"material":321,"size":322,"collection":69,"collections":9687,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},228911,"da-shi-xiang-shi-er-ding-yun-peng-228911","大士像（十二）","丁云鹏","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。",[25,26,63,333,35,7,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f8b57923f0d9d9baf6d5b6213e862c.jpg",[],{"id":9689,"slug":9690,"title":9691,"dynasty":18,"author":222,"museum":59,"description":9692,"tags":9693,"thumbUrl":9694,"material":69,"size":69,"collection":69,"collections":9695,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},228800,"jiang-shang-du-diao-tu-yi-ming-228800","江上独钓图","烟波江上，渔翁卧于苇席，持杯把盏，斜置钓竿，将垂钓沽酒的闲逸写尽。手边酒坛缀着青芽，野趣横生。汀洲苇草轻摇，仙鹤掠空，水纹层层晕染，晕开一江清寂。\n\n题画诗点出幽居江湖、寄意烟波的襟怀，不求鱼获，只守自在本心。设色古雅温润，线条简淡松弛，将文人遁世忘机的隐逸意趣铺陈开来，无半点尘俗喧嚣，只剩江风裹着酒意漫开，把东方文人的闲旷之思融在尺幅间，淡而有味，静里生情，尽显出世忘机的林下之风。",[23,25,26,29,35,33,38,7,515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c530002aa4f2cfc6f7ca3789b17bf70.jpg",[],{"id":9697,"slug":9698,"title":9699,"dynasty":18,"author":5407,"museum":59,"description":9700,"tags":9701,"thumbUrl":9702,"material":69,"size":69,"collection":69,"collections":9703,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},228353,"hu-zhou-shi-ba-jing-yu-tai-feng-song-xu-228353","湖州十八景－玉台峰","危崖之上古松虬劲，松针层叠如翠盖，崖间曲径蜿蜒，三两行人策杖徐行，野趣悠然。浩渺烟波铺陈于眼前，水天相接处帆影轻漾，远山黛色晕染朦胧，尽展江南山水温润灵秀之态。\n\n笔墨苍劲老辣，干笔皴擦勾勒崖石肌理，写松则笔致灵动，尽显古松凌云傲骨。设色浅淡雅致，将水墨清寂与设色明润相融，藏登临纵目的快意于丘林烟水之间，带着萧散意趣，把凭高远眺的胜景晕染得悠远澹泊，尽显清旷悠然的山水意境。",[23,24,25,26,29,31,32,33,2683,67,374,35,1626,6111,748,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a89a51f78f356e57a9d3dcd1e9812e.jpg",[],{"id":9705,"slug":9706,"title":9707,"dynasty":99,"author":222,"museum":59,"description":9708,"tags":9709,"thumbUrl":9710,"material":321,"size":322,"collection":69,"collections":9711,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},227290,"tong-jing-yi-ming-227290","铜镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[99,4472,4473,35,7,4471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0506d37cc1cc68971588966d7bbbecb7.jpg",[],{"id":9713,"slug":9714,"title":9715,"dynasty":77,"author":1453,"museum":59,"description":9716,"tags":9717,"thumbUrl":9718,"material":69,"size":69,"collection":69,"collections":9719,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},224490,"xing-fu-an-gan-jiu-tu-juan-wu-li-224490","兴福庵感旧图卷","《吴历兴福庵感旧图卷》是清代吴历创作的一幅画。\n本幅自题：“吾友笔墨中，惟默公交最深。\n予常作客，不为话别，恐伤折柳。\n庚戌清和，游于燕蓟，往往南传方外书信，意甚殷殷。\n辛亥秋冬，将欲赋归，意谓同此岁寒冰雪，而未及渡淮，闻默公已挂履峰头，痛可言哉。\n自惭浪迹，有负同心，招魂作诔，未足抒写生平，形于绢素，訾笔陨涕而已。\n却到昙摩地，泪盈难解空。\n雪庭松影在，草诏墨痕融。\n几树春残碧，一灯门掩红。\n平生诗画癖，多被误吟风。\n鱼雁几曾隔，赋归迟悔深。\n自怜南北客，未尽死生心。\n痴蝶还疑梦，饥鸟独守林。\n云看无限意，何事即浮沉。\n甲寅年登高前二日雨霁并书。\n桃溪居士吴子历。\n”钤“吴历”印一方。\n卷尾有许之渐、纪萌、张景蔚三家题记。\n甲寅为清康熙十三年（1674年），吴历时年4岁。\n此图是作者为怀念故友默容而作，一段长题简述了二人的交往，情深意切。\n画中描绘兴福庵的景物，寺外杂树丛竹，墙内孤松白鹤，本是一处清幽之所，然人去室空，满目凄清，透露出作者以笔墨寄托哀思的心境。\n树木勾点结合，层次分明，穿插自然，蜿蜒曲折的围墙加强了画面的纵深感，山石有皴有染，大面积的青绿敷色表现了真实自然的景致，是画家兼取宋、元画法而别具一格的代表作。",[23,25,26,27,29,33,65,32,41,1355,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f571ff10a4082ce3d8b946f44feff0.jpg",[],{"id":9721,"slug":9722,"title":9723,"dynasty":99,"author":222,"museum":59,"description":9724,"tags":9725,"thumbUrl":9727,"material":69,"size":69,"collection":69,"collections":9728,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},223618,"hong-mei-kong-que-tu-yi-ming-223618","红梅孔雀图","《宋人画红梅孔雀图》是宋代佚名画家创作的花鸟绘画。\n中国古代以 为题材的绘画不多见。\n此图绘溪边春色，以近远景搭配，表现出自然界的勃勃生机。\n正中一树梅花盛开，两侧辅以山茶、古柏、翠竹、迎春。\n孔雀一对，雄者栖于树干，回首梳翎；雌者倘佯岸边，低头觅食。\n其毛羽斑斓，与花树汇成一片绚烂春光。\n此图难能之处在于布局繁密但杂而不乱；设色富丽但艳而不俗。\n梅、柏枝干用焦墨勾皴，苍劲古朴，与周围花卉禽鸟的纤细娇美恰成互补。\n作者当是擅长状写升平景象的画院高手。\n本幅无款识。\n钤鉴藏印“真赏”、“都尉耿信公书画之章”、“公”、“信公珍赏”、“丹诚”、“宜尔子孙”、“珍秘”、“会侯珍藏”、“庞莱臣珍藏宋元真迹”。\n裱边钤鉴藏印“信公监定珍藏”。\n本幅右侧题“ ”细款，但细察周围有挖痕，应系从别处移来。\n对幅有耿昭忠题记：“此图花木禽鸟极其精工。\n《画髓》评云：‘远欲其子得誉，多于己画题作马麟。\n’夫岂其然？千山信公。\n”钤“虚斋珍赏”及耿氏藏印5方。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[23,25,24,30,29,9726,85,374,1036,7,123,1149,83],"红梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5efe163d7bf4a53fe85c48eba2f57af.jpg",[],{"id":9730,"slug":9731,"title":9732,"dynasty":99,"author":222,"museum":207,"description":9733,"tags":9734,"thumbUrl":9736,"material":362,"size":9737,"collection":69,"collections":9738,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[23,24,25,26,27,122,29,33,31,30,65,1123,195,64,32,9735,38,41,6318,37,7,163],"溪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":9740,"slug":9741,"title":9742,"dynasty":18,"author":3913,"museum":620,"description":9743,"tags":9744,"thumbUrl":9745,"material":1550,"size":9746,"collection":69,"collections":9747,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},222224,"si-wan-shan-shui-tu-wan-qing-qing-bo-wen-bo-ren-222224","四万山水图-万顷晴波","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,25,26,104,122,31,33,39,7,41,126,107,934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4c610a6dfca13ab7aee91938ded7bf.jpg","48X123cm",[],{"id":9749,"slug":9750,"title":9751,"dynasty":18,"author":222,"museum":253,"description":9752,"tags":9753,"thumbUrl":9754,"material":89,"size":69,"collection":91,"collections":9755,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":457},219535,"zhu-lin-ba-ge-tu-yi-ming-219535","竹林八哥图","暗沉古雅的绢面晕染出幽寂林境，数只八哥各呈姿态，或振翅抬爪欲冲入林梢，或引颈长鸣呼应同伴，又有三两纠缠、翅爪相搏，将林间野趣尽数铺展。\n\n画师笔致精微，禽鸟绒羽纤毫毕现，枯竹萧疏苍劲，写意中带着朴拙生趣，动静之间把郊泽林泉间的鲜活生机凝于绢素。幽淡沉郁的底色托衬出灵动生灵，让沉寂古画晕开自然生息，尽显传统花鸟的雅致意趣。",[25,26,104,30,29,87,528,7,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1830ee54c82e5d7fc63950769ab6164a.jpg",[91],{"id":9757,"slug":9758,"title":9759,"dynasty":99,"author":1378,"museum":119,"description":9760,"tags":9761,"thumbUrl":9762,"material":9763,"size":9764,"collection":69,"collections":9765,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},219487,"san-yuan-de-lu-tu-yi-yuan-ji-219487","三猿得鹭图","画在深山悬崖上的一棵老桂花树上，黑、灰、白三只猿正在捉小白鹭。 “三元”是指科举三元，即乡试、会试、殿试第一名。 得到与鹭合和的“禄”，意味着三元之路一帆风顺。 其中，桂花树还摘得桂冠。 意思是。",[25,2545,30,29,87,635,4063,704,41,238,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa52192bd8849e9471b8b5eddc6dd495.jpg","设色,绢本","72.7x32.1",[],{"id":9767,"slug":9768,"title":9769,"dynasty":99,"author":9770,"museum":119,"description":9771,"tags":9772,"thumbUrl":9773,"material":89,"size":9774,"collection":46,"collections":9775,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},218871,"cang-ji-qing-yue-tu-zhu-ci-zhong-218871","苍矶清樾图","祝次仲","这幅画描绘了从河面上凸出的河岛，清波荡漾，岛上绿草如茵，而学者则盘膝而坐，眺望着广阔的河面。这幅画的笔触与李唐相似，岩石是用草书的笔触凿出来的，松散而不夸张。",[23,25,489,122,29,33,163,41,7,6111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f4386ca16a392d3045300e4db4d45d.jpg","26.4x19.8",[46],{"id":9777,"slug":9778,"title":9779,"dynasty":18,"author":9780,"museum":119,"description":9781,"tags":9782,"thumbUrl":9783,"material":181,"size":9784,"collection":91,"collections":9785,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},218782,"lu-zhou-ju-yan-tu-zhu-fei-218782","芦洲聚雁图","朱芾","朱芾（活动于西元十四世纪后期），江苏华亭人，字孟辨，号沧洲生，洪武初，以翰林编修改中书舍人。其人才思飘逸，善画芦雁，集潇湘水云之致，兼善山水及白描人物。工词章翰墨之学，真、草、隶、篆清润遒劲，风度不凡。尝以所书篆瘗之细林山中，题曰篆冢。朱芾为当时名士杨维祯之门生，甚受杨氏器重，曾赞芾能以仁义为修，为其门之幸。本幅画芦洲聚雁，楷书画题，隶书识其作画经过，并赋七绝一首写其心境，笔法多变，结字错落，甚有奇趣。",[25,122,33,31,7,934,41,163,1149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84fd87c7fb0b2f499c2bd78515980998.jpg","117.4x30.7cm",[91,46],{"id":9787,"slug":9788,"title":9789,"dynasty":99,"author":222,"museum":119,"description":9790,"tags":9791,"thumbUrl":9793,"material":89,"size":69,"collection":46,"collections":9794,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},218711,"wu-kuan-ce-jian-tu-yi-ming-218711","无款策蹇图","纨扇小景里，寒林疏枝以墨线轻勒，淡赭暮色晕染古绢，似浸着时光的沉香。驴背文人衣袂微拂，随林间风意缓行，身后僮仆持杖相随，步履从容。笔触细腻处，枝桠虬曲、草叶疏斜皆见匠心，却无雕琢之痕。小径蜿蜒向林深处，隐现的屋舍若有若无，藏着宋时文人的隐逸意趣。不追喧嚣，只向林泉寻一份悠然——驴蹄轻踏的是岁月缓调，目光所及是心之所向的清宁。古绢斑驳如记忆纹理，将千年前的从容心境凝在这方圆镜里，引观者沉湎于淡远诗意，仿佛听见林间风过枝叶的轻响，触到宋代特有的雅寂与温厚。",[23,25,26,122,29,31,33,81,35,9792,564,7,440],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac997e7b74e20f2dc71b1bc5a8a80c3a.jpg",[46],{"id":9796,"slug":9797,"title":9798,"dynasty":99,"author":9799,"museum":119,"description":9800,"tags":9801,"thumbUrl":9802,"material":89,"size":69,"collection":69,"collections":9803,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":134},218676,"xi-hu-shi-jing-tu-liu-lang-wen-ying-ye-xiao-yan-218676","西湖十景图-柳浪闻莺","叶肖岩","烟峦淡远，柳丝拂岸，亭台楼阁隐于葱茏间。墨色温润如宋时烟雨，将柳浪的柔曼与闻莺的清越融于一纸。远山含黛，近树扶疏，建筑错落有致，似有流莺啼鸣穿林而过，惹得柳丝轻摇。题字笔意洒脱，与画作相映成趣，尽显文人雅趣。整幅画以淡墨晕染出西湖春日的清幽，不著艳色却意境悠远。观者仿佛立于湖畔，听柳浪翻涌，闻莺声婉转，沉醉在那抹宋时湖光的温柔里。",[23,25,26,210,29,122,33,388,7,40,36,41,334,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2de438d4c2cddd2b29b345f3825a0337.jpg",[],{"id":9805,"slug":9806,"title":9807,"dynasty":99,"author":3715,"museum":475,"description":9808,"tags":9809,"thumbUrl":9810,"material":362,"size":69,"collection":69,"collections":9811,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":52},218080,"luo-han-tu-ce-7-li-gong-lin-218080","罗汉图册-7","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[23,25,26,210,63,122,333,35,33,440,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9c9716a8827b71f4348abdef37c88e.jpg",[],{"id":9813,"slug":9814,"title":9815,"dynasty":6563,"author":9816,"museum":158,"description":9817,"tags":9818,"thumbUrl":9819,"material":69,"size":69,"collection":91,"collections":9820,"showCount":9466,"zanCount":11,"manualWeight":51,"mainColor":9821},203398,"yi-ben-wan-li-tu-zhou-ding-bao-shu-203398","一本万利图轴","丁宝书","这幅画作以荔枝树为主体，虬干旁逸，枝桠间红荔簇生，色泽鲜妍饱满，叶片墨色浓淡相衬，尽显生机。两只喜鹊动静相宜，一栖枝头引吭，一振翅欲飞，姿态鲜活灵动。山石以写意皴擦，笔墨苍劲朴拙，与花果的明丽形成对比。整体构图错落有致，笔墨工写结合，于自然生趣中寄寓“一本万利”的吉祥意涵，传递出质朴而热烈的美好祝愿。",[25,87,29,30,31,104,7,1796,3258,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3dacf2b1cfcd82a1526e59119ec7e59.jpg",[91],"beb4aa",{"id":9823,"slug":9824,"title":9825,"dynasty":6563,"author":9826,"museum":158,"description":9827,"tags":9828,"thumbUrl":9829,"material":69,"size":69,"collection":46,"collections":9830,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":9831},202935,"dong-ting-qiu-ji-tu-zhou-zheng-wu-chang-202935","洞庭秋霁图轴","郑午昌","画面铺展洞庭秋晴之境，近景苍松虬劲，红叶点染秋意，枯木疏朗有致；中景湖面开阔，孤舟泛波，飞鸟列阵掠过水面，添灵动之趣；远景层岩叠嶂，云雾轻笼，山势悠远。笔墨兼具传统意趣与现代气息，皴擦点染间尽显山石林木质感，设色雅致，红树与墨松相映，冷暖交融。整体意境清旷淡远，既有自然之静谧，又含文人之雅怀，传递出秋日洞庭雨后初霁的澄澈与疏朗。",[25,33,29,39,7,374,31,2370,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80d78fc5407a6f5d622026d07fdb070.jpg",[46],"cfc4b3",{"id":9833,"slug":9834,"title":9835,"dynasty":77,"author":9836,"museum":158,"description":9837,"tags":9838,"thumbUrl":9841,"material":69,"size":69,"collection":46,"collections":9842,"showCount":9466,"zanCount":51,"manualWeight":51,"mainColor":9843},202186,"dong-ting-qiu-yue-tu-zhou-wang-su-202186","洞庭秋月图轴","王愫","这幅画作以淡雅笔墨铺陈洞庭秋夜之境。陡峭山崖以细腻皴法勾勒纹理，枯树虬枝点缀其间，尽显秋意萧瑟。开阔水面波光隐现，远处飞鸟掠空，添灵动之韵。右下角小屋傍树而立，与自然相融，透出隐逸闲趣。整体色调清寒，虽未直绘秋月，却以空濛清旷的氛围烘托出月色皎洁，意境悠远宁静。笔墨层次丰富，山石用墨浓淡相宜，草木勾勒简练传神，尽显画家功底。构图疏密有致，左密右疏、虚实相生，将洞庭湖畔的秋夜寂寥与月色清辉完美融合，引人沉醉。",[122,31,33,39,7,9839,440,1149,9840,1061,23],"小屋","清旷意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8ff5c3d6aa85680f47b2d34af0767a.jpg",[46],"b2a58f",{"id":9845,"slug":9846,"title":9847,"dynasty":156,"author":9848,"museum":59,"description":9849,"tags":9850,"thumbUrl":9851,"material":321,"size":322,"collection":69,"collections":9852,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":52},290399,"shan-shui-tu-ke-luo-ban-ni-zan-290399","山水图（珂罗版）","倪瓒","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[23,25,24,122,1623,64,32,31,67,516,38,163,7,5487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd388e9b163af066519eb6f9234c22b13.jpg",[],13,{"id":9855,"slug":9856,"title":9857,"dynasty":156,"author":222,"museum":59,"description":9858,"tags":9859,"thumbUrl":9861,"material":321,"size":322,"collection":69,"collections":9862,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":52},290320,"sui-chao-tu-zhou-yi-ming-290320","岁朝图轴","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[24,25,104,29,30,35,36,33,67,7,5785,9860],"节庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576a2e63e63124f7c0eced854dfc1b0c.jpg",[],{"id":9864,"slug":9865,"title":2211,"dynasty":156,"author":222,"museum":119,"description":5859,"tags":9866,"thumbUrl":9867,"material":89,"size":322,"collection":69,"collections":9868,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":52},290133,"lu-yan-tu-yi-ming-290133",[25,87,30,29,7,2214,2916,957,3804],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cdf5d6601db8fff05edc3219b94003.jpg",[],{"id":9870,"slug":9871,"title":3389,"dynasty":99,"author":486,"museum":59,"description":9492,"tags":9872,"thumbUrl":9873,"material":321,"size":322,"collection":69,"collections":9874,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":134},289844,"song-quan-shuang-niao-tu-ma-yuan-289844",[24,25,26,210,122,29,33,35,179,38,7,163,5487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907448da9b810fec8225fe3e1a09aff8.jpg",[],{"id":9876,"slug":9877,"title":9878,"dynasty":18,"author":3293,"museum":59,"description":9879,"tags":9880,"thumbUrl":9881,"material":321,"size":322,"collection":69,"collections":9882,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":134},287815,"gu-shu-qi-niao-tu-li-zhou-yuan-shang-tong-287815","古树栖鸟图立轴","袁尚统（1570—1661年后）明代画家。字叔明，江苏苏州人。善画。善画山水、人物、花鸟。山水浑厚，人物野放，多画民间风俗，，作品有浓厚生活气息。",[23,25,26,24,104,122,87,67,7,64,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0ebaf1cadc87a2f1a0a5df6e056ae8.jpg",[],{"id":9884,"slug":9885,"title":9886,"dynasty":18,"author":9887,"museum":59,"description":9888,"tags":9889,"thumbUrl":9890,"material":321,"size":322,"collection":69,"collections":9891,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":134},287781,"guan-yan-tu-li-zhou-chen-ji-he-287781","观雁图立轴","陈济和","明朝史学家。字伯载，武进（今属常州）人，陈洽兄。他博学强记，读书过目能诵。口诵手钞，经史百家无不贯通，时称两脚书橱。永乐元年（1403年），明成祖诏修《文献大成》（后改称《永乐大典》），朝廷以布衣召他担任编纂总裁，他却推荐姚广孝及胡严为总裁，自任副手。藩秘库书达数百万卷，浩无端倪。陈济与姚广孝等确定了编写体例，组织了文人学士2000余人参与编写。编写过程中，执笔者凡遇到疑难问题就请教陈济，他应口为之条辩缕析。永乐六年（1408）书成，总辑成22877卷，凡例、目录60卷。陈济被授于左春坊右赞善。陈济任职谨慎无过。帝甚礼重之，凡稽古纂集之事，皆交陈济处置。他在职15年，永乐二十二年（1424年）病逝，享年62岁。陈济学问渊博；平时却十分谦虚，终身危坐手不释卷，他常说：知识和布帛粮食一样贵重，有益于社会。平生著述有：《书传补》、《元史举要》、《通鉴纲目集览正误》《思斋集》等。",[23,24,25,26,104,29,35,36,37,7,440,374,123,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1761c3e21f8d87eeaba59b3a93f7aba6.jpg",[],{"id":9893,"slug":9894,"title":9895,"dynasty":77,"author":222,"museum":59,"description":9896,"tags":9897,"thumbUrl":9899,"material":321,"size":322,"collection":69,"collections":9900,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":134},281562,"lan-di-hua-niao-mei-hua-wen-qi-bao-shao-da-ping-yi-ming-281562","蓝地花鸟梅花纹七宝烧大瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[9898,1955,87,143,7,238,29],"琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1dc3ac768c4290cd21b58d8a8b210e.jpg",[],{"id":9902,"slug":9903,"title":9904,"dynasty":77,"author":222,"museum":59,"description":9905,"tags":9906,"thumbUrl":9909,"material":321,"size":322,"collection":69,"collections":9910,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":457},260771,"tan-zhai-kuan-fen-cai-shi-nv-tu-bei-yi-ming-260771","坦斋款粉彩仕女图杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[9017,9907,9908,316,7,608,29,453,30],"饮酒器","粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45964cb0c9b66328af192c11b53b9c3.jpg",[],{"id":9912,"slug":9913,"title":3734,"dynasty":77,"author":9914,"museum":207,"description":9915,"tags":9916,"thumbUrl":9917,"material":2433,"size":69,"collection":69,"collections":9918,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":134},237192,"shan-shui-ce-sun-yi-237192","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[25,26,210,29,31,33,41,123,9839,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982c07f251c1c753b85053dfc6e0561.jpg",[],{"id":9920,"slug":9921,"title":9922,"dynasty":18,"author":9923,"museum":59,"description":9924,"tags":9925,"thumbUrl":9926,"material":69,"size":69,"collection":69,"collections":9927,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":52},235695,"qiu-shu-shuang-ying-tu-zhou-yang-da-lin-235695","秋树双鹰图轴","杨大临","画面中虬曲苍劲的枯梅老干盘绕，枝头缀着细碎寒花，双鹰静卧崖木之上，翎毛刻画精微细腻，神态冷峻孤傲，尽显猛禽沉凝雄姿。下方崖壁间幽竹舒展、细草依附，飞瀑隐于山石间，一只小雀振翅穿掠，于静谧中添灵动生机。\n\n整体以水墨为骨，淡色轻染晕出萧索秋意，树石皴擦老辣苍劲，禽鸟写实兼具写意，将雄鹰的孤傲威猛与荒寒秋景相融，烘托出沉穆清旷的幽远意境，尽显花鸟画工写结合的别致意趣。",[25,26,104,122,29,30,1548,67,528,123,7,87,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89756251ff5da4b2dd8e9ec09061b2f2.jpg",[],{"id":9929,"slug":9930,"title":9931,"dynasty":18,"author":222,"museum":207,"description":9932,"tags":9933,"thumbUrl":9934,"material":69,"size":69,"collection":69,"collections":9935,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":52},234211,"yue-dai-xi-shan-xiao-si-tu-juan-yi-ming-234211","岳岱溪山萧寺图卷","此作以长卷铺展山野溪居之境，开篇题墨淋漓，笔意苍劲朴拙。继而峰峦层叠，以干笔皴擦写尽山石肌理，苔点错落，尽显丘壑深邃。溪岸蜿蜒，洲渚间林木蓊郁，村居萧寺错落隐现于林泉之间，野意悠然。\n全作用墨清润淡雅，勾勒皴擦间尽显文人水墨的简淡意趣，将江南山野的清寂萧散缓缓铺陈，带着温润散逸的吴门意韵，在长卷间绘就林泉高致，尽显幽居林下的雅致情怀。",[23,24,25,26,27,122,29,31,33,36,37,38,40,7,1480,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e026addd26e1c769617a191992a01c8.jpg",[],{"id":9937,"slug":9938,"title":9939,"dynasty":77,"author":8333,"museum":59,"description":9940,"tags":9941,"thumbUrl":9943,"material":69,"size":69,"collection":69,"collections":9944,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":134},234175,"xi-xi-cao-tang-tu-juan-cha-shi-biao-234175","西溪草堂图卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。",[23,25,27,122,33,31,256,257,40,81,1355,39,126,921,5833,1560,1033,9942,1561,7],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1795bf78bf2ed221b26be8f6242dad.jpg",[],{"id":9946,"slug":9947,"title":9948,"dynasty":18,"author":222,"museum":207,"description":9949,"tags":9950,"thumbUrl":9951,"material":2433,"size":69,"collection":69,"collections":9952,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":134},234148,"qian-gu-xiao-yao-you-tu-juan-yi-ming-234148","钱榖逍遥游图卷","钱榖（1508—1579）字叔宝，自号罄室，吴县（今江苏苏州）人，明代画家。\n少孤贫，失学，迨壮始知读书。家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便觉心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔于艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物院藏有万历六年（一五七八）客金陵王氏修竹馆作兰竹卷，时年七十一。",[23,25,26,27,122,33,35,65,1123,64,32,41,38,39,40,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599973daa6e861823a66c4c21576ad86.jpg",[],{"id":9954,"slug":9955,"title":9956,"dynasty":156,"author":5840,"museum":207,"description":9957,"tags":9958,"thumbUrl":9959,"material":362,"size":9960,"collection":69,"collections":9961,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":52},233201,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-233201","秋林远岫图页","赵武灵王（约公元前340年—前295年），中国战国中后期赵国君主，嬴姓，赵氏，名雍。（先秦时期男子称氏不称姓，故当称为赵雍，不叫嬴雍。）赵武灵王在位时，推行的“胡服骑射”政策，赵国因而得以强盛，灭中山国，败林胡、楼烦二族，辟云中、雁门、代三郡，并修筑了“赵长城”。武灵王本人在前296年的沙丘之乱中被幽禁饿死，谥号为武灵王（“灵”为贬义谥号，表示“乱而不损”，赵国君主称王，自武灵王谥号始）。",[25,26,24,2915,489,122,29,31,33,1480,67,748,163,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7e5b742b617c523f43b90f6a163971.jpg","68X77cm",[],{"id":9963,"slug":9964,"title":9965,"dynasty":77,"author":6314,"museum":59,"description":9966,"tags":9967,"thumbUrl":9968,"material":69,"size":69,"collection":69,"collections":9969,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":52},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","夏山欲雨图","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[23,25,26,27,122,33,256,359,81,1990,7,125,748,2598,123,124,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":9971,"slug":9972,"title":9973,"dynasty":1017,"author":222,"museum":59,"description":9974,"tags":9975,"thumbUrl":9978,"material":321,"size":322,"collection":69,"collections":9979,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":52},230545,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-er-ping-yi-ming-230545","室町时代 浜松图屏风-第二屏","苍劲古松盘虬扎根沙洲，枝干舒展如翠盖层叠，松下茅舍掩映，渔樵往来于烟波之间，晕染出悠然野逸的山居意趣。层叠浪涛带着灵动韵律，将画面割裂又串联，近岸石畔姹紫花卉葳蕤盛放，野禽栖于苔石，生机盎然。金箔底色晕开朦胧柔美的氛围感，将俗世渔樵烟火与林下幽情相融，把四时生机与闲静禅意揉为一处，尽显和风绘卷温润雅致的侘寂之美，藏着东方古典里独有的悠然意境。",[23,29,9976,30,33,87,374,67,3404,38,39,35,1560,7,7935,7938,123,9977],"金碧","土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8426675663adcf6258597ace11c316e8.jpg",[],{"id":9981,"slug":9982,"title":9983,"dynasty":18,"author":222,"museum":59,"description":9984,"tags":9985,"thumbUrl":9986,"material":321,"size":322,"collection":69,"collections":9987,"showCount":9853,"zanCount":11,"manualWeight":51,"mainColor":52},228805,"luo-han-xiang-long-tu-yi-ming-228805","罗汉降龙图","画面高远错落，祥云缭绕出清寂禅意。红袍虬髯的罗汉怒目圆睁，正施法定住惊涛中翻腾的蛟龙，鳞爪张舞的蛟龙满是桀骜，与罗汉的沉凝威势碰撞出强烈张力。上方禅坐的尊者宝相安然，将下方的奔波动势收束于静谧禅机之内。\n\n周遭僧众神态各异，或垂目静思，或注目凝神，层层烘托出伏魔场面的庄严肃穆。石青朱砂的古雅敷色，晕染出佛绘特有的厚重威仪，细腻笔触将人物神态、蛟龙肌理刻画入微，把禅门降伏神通的玄妙意境铺陈开来，尽显工笔佛画的精湛造诣。",[23,25,26,1047,333,30,29,35,403,123,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7b08be8a42e4de886d90750e888424.jpg",[],{"id":9989,"slug":9990,"title":9991,"dynasty":18,"author":5407,"museum":59,"description":9992,"tags":9993,"thumbUrl":9994,"material":69,"size":69,"collection":69,"collections":9995,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":134},228354,"hu-zhou-shi-ba-jing-bi-lang-hu-song-xu-228354","湖州十八景－碧浪湖","近景湖心石渚之上，七层浮屠卓然挺立，飞檐层叠错落，宝顶凌云。烟波里扁舟轻摇，水鸟掠波而过，漾开细碎涟漪。左侧崖壁巉岩嶙峋，林木层叠点染，山道间行人如蚁，衬出丘壑的阔远深邃。\n\n远景沙汀逶迤，楼阁隐现于浅赭山峦间，淡墨晕染的远山融于烟岚之中，晕开空濛天色。画作以浅绛设色，笔墨苍秀简逸，写意中兼具工致，既带着文人画的清雅意趣，又细致摹写出水岸林峦的错落层次，将湖山的旷远空濛与烟火生机相融，观之如临其境，尽览湖畔悠然澹远的朝暮意韵。",[23,25,122,29,33,36,39,7,126,41,31,194,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdc45eb224b944a1ca856e776bdaec7.jpg",[],{"id":9997,"slug":9998,"title":9999,"dynasty":18,"author":2966,"museum":59,"description":10000,"tags":10001,"thumbUrl":10002,"material":69,"size":69,"collection":69,"collections":10003,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":134},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,25,26,210,29,122,33,31,516,124,38,37,36,41,7,40,123,1626,35,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":10005,"slug":10006,"title":10007,"dynasty":18,"author":2775,"museum":59,"description":10008,"tags":10009,"thumbUrl":10010,"material":321,"size":322,"collection":69,"collections":10011,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":134},228301,"hua-niao-jing-pin-ce-chen-hong-shou-228301","花鸟精品册","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[25,26,210,29,30,87,227,426,957,34,2672,7,453,271,346,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab22e59eca769a09ba77829421839ef.jpg",[],{"id":10013,"slug":10014,"title":10015,"dynasty":156,"author":5840,"museum":59,"description":10016,"tags":10017,"thumbUrl":10018,"material":69,"size":69,"collection":69,"collections":10019,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":457},228029,"fang-you-tu-zhao-yong-228029","访友图","此作以俯瞰视角铺展山林逸景，苍褐主调晕出秋山幽寂氛围，枯木茂林错杂交织，将山居隐于浓荫深处，屋中似有故友晤谈，山径上访客策杖徐行，为深林添了几分温然生机。\n\n笔墨融宋人之丘壑写实与元人之意韵疏淡，皴擦简括浑朴，敷色沉敛古雅，将林下访友的雅事晕染在荒寒深秀的山水间，把文人隔绝尘嚣的林下之思，与访旧晤谈的温情悄然揉合，隐逸静穆的意趣扑面而来，尽显幽淡萧散的文人画致。",[23,25,29,33,31,35,40,41,37,38,564,1480,67,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":10021,"slug":10022,"title":10023,"dynasty":1017,"author":1351,"museum":59,"description":1352,"tags":10024,"thumbUrl":10030,"material":321,"size":322,"collection":1024,"collections":10031,"showCount":9853,"zanCount":51,"manualWeight":51,"mainColor":134},225870,"vissersboten-op-het-strand-van-les-saintes-maries-de-la-mer-fan-gao-225870","Vissersboten op het strand van Les 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，擢庶吉士，明亡后先降李自成，不久又羞愧自缢。平生擅画山水，兼工花鸟。",[25,489,122,31,41,7,123,748,1036,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92dd15adde64d03325d8a441afab8aa.jpg",[],{"id":10225,"slug":10226,"title":10227,"dynasty":18,"author":3565,"museum":207,"description":9583,"tags":10228,"thumbUrl":10229,"material":69,"size":69,"collection":69,"collections":10230,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":457},234476,"fang-mi-fei-shan-shui-shan-ye-lan-ying-234476","仿米芾山水扇页",[25,489,122,33,62,40,7,123,124,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a5a4290051bbe9bdc2e265db525275.jpg",[],{"id":10232,"slug":10233,"title":10234,"dynasty":18,"author":6074,"museum":207,"description":10235,"tags":10236,"thumbUrl":10238,"material":2829,"size":69,"collection":69,"collections":10239,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":134},234240,"ting-qiu-tu-juan-zhou-chen-234240","听秋图卷","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》《春泉山隐图》等 ，济南博物馆收有《访友图》 ，及台湾、国外大博物馆内也收藏一些作品。周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,25,26,27,122,65,1123,35,81,1036,7,33,1149,10237],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc39bceafc9a156609910412949d149.jpg",[],{"id":10241,"slug":10242,"title":1007,"dynasty":77,"author":252,"museum":2057,"description":9600,"tags":10243,"thumbUrl":10244,"material":303,"size":8123,"collection":69,"collections":10245,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":134},233947,"hua-niao-ce-hua-yan-233947",[25,122,29,87,7,388,1479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4b42e8ee5a36679f09cc1bd3da89ec.jpg",[],{"id":10247,"slug":10248,"title":10249,"dynasty":18,"author":19,"museum":207,"description":10250,"tags":10251,"thumbUrl":10252,"material":288,"size":10253,"collection":69,"collections":10254,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":134},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[25,26,27,29,30,31,65,64,32,33,35,36,37,38,40,7,41,1560,748,1680,2574,2412],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg","纵26.9厘米，横124厘米",[],{"id":10256,"slug":10257,"title":10258,"dynasty":1017,"author":222,"museum":1556,"description":10259,"tags":10260,"thumbUrl":10263,"material":259,"size":10264,"collection":69,"collections":10265,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":134},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[23,25,27,29,30,35,41,33,38,36,37,123,83,316,10261,10262,7],"僧侣","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":10267,"slug":10268,"title":10269,"dynasty":99,"author":222,"museum":59,"description":10270,"tags":10271,"thumbUrl":10272,"material":69,"size":69,"collection":69,"collections":10273,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":52},227911,"zhu-jian-yuan-yang-tu-yi-ming-227911","竹涧鸳鸯图","这幅小品以边角取景，将幽寂山涧铺陈于尺幅之间。右侧崖壁古木斜出，新篁附石抽梢，苔痕历历；崖下茅舍半隐，野径蜿蜒，慢慢没入淡远平芜。\n\n画面左侧清空之上，禽鸟振翅穿空，将山涧的静气轻轻划破。淡墨晕染烟岚，远景虚渺朦胧，近景的竹、木、石以细劲勾勒间施皴擦，质感宛然。全作以简驭繁，不着浓艳，仅以水墨层次区分远近虚实，把江南山隅无人惊扰的闲逸尽数凝住，似可听闻涧水轻响、林风穿叶，将宋人寄情林泉的幽淡襟怀融在尺幅之中，余韵悠悠。",[23,25,489,30,29,33,528,38,759,87,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc68574cd4486c08d626211cf6dab797a.jpg",[],{"id":10275,"slug":10276,"title":10277,"dynasty":99,"author":222,"museum":59,"description":10278,"tags":10279,"thumbUrl":10280,"material":69,"size":69,"collection":69,"collections":10281,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":134},227861,"dou-que-tu-ye-yi-ming-227861","斗雀图页","《斗雀图页》宋代画家佚名创作的一幅绢本设色画。\n本幅无款识。\n鉴藏印钤“真赏”、“庞莱臣珍藏宋元真迹”、“珍秘”、“宜尔子孙”、“丹诚”、“都尉耿信公书画之章”、“信公珍赏”、“公”、“会侯珍藏”、“绍勋”。\n裱边钤“信公监定珍藏”印。\n对幅有耿昭忠题记：“黄居寀能世其家学，点染具简澹野逸之致。\n画史以黄家富贵评之，未必无议。\n千山耿信公。\n”虽题为黄居寀作，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。\n善于抓住瞬间的精彩场面来表现自然界的勃勃生机，是宋人小品的特色之一。\n本幅绘两只小雀在平坡之上嬉戏争斗，滚作一团。\n画家采用虚实结合、突出重点的画法，于雀的翅、尾翎毛只是粗写动态，头、腹毛羽更是淡染轻描。\n着力加以刻画的是雀之爪、喙和二雀相互逼视的双目。\n图中占上风之雀，左爪紧抓住对方的喙，右爪紧握对方的爪，正待欲啄，其喙却也被对方死死地抓住，形成谁也啄不得的僵持局面，颇有情趣。\n两只小雀皆羽翼大张，动感和力度在此充分体现。\n此情此景万难想象而成，当是细致观察所得。",[23,25,26,24,2915,30,122,7,969,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75d11a386f36142cfbf9e834d6e91cc.jpg",[],{"id":10283,"slug":10284,"title":10285,"dynasty":99,"author":222,"museum":59,"description":10286,"tags":10287,"thumbUrl":10288,"material":69,"size":69,"collection":69,"collections":10289,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":52},227385,"qun-yan-tu-ye-yi-ming-227385","群雁图页","在中国绘画艺术的发展长河中，占据一隅的佚名绘画对艺术发展的推动力不容忽视。宋代良好的文化环境对于绘画的推动，一方面体现在精英画家辈出，院体画风曲高和寡；另一方面民间绘事日渐活跃，绘画成为了市井百姓喜闻乐见的一种表现形式，绘画佚名在当时也成为一种普遍现象。",[23,24,25,26,210,30,29,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb62f4007ee81d835d13b3baa63b93e17.jpg",[],{"id":10291,"slug":10292,"title":10293,"dynasty":435,"author":222,"museum":59,"description":10294,"tags":10295,"thumbUrl":10296,"material":69,"size":69,"collection":69,"collections":10297,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":52},227226,"jiang-mo-bian-yi-ming-227226","降魔变","【 唐 佚名 《降魔变文》 】卷，纸本设色，27.5×571.5cm，法国国家图书馆藏。此卷敦煌遗物在1908年被法国的希伯和所盗取。画面从笔墨和造型上看应当是真正的唐代人物宗教故事画，虽非名手所作，但也是珍贵的文物，为研究唐代人文宗教历史提供了第一手材料。\n画卷中的国王、外道和佛弟子的形象特征鲜明。描绘了外道如何向国王口出狂言，扬言自己本领高强，要取代佛弟子的地位。他们制造显现出离奇的景象、恐怖的物事、吓人的声音、惊惧的场面，企图威慑佛弟子；佛弟子则神态平静，在淡然默语之中，展现神通，一一予以粉碎、消除、化解、冲刷得干干净净。国王看到这一切，当然心悦诚服，欣喜异常。外道则黔驴技穷，一筹莫展，最终不得不遵从国王的旨意，归顺了佛弟子。",[23,25,26,27,333,29,30,63,35,635,403,7,41,123,4836,888],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dd62430861a3914d1d4d7d6ab142ba.jpg",[],{"id":10299,"slug":10300,"title":10301,"dynasty":1017,"author":1351,"museum":59,"description":1352,"tags":10302,"thumbUrl":10305,"material":321,"size":322,"collection":1024,"collections":10306,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":52},225838,"the-sower-fan-gao-225838","The Sower",[1021,10025,737,1356,35,7,1355,9977,1357,10303,10304],"笔触奔放","色彩对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d66a86c8a21a8eb5849c25e6ff1665.jpg",[1024],{"id":10308,"slug":10309,"title":10310,"dynasty":77,"author":10311,"museum":59,"description":10312,"tags":10313,"thumbUrl":10314,"material":69,"size":69,"collection":69,"collections":10315,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":134},224315,"hua-niao-ce-shi-kai-5-li-shan-224315","花鸟册十开5","李鱓","紫英垂悬如瀑，花瓣以淡墨晕染，浓淡间分出初绽苞蕾与盛放娇花，枝叶以枯笔淡绿点染，随性舒展，野趣天成。翎羽以赭黄铺陈，丹喙亮眼，禽鸟振翅欲动，垂首窥花，灵动神态跃然纸上。\n\n行书题字纵逸跌宕，笔意与画意相融，诗画合璧更添清雅文韵。兼工带写间，把花鸟生机藏于笔墨，随性又不失精致，尽显文人写意的疏朗意趣，将江乡春日花鸟的鲜活景致，凝于尺幅之间。",[23,25,26,210,29,1479,65,32,87,7,5070,414,1502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e68e1bbf2be065a2dd861feabc0ade8.jpg",[],{"id":10317,"slug":10318,"title":10319,"dynasty":77,"author":10311,"museum":59,"description":10320,"tags":10321,"thumbUrl":10322,"material":69,"size":69,"collection":69,"collections":10323,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":134},224313,"hua-niao-ce-shi-kai-3-li-shan-224313","花鸟册十开3","这幅写意花鸟以淡墨晕染禽鸟，借浓淡变化铺陈羽毛肌理，将小雀憨然俏立的姿态勾勒得灵动鲜活。虬曲花枝以枯笔挥就，老辣苍劲的笔力尽显藤蔓野逸之态，极简笔墨却生机饱满。\n右侧题诗与画面相映成趣，诗画交融尽显文人意趣。挣脱院体工整桎梏，以随性纵逸的笔墨抒发襟怀，将寻常小景晕染出清隽雅致的格调，诗书印浑然一体，尽显肆意洒脱的文人风骨，笔简意足，尽显水墨写意的疏朗之美。",[23,25,26,210,122,87,7,32,65,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab6bcbfe1b99fd380c38ac8586d9a07.jpg",[],{"id":10325,"slug":10326,"title":10327,"dynasty":99,"author":222,"museum":59,"description":10328,"tags":10329,"thumbUrl":10330,"material":69,"size":69,"collection":69,"collections":10331,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":52},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,25,26,27,24,29,30,31,439,515,33,39,1225,37,38,67,35,7,163,2215,8554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":10333,"slug":10334,"title":10335,"dynasty":77,"author":10336,"museum":207,"description":10337,"tags":10338,"thumbUrl":10339,"material":2433,"size":9410,"collection":69,"collections":10340,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":134},222842,"fang-niao-tu-juan-wang-shi-zhen-222842","放鸟图卷","王士祯","该画卷肖像刻画的逼真生动，画法融墨骨法与江南法为一体，表现出禹之鼎绘画艺术成熟期的典型风格，代表了禹氏中晚年肖像画的艺术水平。张伯龙，清太医院御医，善书画。",[23,24,25,26,27,30,29,64,32,35,7,334,41,33,888],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f94dd9300cfae4fe43a6c4fdbf70e5.jpg",[],{"id":10342,"slug":10343,"title":10344,"dynasty":18,"author":2775,"museum":475,"description":10345,"tags":10346,"thumbUrl":10347,"material":89,"size":10348,"collection":69,"collections":10349,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":134},220222,"hua-niao-cao-chong-xie-sheng-ce-you-qin-du-shao-chen-hong-shou-220222","花鸟草虫写生册-幽禽独梢","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,24,25,26,210,30,29,87,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F076fc7fd7d0fb1d59b537232e080a332.jpg","21.5×16cm",[],{"id":10351,"slug":10352,"title":10353,"dynasty":77,"author":10354,"museum":158,"description":10355,"tags":10356,"thumbUrl":10357,"material":29,"size":10358,"collection":69,"collections":10359,"showCount":396,"zanCount":51,"manualWeight":51,"mainColor":52},219800,"hua-niao-cao-chong-tu-10-sun-long-219800","花鸟草虫图-10","孙龙","此册绢本设色，共十二图，描绘荷塘鹡鴒、蓼花螳螂、水藻玄蝉、秋塘青蛙、秋草蝗虫、蜀葵、黄叶麻雀、海棠白头等内容。",[25,26,29,87,7863,7,238,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916a85c048376a55f5f9524aa1ef342f.jpg","纵22.9 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《十八罗汉渡江图》画中人物按未渡者、方渡者、已渡者三组依序进场，人物神态，栩栩如生。李公麟画作时人评价甚高，宋徽宗曾赞他为当朝最重要画家。元符三年（1100年）病痹告老，隐居龙眠山，号龙眠居士。\n\n存世作品有《五马图》、《临韦偃牧放图》等。",[23,25,26,27,63,33,35,36,7,163,40,64,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173ecc080401c62a94a56f59342ed64d.jpg",[],{"id":10631,"slug":10632,"title":4157,"dynasty":99,"author":1378,"museum":59,"description":10633,"tags":10634,"thumbUrl":10635,"material":69,"size":69,"collection":69,"collections":10636,"showCount":278,"zanCount":51,"manualWeight":51,"mainColor":52},227535,"yuan-lu-tu-yi-yuan-ji-227535","易元吉（生卒年不详，公元11世纪左右），字庆之，湖南长沙人。北宋时期著名画家。天资颖异，灵机深敏，尤善画猿猴，并因此而闻名天下。古代绘画评论家把獐猿画看成是易元吉的专工独诣，认为是“世俗之所不得窥其藩”的绝技。",[23,25,29,30,635,4063,7,81,301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04cd6b97e915aeed8c1ec2cec2231d8a.jpg",[],{"id":10638,"slug":10639,"title":10640,"dynasty":99,"author":222,"museum":59,"description":10641,"tags":10642,"thumbUrl":10643,"material":69,"size":69,"collection":69,"collections":10644,"showCount":278,"zanCount":51,"manualWeight":51,"mainColor":52},227359,"liu-xi-yuan-yang-tu-ye-yi-ming-227359","柳溪鸳鸯图页","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,24,25,489,29,30,388,2653,759,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa830ca8abe60aea47e38b08368f2e9c6.jpg",[],{"id":10646,"slug":10647,"title":10648,"dynasty":1017,"author":1351,"museum":59,"description":1352,"tags":10649,"thumbUrl":10651,"material":321,"size":322,"collection":1024,"collections":10652,"showCount":278,"zanCount":11,"manualWeight":51,"mainColor":52},225862,"two-women-on-the-heath-october-fan-gao-225862","Two women on the heath (October - )",[1021,1354,10025,35,7,10650,5722],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8ec4c58cdf6f728604abd47685f82b.jpg",[1024],{"id":10654,"slug":10655,"title":9262,"dynasty":77,"author":8683,"museum":59,"description":10656,"tags":10657,"thumbUrl":10658,"material":69,"size":69,"collection":69,"collections":10659,"showCount":278,"zanCount":51,"manualWeight":51,"mainColor":134},224358,"tong-qin-tu-zhou-yu-zhi-ding-224358","《桐禽图》是清代画家禹之鼎于康熙年间创作纸本墨笔画，现藏于故宫博物院。\n画家用劲健的粗笔描绘树干，笔断意不断；树叶先用深浅不同的墨点出，然后以浓墨勒出叶筋；小鸟用淡墨勾轮廓，然后染出躯干，最后再用焦墨画两翅和头部。\n用笔雄健豪迈，奇宕多变，用墨层次丰富，厚而不滞，轻而不淡。\n本幅左上自题：“余摹蓝田叔先生《得子图》非一本也。\n乙亥后两日，偶于京邸，因秋实老翁谈及故园风景，又属（嘱）写此幅，感其嗜痴，不知丑耳。\n广陵禹之鼎识。\n”钤“慎斋禹之鼎印”、“广陵涛上渔人”印二方。\n乙亥为清 三十四年（ ），禹之鼎时年49岁。\n从自题中得知画家此年寓居京师。\n此图用大写意法画 几枝，引来两只飞鸟栖息。\n树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。\n画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n自题中的“蓝田叔”指明末清初著名的山水画家 ，虽然尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。\n（1647—1716年），字尚吉，号慎斋，江都(今江苏 )人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入 。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对 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（1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[25,26,24,210,29,30,87,143,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e94d03c6970fba8516cc02df008b44.jpg",[],{"id":10827,"slug":10828,"title":10829,"dynasty":18,"author":9061,"museum":59,"description":10830,"tags":10831,"thumbUrl":10832,"material":69,"size":69,"collection":69,"collections":10833,"showCount":185,"zanCount":51,"manualWeight":51,"mainColor":134},236405,"xiao-xiang-ba-jing-ce-wen-jia-236405","潇湘八景册","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[25,26,210,122,31,33,163,67,7,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3dfffd2ca4075882ee15afe72d4bc6.jpg",[],{"id":10835,"slug":10836,"title":7805,"dynasty":77,"author":1453,"museum":59,"description":10837,"tags":10838,"thumbUrl":10839,"material":69,"size":69,"collection":69,"collections":10840,"showCount":185,"zanCount":51,"manualWeight":51,"mainColor":134},235642,"shan-shui-tu-ce-wu-li-235642","此作用笔苍秀，意境淡远。近岸危石兀立，古木虬枝蟠曲，荫蔽下一扁舟泊停，舟中幽人凭舷远眺。湖面开阔空寂，水鸟三两掠波而过，远山以淡墨晕染，层叠晕幻，晕出温润空濛的暮色诗意。\n题诗与画面浑然相融，暗合日暮归樵的幽隐之趣。干湿浓淡间尽显水墨层次，枯笔写木，湿墨晕山，以简淡之笔勾勒出萧散出尘的林下景致，将文人幽居林泉的隐逸心境铺陈纸上，静穆雅致，余韵悠长。",[25,122,31,210,33,163,67,7,748,1149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815175b8d890959771f6894df9caddb9.jpg",[],{"id":10842,"slug":10843,"title":5766,"dynasty":77,"author":6225,"museum":59,"description":10844,"tags":10845,"thumbUrl":10846,"material":321,"size":322,"collection":69,"collections":10847,"showCount":185,"zanCount":51,"manualWeight":51,"mainColor":134},235066,"lu-yan-tu-zhou-bian-shou-min-235066","边寿民（1684年—1752年），初名维祺，字颐公，又字渐僧、墨仙，号苇间居士，江苏山阳人（今淮安区），晚号苇间老民、绰翁、绰绰老人，清代著名画家。曾考中秀才，善画花鸟、蔬果和山水，尤以画芦雁驰名江淮，有“边芦雁”之称。其泼墨芦雁，苍浑生动，朴古奇逸，极尽飞鸣、食宿、游泳之态。泼墨中微带淡赭，大笔挥洒，浑厚中饶有风骨。又善以淡墨干皴擦小品，更为佳妙。因他画芦雁，称其所居名“苇间书屋”。他又工诗词、精中国书法。和郑板桥、金农等人齐名。",[25,26,104,122,87,3842,2214,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c49d9ad59e4ece1a8ad3eaeb3acecc7.jpg",[],{"id":10849,"slug":10850,"title":3734,"dynasty":77,"author":1453,"museum":207,"description":10851,"tags":10852,"thumbUrl":10853,"material":3442,"size":10854,"collection":69,"collections":10855,"showCount":185,"zanCount":51,"manualWeight":51,"mainColor":134},235019,"shan-shui-ce-wu-li-235019","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[25,29,31,33,81,123,7,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe2e9b957ab7cd12fa01a25587da41f.jpg","23.2厘米，横28厘米",[],{"id":10857,"slug":10858,"title":10859,"dynasty":77,"author":222,"museum":59,"description":10860,"tags":10861,"thumbUrl":10865,"material":321,"size":322,"collection":69,"collections":10866,"showCount":185,"zanCount":51,"manualWeight":51,"mainColor":52},234446,"da-lai-la-ma-yuan-liu-sang-jie-gong-ba-tang-ka-yi-ming-234446","达赖喇嘛源流——桑结贡巴唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[10862,333,225,29,30,33,36,35,238,608,10863,38,7,10864,888,2734],"唐卡","火焰","护法像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8e2f08a901fdb378793604111aff49.jpg",[],{"id":10868,"slug":10869,"title":10870,"dynasty":99,"author":222,"museum":207,"description":10871,"tags":10872,"thumbUrl":10873,"material":362,"size":10874,"collection":69,"collections":10875,"showCount":185,"zanCount":51,"manualWeight":51,"mainColor":52},234078,"zhu-jian-yuan-yang-tu-ye-yi-ming-234078","竹涧鸳鸯图页","图绘坡石斜立于画面的右侧，坡上翠竹摇曳，枝页纷披。坡下竹笋破土而出，小草丛生，小溪潺缓，一派生机蓬勃景象。两只鸳鸯仰头眺望天空中飞来的一只鸟，把观赏者的目光引向画外。图中竹页、竹竿勾勒精细，山石淡染轻勾，色彩柔和自然。构图疏朗，静中有动，为南宋晚期花鸟画佳作。",[25,26,210,29,30,87,528,759,81,123,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9fa1363f0a7140aaa21f8cc99e5309.jpg","24.8*24.8厘米",[],{"id":10877,"slug":10878,"title":10879,"dynasty":1017,"author":10880,"museum":59,"description":10881,"tags":10882,"thumbUrl":10883,"material":321,"size":322,"collection":69,"collections":10884,"showCount":185,"zanCount":51,"manualWeight":51,"mainColor":134},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[25,26,27,29,30,194,333,64,195,65,35,36,37,38,553,635,33,40,7,41,888],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":10886,"slug":10887,"title":10888,"dynasty":77,"author":6118,"museum":59,"description":10889,"tags":10890,"thumbUrl":10891,"material":69,"size":69,"collection":69,"collections":10892,"showCount":185,"zanCount":51,"manualWeight":51,"mainColor":134},231007,"jing-fu-si-qi-dong-jing-tu-ce-qian-wei-cheng-231007","景敷四气 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太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[25,26,210,122,29,33,163,7,67,528,334,32,64,65,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa865d6cefc0c198737a49c1a24313f98.jpg",[],{"id":11131,"slug":11132,"title":3734,"dynasty":77,"author":3021,"museum":59,"description":3022,"tags":11133,"thumbUrl":11134,"material":69,"size":69,"collection":69,"collections":11135,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":134},238994,"shan-shui-ce-yang-jin-238994",[25,26,210,122,29,31,33,39,7,41,123,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfcfa5914604e653f3fba01cde814e1.jpg",[],{"id":11137,"slug":11138,"title":10285,"dynasty":18,"author":222,"museum":59,"description":11139,"tags":11140,"thumbUrl":11141,"material":321,"size":322,"collection":69,"collections":11142,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":52},238960,"qun-yan-tu-ye-yi-ming-238960","此作用笔工细写实，取景郊野坡岸，杂卉幽枝交错排布，虚实相映，将秋日荒陂的清寂氛围感拉满。两只禽鸟情态各异，一鸟栖于细枝侧目远眺，姿态警觉灵动；一鸟垂首理羽，翎毛晕染细腻蓬松，质感逼真鲜活。设色调和古雅，以花青、赭石晕染草木枯荣，衬以古绢沉郁底色，更添沉静古韵。承继院体花鸟写生精髓，写实精妙又不失野逸之趣，将郊野一隅的幽微生机定格笔端，尽显传统花鸟的雅致意趣。",[25,26,489,29,30,87,7,2734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2afa8fcfeb8b687184de858a46c6275.jpg",[],{"id":11144,"slug":11145,"title":11146,"dynasty":77,"author":11147,"museum":59,"description":11148,"tags":11149,"thumbUrl":11150,"material":69,"size":69,"collection":46,"collections":11151,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":134},238271,"wu-jun-xi-shan-sheng-jing-ce-peng-qi-feng-238271","吴郡西山胜景册","彭启丰","彭启丰（1701～1784）字翰文，号芝庭，又号香山老人，江南长洲（今苏州）人，清朝官吏。清代大臣、学者。16岁入官学读书，好学上进。雍正五年（1727）会试第一，殿试时，列为一甲三名，世宗亲拔为第一。官翰林院修撰，乾隆年间历官侍讲、左佥都御史、浙江学政、刑部侍郎、吏部侍郎、兵部尚书。为官40年，以谨慎著称。为了奉养母亲，曾请求辞官；在家中辟园亭，植花竹，拥书万卷，乾隆帝曾赐匾额“慈竹春晖”。主讲于紫阳书院，乾隆三十七年（1772）清廷开馆编纂《四库全书》，广征天下藏书家秘本，江苏省在紫阳书院设书局，分派官员登记造册，由他总理其事。其子亦献书于四库馆数种。所藏书印有“南圃”、“芝庭”、“蓬莱第一峰”、“经筵讲官”等。工于书法，善于绘画，又能诗文，有《芝庭先生集》。",[25,29,33,31,210,7,41,1355,516,441,39,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182be133dad35f37be5b2afebc61ce5a.jpg",[46,48],{"id":11153,"slug":11154,"title":11155,"dynasty":77,"author":11156,"museum":59,"description":11157,"tags":11158,"thumbUrl":11159,"material":321,"size":322,"collection":69,"collections":11160,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":134},237447,"wu-gu-xiang-ye-yue-qiu-du-shan-mian-wu-gu-xiang-237447","吴穀祥夜月秋渡扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[489,25,26,29,122,31,33,334,39,81,7,1149,934,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8712b0fc72e34be9d880bfd2082aeef6.jpg",[],{"id":11162,"slug":11163,"title":11164,"dynasty":77,"author":11165,"museum":59,"description":11166,"tags":11167,"thumbUrl":11168,"material":69,"size":69,"collection":69,"collections":11169,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":134},237087,"jiang-feng-shi-nv-ce-jiang-feng-237087","蒋峰仕女册","蒋峰","仕女画在中国传统绘画中属于人物画的范畴，但由于它以女性为描绘对象，通过塑造优美动人的妇女形象，来反映当时的社会生活，传达特定的艺术趣味和审美观念，在题材内容、思想内涵、创作方法、表现形式等方面都有独特之处，其肇始、成熟、演变、发展的历史轨迹也不全与人物画同步，因此，它已成为中国绘画中的一个独立画科，其艺术传统还一直延续到今天，对当代的国画、年画，以及牙雕、玉器、雕漆、宫灯、花丝镶嵌等工艺品有着不可忽视的影响。",[25,26,210,29,35,66,163,7,32,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c388e059ac7be16ab2c8569663a09e.jpg",[],{"id":11171,"slug":11172,"title":3734,"dynasty":77,"author":6377,"museum":59,"description":11173,"tags":11174,"thumbUrl":11175,"material":321,"size":322,"collection":69,"collections":11176,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":134},236861,"shan-shui-ce-wang-yuan-qi-236861","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[25,26,210,122,29,33,31,41,123,125,37,6318,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9941d5d26c596ea3953f0b0f34a6302f.jpg",[],{"id":11178,"slug":11179,"title":3734,"dynasty":18,"author":7583,"museum":59,"description":11180,"tags":11181,"thumbUrl":11182,"material":69,"size":69,"collection":69,"collections":11183,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":134},235976,"shan-shui-ce-cheng-jia-sui-235976","此作用笔枯淡疏简，以大片留白晕染出寒江空濛的冬日萧瑟。虬曲枯松临水而立，枝桠间尽显萧寒之态。江岸之上，策蹇童子伴同醉意老翁缓缓徐行，晕开风雪初歇的倦归意趣。\n\n左侧题诗行书清隽疏朗，诗画相映成趣。以文衬景，将寄梅相思的幽怀融于萧索山水间，尽显晚明文人画以意境为先的雅逸风骨，淡墨间藏尽清冷疏旷的林下幽情，把失意文人避世闲怀悄然晕染在尺幅之间。",[25,26,122,65,31,210,33,374,35,126,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c56e66760a4cc0442a11737c23173bb.jpg",[],{"id":11185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，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[25,26,210,122,31,33,67,163,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b312110167ea19a7bcb1408e6f3b2b7.jpg",[],{"id":11206,"slug":11207,"title":1080,"dynasty":77,"author":252,"museum":59,"description":8990,"tags":11208,"thumbUrl":11209,"material":321,"size":322,"collection":69,"collections":11210,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":134},235382,"hua-niao-tu-ce-hua-yan-235382",[25,210,29,122,1479,87,7,67,163,388,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138386aec3ffab6af465b55635726762.jpg",[],{"id":11212,"slug":11213,"title":11214,"dynasty":77,"author":3705,"museum":59,"description":11215,"tags":11216,"thumbUrl":11217,"material":321,"size":322,"collection":69,"collections":11218,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":134},235338,"fang-gu-shu-hua-ce-wang-jian-235338","仿古书画册","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[25,24,26,210,29,122,31,65,64,33,37,38,67,516,41,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc233811ed793ba119337b4d341e256.jpg",[],{"id":11220,"slug":11221,"title":1007,"dynasty":77,"author":252,"museum":2057,"description":8119,"tags":11222,"thumbUrl":11223,"material":2829,"size":8123,"collection":69,"collections":11224,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":134},234315,"hua-niao-ce-hua-yan-234315",[24,25,26,210,122,29,87,163,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a71eb4272a0601ceda8e081d8be8f.jpg",[],{"id":11226,"slug":11227,"title":6483,"dynasty":18,"author":311,"museum":59,"description":11061,"tags":11228,"thumbUrl":11229,"material":69,"size":69,"collection":69,"collections":11230,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":134},234116,"shan-shui-tu-juan-tang-yin-234116",[25,26,27,29,31,65,64,32,33,39,38,40,7,67,163,37,515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c60faca73548e694ea110cd96edf3b.jpg",[],{"id":11232,"slug":11233,"title":1007,"dynasty":77,"author":252,"museum":2057,"description":9600,"tags":11234,"thumbUrl":11236,"material":303,"size":8123,"collection":69,"collections":11237,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":134},233946,"hua-niao-ce-hua-yan-233946",[25,26,210,29,122,87,7,11235],"藤叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9254ec17c305bdf84959f036194b82f.jpg",[],{"id":11239,"slug":11240,"title":11241,"dynasty":99,"author":222,"museum":119,"description":11242,"tags":11243,"thumbUrl":11244,"material":1321,"size":11245,"collection":69,"collections":11246,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":52},231082,"hua-ying-tu-yi-ming-231082","画鹰图","此作以苍鹰为魂，猛禽踞于古松蟠枝之上，身姿挺拔傲岸，目光锐利如炬，铁爪紧扣虬结老干，将猛禽的悍戾威严尽显无遗。翎毛晕染精细，蓬松质感逼真入微，分毫毕现猛禽风神。\n\n淡墨晕染出空寂背景，衬出古松的苍劲荒疏，整幅画面工致写实，兼具文人意趣，将猛禽英武与古木苍浑相融，尽显精妙造诣，题跋环衬，书画相映，更添古雅厚重的沉静气韵。",[25,26,30,29,1548,440,165,7,2866,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e583ed5386de66a99ee8f7592775a71.jpg","131.8x65.3",[],{"id":11248,"slug":11249,"title":11250,"dynasty":18,"author":222,"museum":59,"description":11251,"tags":11252,"thumbUrl":11253,"material":69,"size":69,"collection":69,"collections":11254,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":52},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",[23,25,27,29,30,194,35,36,41,1033,123,319,7,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729837735001f587a250ddbc621c9924.jpg",[],{"id":11256,"slug":11257,"title":11258,"dynasty":156,"author":222,"museum":59,"description":11259,"tags":11260,"thumbUrl":11261,"material":69,"size":69,"collection":69,"collections":11262,"showCount":366,"zanCount":51,"manualWeight":51,"mainColor":52},228197,"shuang-ji-ling-er-yi-ming-228197","双鹡鸰儿","此作以极简构图，将双禽落于绢素一隅。淡赭晕染底色，晕出秋意清冷。禽鸟造型写实入微，顶羽敷粉莹润蓬松，羽翼以浓淡墨色分理羽片层次，毫纤毕现。双鸟依偎静立，头颈微侧似聆风听雨，身姿安闲亲昵，尽显野趣温情。\n\n笔法工细却不板滞，禽爪劲挺勾勒，立于浅淡坡岸苔痕之上。画面留白开阔悠远，以虚衬实，将郊野清寂氛围晕染开来，尽显元代花鸟画尚简尚意的韵致，于方寸间藏着自然生灵的脉脉温情，淡远平和，余韵悠长。",[25,24,26,87,30,29,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb8fd125436b3f31e05dbfff4eb5db0.jpg",[],{"id":11264,"slug":11265,"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。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,25,1623,29,31,33,39,7,67,37,1355,441,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379069d1ed23b59d2210624377be955a.jpg",[],{"id":11469,"slug":11470,"title":11471,"dynasty":99,"author":222,"museum":59,"description":8953,"tags":11472,"thumbUrl":11473,"material":321,"size":322,"collection":69,"collections":11474,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":1528},289568,"jiang-shan-fei-niao-tu-yi-ming-289568","江山飞鸟图",[25,24,1623,122,7,67,123,2985,748,35,10595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec350e5d692b211df8cd206de5edc7.jpg",[],{"id":11476,"slug":11477,"title":986,"dynasty":77,"author":9183,"museum":59,"description":11478,"tags":11479,"thumbUrl":11480,"material":321,"size":322,"collection":69,"collections":11481,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},289360,"hua-niao-tu-zhou-zhang-mu-289360","张穆（1805年11月29日 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着线条横、直、斜的不同排列作丰富的变化，但花纹间的空眼必须对齐。\n以素纱为绣底，绣时须按格或数眼绣制。绣法垂直进行，以大套小的几何图案，绣满全幅，用色一般以每一几何形为单位。刺绣步骤：以波浪纹为例。从纹样边缘第一眼起针，跨过六个眼，在第七个眼下针，以后每针均往下移一个眼，绣到第十针后，每针均向上移一个眼，直至与第一眼相并列时，再往下移，如此循环往复，即成波浪形。第二皮波浪纹绣法相同，落针的针迹要在第一皮原针眼中，以后类推，直至绣满。",[5796,286,4299,238,272,7,87,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abc592d21f9880c7eb6a31510046fa0.jpg",[],{"id":11566,"slug":11567,"title":11568,"dynasty":77,"author":222,"museum":59,"description":1533,"tags":11569,"thumbUrl":11572,"material":321,"size":322,"collection":69,"collections":11573,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},263653,"ke-si-e-mi-tuo-fo-ji-le-shi-jie-tu-zhou-yi-ming-263653","缂丝阿弥陀佛极乐世界图轴",[226,7609,29,11570,8005,5207,35,7,36,608,40,238,11571],"阿弥陀佛","极乐世界","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af6e893afaf030dfc4f1793cf213ecf.jpg",[],{"id":11575,"slug":11576,"title":11577,"dynasty":77,"author":222,"museum":59,"description":11578,"tags":11579,"thumbUrl":11582,"material":321,"size":322,"collection":69,"collections":11583,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},256619,"huang-di-lv-cai-hai-shui-bai-he-wen-wan-yi-ming-256619","黄地绿彩海水白鹤纹碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[77,9017,11580,29,30,105,11581,2589,7],"釉上彩","海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226f69c0077c2967076b28571d0618a3.jpg",[],{"id":11585,"slug":11586,"title":11587,"dynasty":77,"author":2316,"museum":59,"description":11588,"tags":11589,"thumbUrl":11590,"material":321,"size":322,"collection":69,"collections":11591,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},239485,"zhi-hua-shi-yan-tu-zhou-gao-qi-pei-239485","指画石雁图轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[25,26,104,11372,122,163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48489029acb5ca54042a87c4c967fb21.jpg",[],{"id":11593,"slug":11594,"title":11595,"dynasty":18,"author":5407,"museum":59,"description":11596,"tags":11597,"thumbUrl":11598,"material":69,"size":69,"collection":69,"collections":11599,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},239196,"shan-chuan-ming-sheng-ce-song-xu-239196","山川名胜册","此作以平远之法绘就江南水色，开阔湖面铺展画面，汀渚错落浮沉于烟波间，远山以淡墨轻扫，晕染出朦胧悠远的天际。近岸林木蓊郁，古木扶疏间隐现朱檐楼阁与临水廊榭，雅致静谧。水面之上渔舟泛波、飞鸟掠影，灵动点缀间漾开鲜活生机。\n\n笔墨简淡秀润，以赭色轻敷底色，整体设色清雅古朴，将江南水畔的悠然野趣尽数铺陈，笔墨间裹挟着文人心底的闲淡意绪，尽显空灵疏朗的山水意韵。",[25,29,210,33,31,41,36,37,38,39,7,748,2598,888],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F536f529cbe3ea7f7312d041f06ba0ec3.jpg",[],{"id":11601,"slug":11602,"title":11595,"dynasty":18,"author":5407,"museum":59,"description":11603,"tags":11604,"thumbUrl":11605,"material":69,"size":69,"collection":69,"collections":11606,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":52},239188,"shan-chuan-ming-sheng-ce-song-xu-239188","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[25,26,210,29,33,39,7,40,41,126,38,563,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beed5e7c4bbda589082a4279bbfbf2b.jpg",[],{"id":11608,"slug":11609,"title":11610,"dynasty":77,"author":11611,"museum":59,"description":11612,"tags":11613,"thumbUrl":11614,"material":321,"size":322,"collection":244,"collections":11615,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},238469,"lie-qi-tu-ce-mian-yi-238469","猎骑图册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[25,26,210,29,35,7,256,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde758dfed88a204ea027eb9005083c4a.jpg",[244,48],{"id":11617,"slug":11618,"title":11619,"dynasty":77,"author":11620,"museum":59,"description":11621,"tags":11622,"thumbUrl":11623,"material":69,"size":69,"collection":69,"collections":11624,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},238230,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238230","仿王翬山水册","曹夔音","此作用淡墨晕染远山，留白摹绘烟水浩渺，山峦以干笔皴擦出苍朴质感，汀渚错落隐于烟波间，寥寥数笔便勾勒出江乡秋日的空濛悠远。\n画面与左侧题诗相映成趣，诗画交融，将澹泊清旷的山居野趣铺陈开来。笔致秀雅沉静，脱尽尘俗，以极简笔墨营造出悠远空灵的意境，尽显寄情丘壑的文人雅韵，把传统山水的诗意氛围感烘托到极致。",[24,25,26,210,122,31,65,62,33,516,41,441,7,163,37,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b5de921774d38902a6ec18c2be0775.jpg",[],{"id":11626,"slug":11627,"title":11628,"dynasty":77,"author":6216,"museum":59,"description":11629,"tags":11630,"thumbUrl":11631,"material":69,"size":69,"collection":69,"collections":11632,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},238103,"hong-wu-shan-shui-ce-hong-wu-238103","弘旿山水册","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[25,122,31,64,32,210,33,256,38,40,7,67,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea702a0b848736e7d8aabe7965edd89.jpg",[],{"id":11634,"slug":11635,"title":3734,"dynasty":77,"author":11636,"museum":59,"description":11637,"tags":11638,"thumbUrl":11639,"material":259,"size":69,"collection":46,"collections":11640,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":52},237427,"shan-shui-ce-chen-jia-le-237427","陈嘉乐","「画中十哲」即董邦达、高翔、高凤翰、李世倬、允禧、张鹏翀、李师中、王延格、陈嘉乐、张士英。\n十哲为娄东派，他们崇古保守的画风，与「虞山画派」相依托，即这10位娄东派的画家，亦兼写虞山画派，如李世倬。他们又受「四王」的影响甚大，其主要以临摹复古为主，但其中也有自出机杼、别故致新的画家，如高凤翰、高翔等。\n陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌「十哲」之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[25,26,210,122,33,81,7,36,359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0f6521ad43900a3d004ae0764515a3.jpg",[46],{"id":11642,"slug":11643,"title":11116,"dynasty":77,"author":11644,"museum":59,"description":11645,"tags":11646,"thumbUrl":11647,"material":259,"size":69,"collection":244,"collections":11648,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},237277,"za-hua-ce-chen-zi-237277","陈字","陈道（1707-1760），字绍洙，号凝斋。江西新城钟贤（今江西省黎川县中田乡）人。清代文学家、理学家。生于康熙四十六年。从小品行端重，刚入塾学，白天听老师讲课，晚上则随父听诵《小学近思录》，庄诵不倦，并以此作为学与行准则。稍长，协助父亲治理产业及施行善事。一有闲暇，便手不释卷，孜孜以求。国子监肄业时，为主监事孙嘉淦所器重。后从师广昌黄永年，钻研宋儒理学，兼攻水利农田、军政边防等书籍。他尊崇周敦颐、程颢、程颐，研习陆九渊，王守仁，尤服罗点「主静不妄语」、「不为物所役」的主张。乾隆九年（1744）中举。乾隆十三年（1748）中进士，候选知县，以父母年高、无同胞兄弟为由拒官。后皇上令诏经学，他被推举，亦推辞不去。安心在家侍奉双亲，埋头读书。父经商，家境富裕，他辅佐父亲在乡兴办慈善事业。设立义田二千亩扶助贫苦，以使「读书有赡，鳏寡孤独废疾有养，婚丧有助」。捐白银二千两，为「盱江书院」讲学费。二十四年协助知县创建「黎川书院」，捐助学费，并在此掌教多年。还建桥修亭，施棺舍药，遇灾荒年景，奉父命购运粮食，按户计口平粜以救饥，并劝说或强制某些囤粮闭粜的富户粮商参与赈济。陈道一生，为人严毅清苦，「自少至老未一日怠惰」。治学以力行为主。经常与雷宏、夏之瀚、祝淦、涂登、涂瑞等交往切磋，甚得一些贤士、大夫所赏识。卒于乾隆二十五年，年五十四岁。文章多为讲学书稿，文风醇古淡泊，真意盎然。诗歌常流露对社会的不满，反映他不与时俗合流的对抗情绪。尝欲注《春秋五传》和编《江西文统》，未成而终。陈道去世后，其子陈守诚和同邑学生、同乡学者鲁九皋将其文稿收集整理成《凝斋遗集》（文6卷，诗2卷），刊印后被四库馆以《凝道斋集》收入《四库全书总目》，《清史列传》行于世。",[25,26,210,29,35,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7b6149fcaef8e559a90570cdce2358.jpg",[244],{"id":11650,"slug":11651,"title":11652,"dynasty":77,"author":11653,"museum":59,"description":11654,"tags":11655,"thumbUrl":11656,"material":69,"size":69,"collection":69,"collections":11657,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},237171,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237171","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[25,26,210,29,31,33,35,7,81,453,38,163,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739b27baa7d852c5ae0f2b5a8fe4270d.jpg",[],{"id":11659,"slug":11660,"title":11652,"dynasty":77,"author":11653,"museum":59,"description":11654,"tags":11661,"thumbUrl":11662,"material":69,"size":69,"collection":69,"collections":11663,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},237169,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237169",[25,29,210,31,33,35,41,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60af99b5dd7bf17c5aea8d0dd5c0a47b.jpg",[],{"id":11665,"slug":11666,"title":11652,"dynasty":77,"author":11653,"museum":59,"description":11654,"tags":11667,"thumbUrl":11668,"material":69,"size":69,"collection":69,"collections":11669,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},237167,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237167",[25,29,210,33,35,36,81,7,32,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6156fef0397be844eee69f0c60eefc3a.jpg",[],{"id":11671,"slug":11672,"title":3734,"dynasty":18,"author":7583,"museum":59,"description":11673,"tags":11674,"thumbUrl":11675,"material":69,"size":69,"collection":69,"collections":11676,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},235973,"shan-shui-ce-cheng-jia-sui-235973","此作用淡墨轻皴勾勒山居景致，枯树虬枝斜出，茅舍错落于浅岸，远山晕染如黛，数点飞鸟划破空寂，笔墨极简却意韵悠长，画面清空淡雅，褪去所有繁饰，独留萧寒幽寂的林下氛围。\n\n右侧行书题诗笔意清隽疏朗，诗中夜雨孤庭、松风茶经之句，与画中景致相映成趣。以画寄兴，诗画交融，尽显幽淡孤洁的文人襟怀，将山水作为安放心神的归处，于简淡萧散之中，藏着沉静出尘的文人情思。",[25,26,210,122,65,32,33,67,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecdbc7c2eae54d56198a7d05c3c79ada.jpg",[],{"id":11678,"slug":11679,"title":11680,"dynasty":77,"author":11681,"museum":59,"description":11682,"tags":11683,"thumbUrl":11685,"material":69,"size":69,"collection":69,"collections":11686,"showCount":446,"zanCount":11,"manualWeight":51,"mainColor":134},235933,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235933","湖山梵刹图册","潘恭寿","此作用浅赭花青晕染远峰，清润朦胧似笼轻烟，淡墨勾描林岸，留白铺陈湖面，极尽淡远空寂之致。近岸古寺隐于青林，浮屠卓立，湖面轻舟破烟而行，水雾漫过山峦林梢，将梵刹晕染得空灵出尘。\n\n右上角题诗以行书挥就，笔致清隽，书画相映成趣。整体笔墨简淡秀雅，以虚代实，把江南佛刹的幽寂禅意融于湖山烟霭之中，尽显文人情致，观之如临江南幽境，尘虑尽消。",[25,26,210,122,29,31,33,36,40,7,41,11684,32],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5781fae1c86903fb34e4c1100f474ab.jpg",[],{"id":11688,"slug":11689,"title":1080,"dynasty":77,"author":252,"museum":59,"description":8990,"tags":11690,"thumbUrl":11691,"material":321,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207,"description":11763,"tags":11764,"thumbUrl":11765,"material":69,"size":69,"collection":69,"collections":11766,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},233224,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-fan-qi-233224","金陵诸家山水花卉册-山水页","樊圻","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,25,122,29,210,33,38,440,123,1355,7,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c5190e81e68a4b580c0740a4267030.jpg",[],{"id":11768,"slug":11769,"title":11770,"dynasty":99,"author":222,"museum":207,"description":11771,"tags":11772,"thumbUrl":11773,"material":259,"size":11774,"collection":69,"collections":11775,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":52},233210,"song-jian-shan-qin-tu-ye-yi-ming-233210","松涧山禽图页","此图绘参天的古松下，山溪蜿蜒奔流，水花飞溅，四对山鹊姿态各异，或飞呜，或回旋，或啄食与山涧和树石之上，形象生动。图中用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾勒轮廓，进而用淡青色破染，使画面富有立体感。此图用笔苍劲，静中有劲，为南宋小幅花乌画中精秀之作。这幅作品曾经明黔宁王沐琳和项元汴收藏。",[25,24,26,210,30,29,87,33,374,38,7,5382,163,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97df25750b2d414d498c6d636769ceb.jpg","25.3*25.3厘米",[],{"id":11777,"slug":11778,"title":11779,"dynasty":1017,"author":11780,"museum":59,"description":11781,"tags":11782,"thumbUrl":11783,"material":321,"size":322,"collection":69,"collections":11784,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},231626,"he-tu-xia-hui-he-ge-juan-ben-a-mi-guang-yue-231626","鹤图下绘和歌卷","本阿弥光悦","此作以长卷铺陈，群鹤错落满卷，水墨淡笔晕染出仙鹤清癯灵动的身姿，或振翅唳空，或梳羽伫立，百态悠然。浅褐旧痕晕开在素纸之上，晕染出经年沉淀的温润质感。\n\n书法与绘鹤交织共生，笔意清简疏朗，将和歌风雅与绘鹤的幽玄禅意相融，舒展悠长的尺幅里，藏着侘寂闲雅的古典意趣，淡墨轻色勾勒出清寂出尘的东方意境，尽显雅致悠远的和风之美。",[23,24,25,26,27,122,65,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271140e49cbac0d36129fe323eb65f23.jpg",[],{"id":11786,"slug":11787,"title":11788,"dynasty":77,"author":11789,"museum":59,"description":11790,"tags":11791,"thumbUrl":11792,"material":69,"size":69,"collection":69,"collections":11793,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},230250,"hua-jian-la-ying-xiang-ce-dong-gao-230250","画饯腊迎祥册","董诰","此作画意清和淡远，枯木虬枝舒展，寒林间啼禽栖止，竹影清疏衬着玲珑湖石，村舍院落隐于林后，小童行人缓步其间，晕开松弛乡野意趣。笔墨秀润清逸，枯木苍劲而不萧瑟，竹林隽秀空灵，淡墨轻晕出远山朦胧的冬日余韵。\n\n右侧题诗配雅致小楷，将晓禽报春、岁末祈康的心意融于画中，诗画相映。把乡翁扶杖待春的朴拙喜乐藏在细节里，以寻常村野小景，织就岁末迎春纳祥的温柔温情，尽显文人雅致闲淡意趣与世俗祈愿的交融之美。",[25,26,210,30,29,35,440,528,163,7,1355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4020cb0580c7fcf23b624e65dd138147.jpg",[],{"id":11795,"slug":11796,"title":11797,"dynasty":77,"author":11798,"museum":59,"description":11799,"tags":11800,"thumbUrl":11801,"material":69,"size":69,"collection":69,"collections":11802,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},230142,"huang-shan-ba-jing-tu-ce-zheng-ban-qiao-230142","黄山八景图册","郑板桥","这幅小楷题跋清劲秀雅，结体端稳间带着疏朗意趣，笔画瘦硬匀净，既有晋唐小楷的古雅法度，又融入独有的散逸风骨。\n\n笔墨随着文思缓缓铺展，忆述画坛旧事时文墨相生相融，将文人雅怀藏进每一处笔墨细节。全无狂怪恣肆，反倒尽显静定冲淡的书卷气，是其书法中少见的敛藏之作。文思与笔情精妙融合，字里行间晕开平和悠然的文人本色，成为画册点睛的文墨双璧。",[25,26,210,122,31,33,163,67,40,37,38,7,563,564,528,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a215794450c842f2731c67ae4bfaf1.jpg",[],{"id":11804,"slug":11805,"title":11806,"dynasty":156,"author":222,"museum":59,"description":11807,"tags":11808,"thumbUrl":11809,"material":69,"size":69,"collection":69,"collections":11810,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":1528},228228,"xing-lv-tu-ye-yi-ming-228228","行旅图页","此作用笔简淡苍润，以水墨晕染出江南水岸的清寂之境。左畔危崖耸峙，古松斜出探向江面，崖腰古亭半掩，山道上旅人缓步徐行，衬出林泉丘壑的悠远空阔。汀洲上虬松错落，枝干古拙有姿，与崖岸松色遥相呼应。江面淡墨轻描，远帆与渔舟错落波上，寥寥笔意铺展水天空濛。\n\n整幅简而不空，淡而有味，以极简笔墨勾勒出山水行旅的幽闲意趣，尽显萧散淡远的文人意韵，将林泉高致与江湖野趣融于尺幅间，藏着幽寂闲淡的山水真味。",[23,25,122,33,31,210,35,36,39,7,123,38,32,3676,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46616df25f9b51e1b52cfac683349316.jpg",[],{"id":11812,"slug":11813,"title":11814,"dynasty":99,"author":222,"museum":59,"description":11815,"tags":11816,"thumbUrl":11817,"material":69,"size":69,"collection":69,"collections":11818,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":52},227932,"xue-ting-shui-qin-tu-yi-ming-227932","雪汀水禽图","此作以淡墨晕染萧寒冬境，水岸枯木虬曲苍劲，瘦削枝桠凌冽舒展，数只禽鸟缩羽栖息枝头，将冬日瑟缩畏寒之态尽显。右上一双水禽振翅掠空，破静谧成动静相生之趣。\n画家以留白晕染暗喻薄雪覆汀，设色简淡清润，笔触凝练细腻，枯枝的苍古、水禽灵动神态皆跃然绢上。尺幅之间铺陈出荒寒清远的意趣，尽显冬日郊野空寂冷逸，将冬汀荒萧寒疏之美藏于方寸，余韵悠悠。",[23,25,24,489,30,122,29,440,7,161,2818,163,4701,1753,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878f36345b633ba5b5cac846f19743b3.jpg",[],{"id":11820,"slug":11821,"title":11822,"dynasty":4467,"author":222,"museum":59,"description":11823,"tags":11824,"thumbUrl":11825,"material":321,"size":322,"collection":69,"collections":11826,"showCount":446,"zanCount":11,"manualWeight":51,"mainColor":52},227012,"yan-lu-yi-ming-227012","雁炉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[4471,4472,4473,1955,7,4470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9876d6f5d6ab9f8981beadd91676a873.jpg",[],{"id":11828,"slug":11829,"title":11830,"dynasty":1017,"author":11831,"museum":59,"description":11832,"tags":11833,"thumbUrl":11839,"material":321,"size":322,"collection":1024,"collections":11840,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},226110,"the-road-to-the-farm-saint-simeon-in-winter-1867-mo-nai-226110","The Road to the Farm Saint-Simeon in Winter, 1867","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。",[1021,11834,2818,1357,41,7,11835,11836,442,1753,10029,11837,11838],"印象派","行人","冬季","光影","笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72b8829824dbfa4e3c96b6d7c9a370dd.jpg",[1024],{"id":11842,"slug":11843,"title":11844,"dynasty":1017,"author":222,"museum":59,"description":11845,"tags":11846,"thumbUrl":11847,"material":69,"size":69,"collection":69,"collections":11848,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":52},225549,"fu-shi-hui-14-yi-ming-225549","浮世绘14","这幅作品以浓黑为底，将春日意趣铺陈得雅致清隽。俯冲的飞燕以金墨勾形，羽翼纹理细腻写实，身姿灵动舒展，仿佛携带着乍暖的春风掠过画面。下方的山茶花晕染出柔润的粉绯，花瓣层叠娇美，花叶以金彩描边填纹，点点珠光似凝着晨露，在深底色映衬下愈发清丽华贵。\n\n画面留白克制疏朗，将和风美学的侘静雅致藏在方寸之间，没有繁复铺陈，却以极简构图勾勒出春日的鲜活生机，工细的笔触融合装饰性晕染，静穆底色与柔美金彩相映，尽显矜贵雅致的东瀛美学意韵。",[2037,687,29,32,7,87,2643,1502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2198415e5322402c2f144450faacae00.jpg",[],{"id":11850,"slug":11851,"title":11852,"dynasty":1017,"author":222,"museum":59,"description":10036,"tags":11853,"thumbUrl":11854,"material":321,"size":322,"collection":69,"collections":11855,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":457},225316,"fu-shi-hui-54-yi-ming-225316","浮世绘54",[6236,29,194,30,36,35,37,7,41,1036,319,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f704c4610ac01c97ba3aeeea431aac.jpg",[],{"id":11857,"slug":11858,"title":33,"dynasty":77,"author":11859,"museum":59,"description":11860,"tags":11861,"thumbUrl":11862,"material":69,"size":69,"collection":69,"collections":11863,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},224406,"shan-shui-wang-xue-hao-224406","王学浩","此作用笔萧散松秀，以淡墨晕染山峦，留白衬出春日山林的氤氲空濛。近景苍木挺拔，焦墨点簇枝叶，朴拙苍润。水岸茅舍错落隐于林麓，溪岸逶迤，浅滩汀渚以简笔勾勒，野趣盎然。\n\n师法董思翁平淡天真之趣，以干淡之笔写山川形胜，墨色清润层次分明，将江南春日的温润静穆尽显笔下。画面空灵疏朗，无繁复刻画，却尽显山水间幽寂闲适，文人画的清雅逸趣跃然纸上，简淡中藏深醇意蕴。",[23,25,26,122,31,65,104,33,123,41,1036,7,1355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7358dbdc29f9f727bbef4ce953c11b1.jpg",[],{"id":11865,"slug":11866,"title":11867,"dynasty":99,"author":222,"museum":59,"description":11868,"tags":11869,"thumbUrl":11870,"material":69,"size":69,"collection":69,"collections":11871,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":52},223674,"shuang-ke-zhu-jian-tu-ye-yi-ming-223674","霜柯竹涧图页","《霜柯竹涧图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n钤“义斋精玩”、“宋荦审定”收藏印2方。\n图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。\n两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。\n图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。\n清《石渠宝笈三编》著录。",[23,24,25,26,210,30,29,440,528,38,7,123,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c242fbd03b8dd4577b564ab01d95ef.jpg",[],{"id":11873,"slug":11874,"title":11875,"dynasty":77,"author":2316,"museum":1091,"description":11876,"tags":11877,"thumbUrl":11878,"material":11879,"size":11880,"collection":69,"collections":11881,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},222653,"zhi-hua-xi-lie-zhi-hua-wu-he-gao-qi-pei-222653","指画系列-指画·舞鹤","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,25,26,11372,122,29,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffce2b5a5b5757c376b2688da33acde95.jpg","浅设色","35.88x57.31cm",[],{"id":11883,"slug":11884,"title":11885,"dynasty":77,"author":6395,"museum":158,"description":11886,"tags":11887,"thumbUrl":11889,"material":3159,"size":11890,"collection":69,"collections":11891,"showCount":446,"zanCount":51,"manualWeight":51,"mainColor":134},222613,"shan-shui-ba-jing-3-gong-xian-222613","山水八景-3","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[23,25,122,11888,31,33,40,7,440,123,6111],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d0d0a469d88f3e8e2c0ce23313a769.jpg","纵24.4 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是画面气息显得粗野不羁，含蓄不足、刻露有余。",[23,25,26,27,122,29,33,31,65,64,39,7,38,41,6279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":12224,"slug":12225,"title":12226,"dynasty":99,"author":222,"museum":207,"description":12227,"tags":12228,"thumbUrl":12230,"material":288,"size":12231,"collection":69,"collections":12232,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":52},234075,"shuang-jiu-shan-niao-tu-ye-yi-ming-234075","霜桕山鸟图页","图绘乌桕一枝，叶片稀疏，经霜之后叶尖微微泛红。满挂枝头，表明时值深秋。只文鸟姿态各异，栖于枝头。树枝用浓墨一笔画出，以赭色勾描叶脉与细枝。树叶、小果采用没骨画法。叶之辗转向背、枝之曲折横斜，描绘得都很细致。文鸟以中锋细笔丝出羽毛，其身体的不同部位分别用白粉、赭石、浓淡墨轻染，细腻写实。构图疏朗，动静结合，设色艳而不俗。此为南宋小品画中精心之作。",[24,25,26,210,30,29,87,7,12229,301,2061],"桕树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d4f4e56ed82d3c597ac94451ebf7df.jpg","纵24.2cm，横25.4cm",[],{"id":12234,"slug":12235,"title":12236,"dynasty":18,"author":19,"museum":207,"description":283,"tags":12237,"thumbUrl":12238,"material":288,"size":12239,"collection":69,"collections":12240,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":134},233757,"ren-wu-gu-shi-ce-4-chou-ying-233757","人物故事册4",[25,26,210,30,29,35,36,33,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae1dd795bfab5e5b033fd14bde2fd.jpg","纵41.4厘米，横33.8厘米",[],{"id":12242,"slug":12243,"title":12244,"dynasty":18,"author":12245,"museum":838,"description":12246,"tags":12247,"thumbUrl":12248,"material":259,"size":12249,"collection":69,"collections":12250,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":134},232775,"han-guan-zi-qi-tu-juan-zhang-hong-232775","函关紫气图卷","张宏","这是一幅牧童放牛图，小牧童们或坐于牛背上，或用劲拽缰绳，或与牛打闹，童趣十足。画面上牛的形态各不相同，或抵角打闹，或卧于一起，或母子情深。",[23,25,26,27,122,1704,35,7,64,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1e79cb5d7e9232f9f8d67a1a85b087.jpg","27.3x441.3厘米",[],{"id":12252,"slug":12253,"title":12254,"dynasty":77,"author":12255,"museum":2057,"description":12256,"tags":12257,"thumbUrl":12258,"material":259,"size":12259,"collection":69,"collections":12260,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":134},231589,"yang-niao-you-ju-tu-chen-zhen-yue-231589","阳鸟攸居图","陈震岳","此卷用水墨画各姿态鸿雁近百只，笔墨娴熟，造型生动，媲美边颐公。阳鸟即“随阳之鸟,即鸿雁之属”。\n陈震岳，字峻生，又字静斋，福建晋江人。善诗文、书画，所画芦雁尤佳。常于江天暮景，观雁之飞鸣起伏，而得其神妙。",[23,25,26,27,122,30,7,528,934,2534,935,41,1149,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1686057e9b26e44ff14f72b02d489fbf.jpg","26x498厘米",[],{"id":12262,"slug":12263,"title":12264,"dynasty":77,"author":12265,"museum":59,"description":12266,"tags":12267,"thumbUrl":12269,"material":321,"size":322,"collection":69,"collections":12270,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":134},231058,"sai-shang-ye-qu-tu-jiao-bing-zhen-231058","塞上野趣图","焦秉贞","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。",[23,25,26,489,29,30,33,10434,7,12268,6951],"边塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708c9c2f236532c6f6469d779a3c6473.jpg",[],{"id":12272,"slug":12273,"title":12274,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":12275,"thumbUrl":12276,"material":321,"size":322,"collection":69,"collections":12277,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":52},226178,"ku-zhu-shi-dong-bi-yi-ming-226178","窟主室东壁",[332,29,333,36,35,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c1e17ab88c9a7d59788d3372d0335c.jpg",[],{"id":12279,"slug":12280,"title":12281,"dynasty":1017,"author":222,"museum":59,"description":12282,"tags":12283,"thumbUrl":12284,"material":69,"size":69,"collection":69,"collections":12285,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":134},225431,"fu-shi-hui-189-yi-ming-225431","浮世绘189","暮月悬于淡墨长空，清辉漫过烟霭水乡。渔舟破水而行，梢公持篙稳立，舱中旅人团坐，任由扁舟载着归意漫溯。野凫惊起，剪开水面柔波，漾开细碎涟漪。远处岸汀林麓轻笼薄霭，茅舍隐在深翠间，浅渚疏枝晕染出清寂秋意。\n\n题画俳句错落排布，墨色与淡彩相融，将旅人的闲寂愁思晕开纸面。笔触清简秀雅，以淡赭、花青铺展暮色，留白衬出空濛水色，把暮归的悠然与水乡将夜的恬宁揉为一处，尽显侘寂清和的抒情画韵。",[2037,29,33,39,35,1149,41,7,1355,515,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129990f61e538d14cb452bf3756b362b.jpg",[],{"id":12287,"slug":12288,"title":12289,"dynasty":77,"author":2702,"museum":59,"description":12290,"tags":12291,"thumbUrl":12292,"material":69,"size":69,"collection":69,"collections":12293,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":52},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[23,25,27,29,33,31,30,6317,41,1559,1560,8912,1036,934,8554,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":12295,"slug":12296,"title":12297,"dynasty":77,"author":6377,"museum":59,"description":12298,"tags":12299,"thumbUrl":12303,"material":69,"size":69,"collection":69,"collections":12304,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":134},224400,"ceng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物心流水会，草外即平皋。怀土佳兵厌，占云挟雨高。学狂希羽客，引笑佐溪毛。幽影皆为象，前滩响莫涛。瓜州大慈庵夏望 吾择慈庵寂，焚香起正心。杖因江稻植，山在寺门寻。楚越中区抱，金焦大壑深。紫天开素气，鸦路意阴阴。 贺九山村已遇枇杷熟，频过碌石园。远柯兼瀑影，古凸自柴门。骨傲仍多性，兰衰尚有根。昌阳飞半腹，石穴共寒温。 问牧斋拂水山崖 欲履虞山迳，还赊六尺筇。思君偕寤语，似共万溪松。桂酒留华榭，天门落古镛。可知头尽皓，更得扰玄龙。 丙戌五月朔，王铎书。",[23,64,65,27,122,32,33,11684,12319,5381,12320,7,125,12321,12322,1535,12017,12323,12324],"古松","兰草","石穴","柴门","饮酒","诗歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb46539435de274822f16f672ccbf5c3.jpg","27X253cm",[],{"id":12329,"slug":12330,"title":12331,"dynasty":18,"author":12332,"museum":119,"description":12333,"tags":12334,"thumbUrl":12337,"material":69,"size":12338,"collection":69,"collections":12339,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":134},222240,"shui-cheng-tu-qian-gu-zhang-fu-222240","水程图","钱谷 张复","钱谷，[明]（一五○八至？）一作（一五○八至一五七二）字叔宝，自号悬罄室，吴县（今江苏苏州）人。少孤贫，失学，迨壮始知读书。\n家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便学心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔於艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物字藏有万历六年（一五七八）客金陵王氏修行馆作兰竹卷，时年七十一。《冯元成集、肯史·文徵明传、列朝诗集小传、苏州府志、明画录、无声诗史、明史·艺文志》\n朱彝尊《列朝诗传》：钱谷字叔宝，少孤贫，游文侍诏门下，日取架上书读之。以其余力点染水墨，得沈氏之法。晚葺故庐，读书其中。闻有异书，虽病必强起，匍匐请观。手自抄写，几於充栋，穷日夜校勘，至老不衰。钱谷手抄之书，一丝不苟，为后来藏家所重。陆心源皕宋楼曾藏有钱氏抄本《会稽掇英集》，后有文震孟跋说：《会稽掇英集》皆集唐宋名贤时文，宇内流传绝少，是其早岁所抄，无一惰笔，乃从宋刻本而录者，为世珍重可知矣。钱谷家贫，故文徵明为题室名悬罄就是空无所有的意思。文震孟《姑苏名贤小记》：叔宝先生不为家，家逾贫。先太史过而题其室曰'悬罄'。先生笑曰：'吾志哉！'而其嗜读日益甚。收录古文金石书几数千卷。\n看到文徵明收藏的典籍罗列，顿生羡慕之心，遂有志于藏书。先后购求及手录古籍至几万卷，闻有异书，虽病必强起借观，手自抄写，校雠至子夜不辍。所录古文、金石书近万卷，皆为当时佳本秘籍。建藏书室有“悬罄室”，由文徵明为其命名并题写匾额。老屋三间，藏书充栋。所藏多人间罕见版本。刘凤作有《悬罄室集》。又命名多处藏书、藏画室名如“十友斋”、“意远轩”、“红木轩”、“梦雉斋”等。藏书印有“句吴逸民”、“三吴漫士”、“吴越王子孙”、“中吴钱氏收藏印”、“钱谷手抄”、“百计寻书志亦迂，爱护不异隋侯珠。有假不还遭神诛，子孙不宝真其愚”、“钱氏叔宝”、“悬罄室”等。喜刻书，刻印有唐、宋秘籍众多，数千卷近百种。编有《续吴都文粹》、《静观室三苏文选》等，著有《三国类抄》、《隐逸集》、《南北史摭言》、《长洲志》、《吴中人物志》、《悬罄室杂录》、《悬罄室诗》、《苏州三刺史诗》等。子钱允治，亦酷喜藏书。 [1]\n钱允治（1541~？），字功甫，好书一如其父。钱曾《读书敏求记》说：功甫老屋三间，藏书充栋。白曰检书，必秉烛，缘梯上下。所藏多人间罕见之本。《列朝诗传》则称：年八十余，隆冬病疡，映日钞书，薄暮不止。功甫殁，无子，其遗书皆散去。自是吴中文献无可访问，先辈读书种子绝矣。\n二、[清]字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当钱第一。晚年名益重，求书者巵尝满。《三冈识略、江苏诗徽、画家知希录》\n三、[清]号龙泓，浙江萧山人。善山水，不拘於绳墨而气格自高，其疏纵处近学罗牧，深郁处远师黄吾野。《越画见闻》。\n四、清各州县官署名主办钱粮、赋税、会计的幕僚。俗称钱谷师爷，亦称钱粮师爷。\n张复[明]（一四0三至一四九0）道士。字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[25,122,210,33,441,12335,10204,12336,404,41,7,194],"城镇","城楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fabe384c3582a29de017a39cc4327e.jpg","25.1x38.4公分厘米",[],{"id":12341,"slug":12342,"title":12343,"dynasty":99,"author":222,"museum":59,"description":12344,"tags":12345,"thumbUrl":12346,"material":321,"size":322,"collection":69,"collections":12347,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":134},221650,"yu-ge-zi-yi-ming-221650","玉鸽子","中国宋代是一个手工业和工商业空前发展兴盛的时代，国富民强，文化发达。此时期的玉器正处在一个承前启后的转折阶段。两宋玉器承袭两宋画风，通常画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了由唐玉偏重工艺性、雕塑性向宋玉偏重绘画性、艺术性的转变。此时的皇家用玉品种丰富多样，佩饰类有玉束带、玉佩，用具有玉辂，玉磬，礼器有玉圭、玉册等等。内廷专设有玉作，玉料由西域诸国进贡。民间用玉也较前朝为盛，大量出现各种玉佩饰，玉用器。皇家、官僚及民间均风行收藏古玉，古董行开始出现伪造或仿造古玉之风气。因此，宋玉又被分为古玉、时作玉、伪古玉和仿古玉。 　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[7052,4473,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34869a3a108da214e217ce7375be3a9b.jpg",[],{"id":12349,"slug":12350,"title":12351,"dynasty":77,"author":12352,"museum":158,"description":12353,"tags":12354,"thumbUrl":12355,"material":89,"size":12356,"collection":69,"collections":12357,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":134},219844,"shan-shui-tu-ce-3-xie-sun-219844","山水图册-3","谢荪","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[25,26,210,122,29,31,33,37,38,163,7,67,1355,1915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894f4e4e75e6cb0b82c2f6114e520119.jpg","14.2x19.2",[],{"id":12359,"slug":12360,"title":12361,"dynasty":77,"author":12362,"museum":59,"description":12363,"tags":12364,"thumbUrl":12365,"material":303,"size":69,"collection":69,"collections":12366,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":134},217195,"fa-jie-yuan-liu-tu-juan-11-li-ming-217195","法界源流图卷-11","黎明","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[23,24,25,26,27,29,30,333,35,10942,5207,374,1036,123,7,690,41,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6073281448e6ff260ca26818e92f58.jpg",[],{"id":12368,"slug":12369,"title":12370,"dynasty":18,"author":12371,"museum":59,"description":12372,"tags":12373,"thumbUrl":12375,"material":259,"size":69,"collection":69,"collections":12376,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":457},217192,"shui-hu-quan-tu-1-du-jin-217192","水浒全图-1","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[25,26,210,30,63,29,35,36,553,12374,286,33,40,564,7,635],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262a05366f8cae91236b34689ff2ac4d.jpg",[],{"id":12378,"slug":12379,"title":12380,"dynasty":18,"author":2775,"museum":59,"description":12381,"tags":12382,"thumbUrl":12383,"material":181,"size":69,"collection":69,"collections":12384,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":52},216308,"xi-xiang-ji-zhen-ben-tu-ce-17-chen-hong-shou-216308","西厢记真本图册-17","左幅水天浩渺，芦荻扶风，归鸿掠影划破岑寂；右幅古木盘虬，仕女独立，衣袂轻扬似带流云。笔墨如铁线银钩，刚劲中藏柔婉，人物发髻的螺钿纹理、衣袍的褶皱层次，皆以精细线条勾勒，尽显古典韵致。远景淡墨晕染的山水与近景工笔描摹的人物相映成趣，虚实之间，西厢故事里的幽情暗绪似在纸间流转。每一笔都凝着旧时光的风雅，让观者于方寸之间，窥见那个年代的诗意与缠绵。",[25,26,210,63,35,66,41,7,38,934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a7d7c36701d886dacfc3d679562989.jpg",[],{"id":12386,"slug":12387,"title":12388,"dynasty":77,"author":12389,"museum":158,"description":12390,"tags":12391,"thumbUrl":12392,"material":181,"size":12393,"collection":69,"collections":12394,"showCount":534,"zanCount":51,"manualWeight":51,"mainColor":134},214716,"shan-shui-ce-2-gao-xiang-214716","山水册-2","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[25,122,210,63,31,33,39,440,163,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fb57d6e9369bdf48b16b186a1fe5cc.jpg","纵23.9 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（1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[25,26,489,30,29,87,7,1033,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98e7b6ed35548b6109f2f31d3f1bcf2.jpg",[],{"id":12593,"slug":12594,"title":3734,"dynasty":77,"author":12511,"museum":59,"description":12595,"tags":12596,"thumbUrl":12597,"material":69,"size":69,"collection":69,"collections":12598,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":1528},238159,"shan-shui-ce-yun-xi-238159","此作为诗画合璧的小品佳作，右侧绘秋山幽居：枯木虬枝遒劲疏朗，几点红萼点缀梢头，石矶层叠错落，远山藏着村居茅舍，淡墨轻晕出秋空的朦胧寥廓，留白衬出空山幽寂萧疏的秋日况味。\n\n左侧馆阁体书法秀雅端整，诗句咏叹秋山意趣，笔墨与画境两相呼应。整体不重繁复皴染，以简淡笔触勾勒秋山清景，诗书画印相融无间，将深秋山居的清远幽阔，与不必远寻秋意的闲适禅思融为一体，尽显文人画雅致淡然的意趣风骨。",[25,24,33,210,29,31,123,67,1480,7,40,64,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc174c8671d9221e24b4fdcff1c019032.jpg",[],{"id":12600,"slug":12601,"title":12602,"dynasty":18,"author":12603,"museum":59,"description":12604,"tags":12605,"thumbUrl":12607,"material":321,"size":322,"collection":69,"collections":12608,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":52},237968,"tao-liu-shan-zhuang-shan-yao-yun-zai-237968","桃柳山庄扇","姚允在","姚允在，字简叔，会稽（今浙江绍兴）人。善山水，学荆、关，﹝荆浩、关仝﹞笔墨道劲，﹝应系笔墨遒劲之讹﹞思致不凡。",[25,26,489,122,29,31,33,34,1033,12606,123,41,7,37,38],"山庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4088d43113d6ceb201e20e9c80750ed.jpg",[],{"id":12610,"slug":12611,"title":7431,"dynasty":77,"author":2702,"museum":59,"description":5077,"tags":12612,"thumbUrl":12613,"material":321,"size":322,"collection":69,"collections":12614,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},237608,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237608",[24,25,26,210,122,33,7,67,32,4661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856ded16bc10b5edb4fe2f4ef3d3c962.jpg",[],{"id":12616,"slug":12617,"title":12618,"dynasty":77,"author":12619,"museum":59,"description":12620,"tags":12621,"thumbUrl":12622,"material":321,"size":322,"collection":91,"collections":12623,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},237471,"shan-shui-hua-shi-ce-wang-han-237471","山水花石册","王翰","王翰（公元687年~726年），字子羽，并州晋阳（今山西太原市）人，唐代边塞诗人。与王昌龄同时期，王翰这样一个有才气的诗人，其集不传。其诗载于《全唐诗》的，仅有14首。登进士第，举直言极谏，调昌乐尉。复举超拔群类，召为秘书正字。擢通事舍人、驾部员外。出为汝州长史，改仙州别驾。",[25,26,210,122,65,32,67,163,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d681f86ea612ef4254f2f5adcb54420.jpg",[91,46],{"id":12625,"slug":12626,"title":11652,"dynasty":77,"author":11653,"museum":59,"description":11654,"tags":12627,"thumbUrl":12628,"material":69,"size":69,"collection":69,"collections":12629,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},237165,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237165",[25,26,210,29,33,35,81,82,38,40,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F873f87dd7dab04d94e7cf4557e1a2582.jpg",[],{"id":12631,"slug":12632,"title":10180,"dynasty":18,"author":12633,"museum":59,"description":12634,"tags":12635,"thumbUrl":12636,"material":321,"size":322,"collection":69,"collections":12637,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":52},236519,"shan-shui-shan-lu-zhi-236519","鲁治","鲁治，号岐云，江苏苏州人，明代画家。",[24,25,489,122,33,41,1560,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f25664f8e7ba70b6b80087ce66a9171.jpg",[],{"id":12639,"slug":12640,"title":8855,"dynasty":18,"author":12641,"museum":207,"description":12642,"tags":12643,"thumbUrl":12644,"material":259,"size":12645,"collection":69,"collections":12646,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},236483,"shan-shui-ren-wu-ce-guo-fen-ya-236483","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[25,122,29,35,33,374,7,123,1382,210,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0808babb44fcbe7a4dd5e0697b234fc3.jpg","纵38.8厘米，横60.4厘米",[],{"id":12648,"slug":12649,"title":7431,"dynasty":77,"author":222,"museum":59,"description":12650,"tags":12651,"thumbUrl":12652,"material":69,"size":69,"collection":69,"collections":12653,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},236060,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236060","此作以淡墨轻皴绘就平林寒野，近岸枯木疏枝交错，浅赭点染残叶，晕开初冬萧索意趣。右下角茅舍隐于坡林之间，野水蜿蜒远去，遥岸淡影朦胧。滩涂上三两牧群徐行，衬得天地愈见空寂悠然。\n\n全作用笔松秀温润，设色清浅雅致，以留白铺展平远之境，将郊野荒寒闲逸融于尺幅。淡而有味，简中见韵，尽显含蓄静穆的仿古意趣，悠悠晕开江南冬野清远淡宕的诗意。",[25,26,210,62,122,29,33,1480,67,40,7,1704,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a4d524989c1b3b6d1da5f119753f62.jpg",[],{"id":12655,"slug":12656,"title":12657,"dynasty":77,"author":222,"museum":59,"description":12658,"tags":12659,"thumbUrl":12660,"material":321,"size":322,"collection":69,"collections":12661,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},235790,"wu-li-lin-tang-shi-si-tu-shan-ye-yi-ming-235790","吴历林塘诗思图扇页","此作用淡墨写就林塘秋景，取景清寂萧疏。近岸渔舟独棹，蓑翁垂纶，坡岸间疏林错落，茅庐隐于修竹茂树之下，远汀横斜，归雁掠过长天，淡墨晕开暮霭轻云，将秋日郊野的静谧寥廓尽数铺陈。\n笔墨松秀简淡，以干笔皴擦勾勒山石林木，墨色清润柔和，层次井然。题诗与画面相映成趣，将幽居闲眺、寄情林泉的隐逸诗意收束在尺幅之间，尽显萧散淡远的文人画意趣，静穆悠远，引人沉入秋日闲居的清宁遐思里。",[25,26,489,122,31,65,32,33,81,1036,37,38,7,40,39,35,67,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c905d93c173e008f79cf2e820329ff4.jpg",[],{"id":12663,"slug":12664,"title":3734,"dynasty":18,"author":12665,"museum":59,"description":12666,"tags":12667,"thumbUrl":12668,"material":321,"size":322,"collection":69,"collections":12669,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},235287,"shan-shui-ce-shen-hao-235287","沈颢","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[25,26,210,122,29,31,33,374,123,37,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5b4c2ba5269132e1e213af128e581c.jpg",[],{"id":12671,"slug":12672,"title":12673,"dynasty":77,"author":2702,"museum":59,"description":5077,"tags":12674,"thumbUrl":12675,"material":321,"size":322,"collection":69,"collections":12676,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},235230,"fang-hui-chong-shan-shui-zhou-wang-hui-235230","仿惠崇山水轴",[24,25,26,104,122,31,62,32,33,41,1355,441,7,39,921,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29747977d2442e5bcdd0e2cbd270fb52.jpg",[],{"id":12678,"slug":12679,"title":12680,"dynasty":77,"author":6377,"museum":59,"description":12681,"tags":12682,"thumbUrl":12683,"material":259,"size":12684,"collection":69,"collections":12685,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},234889,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234889","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[25,26,210,29,33,62,65,32,31,9592,41,38,37,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a787b044c23fe3b27d88960491f37b.jpg","纵21厘米，横27厘米",[],{"id":12687,"slug":12688,"title":12689,"dynasty":77,"author":12690,"museum":59,"description":12691,"tags":12692,"thumbUrl":12693,"material":69,"size":69,"collection":69,"collections":12694,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},234823,"yu-shan-zhu-xian-he-bi-ce-yun-he-xian-ju-tu-ce-ye-cai-yuan-234823","虞山诸贤合璧册-云壑仙居图册页","蔡远","虞山派又称“虞山山水画派”简称“虞山派”。为“云间画派”两大支流之一。“虞山派”包括“虞山画派”、“虞山诗派”、“虞山印派”、“虞山琴派”、“虞山派藏书楼”、“虞山派红木雕刻”、“虞山派微雕”和“虞山书法派”等等。一首《“虞山派”歌》曰：“虞山藏书读书乐，铁琴唻铜剑臫頭第一楼條；虞山画派王翬创，画祖还有黄公望；虞山琴派严天池，古琴艺术传万世；虞山印派林鹤田，篆刻刀法气宇轩；虞山诗派钱牧斋，绛云书楼胸中载；虞山书法不成派，草圣张旭醉唐代”。",[25,26,122,33,210,31,37,38,516,124,41,40,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a07f03dda9cd3e7eb54f8891eca37b.jpg",[],{"id":12696,"slug":12697,"title":3734,"dynasty":77,"author":8333,"museum":59,"description":12698,"tags":12699,"thumbUrl":12700,"material":69,"size":69,"collection":69,"collections":12701,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},234643,"shan-shui-ce-cha-shi-biao-234643","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[25,26,210,65,29,33,37,38,67,7,334,39,123,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F910d489193199787947dbcb7c725e005.jpg",[],{"id":12703,"slug":12704,"title":3734,"dynasty":77,"author":10210,"museum":12705,"description":12706,"tags":12707,"thumbUrl":12708,"material":69,"size":69,"collection":69,"collections":12709,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":52},234103,"shan-shui-ce-wang-gai-234103","荣宝斋","王概，又作王槩。字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。其兄王耆，其弟王臬皆擅画。王概的山水师法龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：\n“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”\n王概擅治印、刻竹，并善诗文，著有《澄心堂纸赋》。王概在中国绘画史上留名，主要是三十五岁时曾应沈因伯之请，携兄弟，以明李流芳课徒画稿为基础，为《芥子园画传》编绘山水集，率先编绘了中国画技法图谱——《芥子园画谱》。",[25,26,210,122,29,33,7,1480,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e926f8a7aebfe76f961f15d344372e0.jpg",[],{"id":12711,"slug":12712,"title":12713,"dynasty":99,"author":2541,"museum":207,"description":12714,"tags":12715,"thumbUrl":12716,"material":197,"size":12717,"collection":69,"collections":12718,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":52},233997,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233997","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,25,26,63,122,30,31,123,41,7,67,414,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e5aa785732da9a4f5ab32275a9bd7d.jpg","60.33x41.04厘米",[],{"id":12720,"slug":12721,"title":12722,"dynasty":77,"author":12723,"museum":207,"description":12724,"tags":12725,"thumbUrl":12726,"material":2433,"size":12727,"collection":69,"collections":12728,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},233432,"huang-shan-tu-ce-mei-qing-233432","黄山图册","梅清","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[25,122,31,210,32,33,516,163,40,7,564,528,81,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3248ca9a22b55ef40d212ff75967d3.jpg","纵26厘米，横33厘米",[],{"id":12730,"slug":12731,"title":12732,"dynasty":99,"author":222,"museum":207,"description":12733,"tags":12734,"thumbUrl":12735,"material":362,"size":12736,"collection":69,"collections":12737,"showCount":292,"zanCount":11,"manualWeight":51,"mainColor":52},233008,"wu-jiu-wen-qin-tu-ye-yi-ming-233008","乌桕文禽图页","雪后溪边，天色晦冥，老梅初放。树栖绶带鸟一双，毛羽绚烂。树下溪流湍急，水花飞溅。岸石上覆盖积雪，画家以水墨烘染阴天，以白粉表现积雪，以流畅的曲线描绘流水，最为独特的是为了表现溪岸岩石为水冲蚀形成的蜂窝之状，另创皴法，前此未见。",[25,24,26,2915,30,29,87,67,7,38,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f1707bad69d3b03c01b8057c7efac20.jpg","纵27.5cm，横26.9cm",[],{"id":12739,"slug":12740,"title":12741,"dynasty":1017,"author":12742,"museum":59,"description":12743,"tags":12744,"thumbUrl":12746,"material":69,"size":69,"collection":69,"collections":12747,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},231672,"lu-ao-qi-sheng-tu-juan-chi-da-ya-231672","陆奥奇胜图卷","池大雅","此作用淡墨晕染铺陈平远山水，汀渚山峦随卷舒展，留白托出氤氲水汽，空濛幽寂。点染的林木村居朴拙灵动，将胜景的清旷雅致尽数铺展。\n卷中配行书题跋，笔墨萧散率性，纪游文辞与山水意境相融相生，尽显文人雅趣。整卷以极简水墨，晕开东方山水的禅意侘寂，把漫游揽胜的闲情藏在尺幅长卷里，淡远空灵，是诗书画一体的文人佳构。",[23,12745,1679,122,29,27,31,64,32,33,256,257,39,7,40,41,36,124,37],"南画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f2e4305253da5ba56be20454445e88.jpg",[],{"id":12749,"slug":12750,"title":12751,"dynasty":1017,"author":12752,"museum":59,"description":12753,"tags":12754,"thumbUrl":12757,"material":321,"size":322,"collection":69,"collections":12758,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},231660,"ri-da-zheng-nian-jin-jiang-ba-jing-jin-cun-zi-hong-231660","日大正年 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Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,29,31,25,33,1162,124,6317,41,7,12755,12756],"动物","木栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F084e35ef2972f17e1b2ae1b40e797869.jpg",[],{"id":12760,"slug":12761,"title":12762,"dynasty":1017,"author":12763,"museum":59,"description":12764,"tags":12765,"thumbUrl":12767,"material":321,"size":322,"collection":69,"collections":12768,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":52},231648,"yan-nan-qu-tu-zhou-chun-zhang-231648","雁南去图轴","春章","淡赭晕开江天暮色，冷月悬于低空，阵雁振翅南去，把秋意揉进流云里。草舍阶前，女子以袖拭泪，将别情藏在颦蹙之间；青衫男子席地静坐，执箸无言，满室怅惘随着晚风漫过竹帘。岸侧丹枫缀着残红，把萧索融进依依别绪。\n\n整作设色柔雅清润，线条秀逸温婉，将羁旅离别的缱绻愁思，融在江村秋夜的冷寂图景中。雁影渐远，愁味悠长，淡而不散的别意随着暮色漫开，余韵悠悠。",[25,26,104,29,30,35,7,1560,41,334,12766,319,690],"草席","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87597ec94c9796e19b45ef00072964db.jpg",[],{"id":12770,"slug":12771,"title":12772,"dynasty":77,"author":12773,"museum":59,"description":12774,"tags":12775,"thumbUrl":12776,"material":69,"size":69,"collection":69,"collections":12777,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},230879,"qiu-jiang-wan-du-ye-yao-zhong-bao-230879","秋江晚渡页","姚钟葆","淡墨晕开烟水空蒙，江畔秋树斜出，赭色点染丹黄，将晚秋霜色尽揽枝梢。垂条轻曳，晕出松弛疏淡的野趣。\n\n扁舟泊于浅渚，舟上幽人兀坐，隐入澄澈江天，不着一笔写愁，却将秋江岑寂全然铺陈。留白处尽是悠悠晚意，仿佛可闻欸乃橹声，随晚风漫过江心。\n\n笔墨简淡清灵，以少胜多，把羁旅闲愁化作静穆秋意，文题与淡墨秋景相融，晕开独有的空濛诗意，尽显幽远萧散的林下风致。",[25,122,29,210,31,39,35,7,81,3557,563,6779],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398701c4b5e7ea6c7f53c677cdf4ea49.jpg",[],{"id":12779,"slug":12780,"title":3734,"dynasty":77,"author":9836,"museum":59,"description":12781,"tags":12782,"thumbUrl":12783,"material":69,"size":69,"collection":69,"collections":12784,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},230255,"shan-shui-ce-wang-su-230255","此作以淡赭轻染、花青敷缀，写就水滨冬景。江天色调清濛，岸旁柳芦枝叶疏柔，似含朔风之意，带着萧寒疏朗之态。近岸小舟系于枯木之下，篷顶暖意暗生；远江扁舟孤行，淡波载着舟影缓缓漾开，留白铺就空阔水天，晕开朦胧烟霭。\n题诗笔意清隽，和画面柔澹氛围相融。整幅无繁复皴擦，以简淡笔墨托出萧散空寂的意境，将冬日水畔的闲逸清和藏于浅淡设色之中，尽显文人画天真简淡的意趣，观之便如临幽寂江天，俗尘尽涤。",[25,26,210,122,29,39,1033,934,9839,38,7,2215,1382,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591750a149d747d9b88fc296549bdcf.jpg",[],{"id":12786,"slug":12787,"title":12788,"dynasty":18,"author":222,"museum":59,"description":12789,"tags":12790,"thumbUrl":12791,"material":321,"size":322,"collection":69,"collections":12792,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},228821,"gu-xiu-shi-liu-ying-zhen-tu-yi-ming-228821","顾绣十六应真图","明嘉靖年间,露香园主顾名世之妾缪氏擅绣人物、佛像,又有顾媳韩氏仿宋元画入绣。因绣品气韵生动,于是名噪一时。",[23,4299,63,29,333,35,81,123,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2601ee105f36fa640e1cc4bf14f7dc.jpg",[],{"id":12794,"slug":12795,"title":12796,"dynasty":99,"author":222,"museum":59,"description":12797,"tags":12798,"thumbUrl":12801,"material":69,"size":69,"collection":69,"collections":12802,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":457},227912,"zhu-shi-tu-yi-ming-227912","竹石图","以淡墨晕染出空茫幽寂的天地，将幽竹顽石隐于画幅下半隅，尽显萧散简远的林下意趣。\n浓墨挥写竹竿，劲挺有节，竹叶以介、个笔法点染，错落交叠，似带山中风声，既有婆娑摇曳之姿，又暗合君子坚韧不折的品格。怪石以枯淡墨笔勾勒皴擦，苍朴古拙，与修竹相映，衬出山野荒寒的幽僻之境。\n整幅画面留白通透，以极简笔墨营造出空寂禅意，把文人寄情林泉的澹泊襟怀，融于水墨虚实之间，尽显含蓄雅致的写意风神。",[23,25,26,24,623,104,122,528,82,7,12799,31,12800],"墨竹","竹石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a6beb5f7a689648a17c4240b5acc88.jpg",[],{"id":12804,"slug":12805,"title":11434,"dynasty":99,"author":222,"museum":59,"description":12806,"tags":12807,"thumbUrl":12808,"material":69,"size":69,"collection":69,"collections":12809,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":1528},227849,"han-ke-shan-zhe-tu-yi-ming-227849","此作用笔苍劲老辣，绘就隆冬寒林之景。虬曲古柯凝着薄雪，枝桠枯瘦萧疏，晕染出彻骨清寒。两只山鹧栖于枝头，羽色晕染细腻，墨色浓淡间绒羽质感尽显，神态安闲静穆，为荒寂雪景添上灵动生机。\n\n整幅小品以极简布局营造出幽谧冷寂的意境，工写结合，山水小景与花鸟相映成趣，于简淡中藏着精微刻画，将冬日林泉的清冷凝寂与禽鸟的鲜活生机相融，尽显宋人清冷雅致的审美意趣，方寸之间，意蕴悠长。",[23,24,25,26,489,30,29,87,440,661,163,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8af24f946845e287b4724601d027e49d.jpg",[],{"id":12811,"slug":12812,"title":11450,"dynasty":99,"author":222,"museum":59,"description":12813,"tags":12814,"thumbUrl":12815,"material":69,"size":69,"collection":69,"collections":12816,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":52},227840,"gu-mu-han-qin-tu-yi-ming-227840","此作为典型的宋人寒林小景。坡岸积素皴染柔和，尽显积雪蓬松厚重，古木虬曲苍劲，枯涩的枝桠皴擦老辣，将冬日林木的萧索质感勾勒尽致。枝梢立着一只寒禽，身形虽小却点染生动，孤清的身影在冷寂天地间格外醒目。\n\n对岸平沙远岫晕染朦胧，以一隅写尽冬日郊野的阔远荒寒。画面虚实相生，留白藏韵，以极简的笔墨铺展出清寂冷冽的冬日氛围，于萧索中暗藏幽微生机，含蓄传递出枯淡清远的文人意趣，尽显宋画诗意内敛的美学特质。",[23,25,26,122,29,30,31,1480,67,7,123,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239db6ca37d296151263dc36a7c2dedc.jpg",[],{"id":12818,"slug":12819,"title":12820,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":12821,"thumbUrl":12823,"material":321,"size":322,"collection":69,"collections":12824,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},226378,"ku-zhu-shi-xi-bi-yi-ming-226378","窟主室西壁",[332,333,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howCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},223204,"geng-zhi-tu-ce-jiao-bing-zhen-223204","耕织图册","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[25,24,2915,29,30,35,12903,10204,7,12904,64,12905],"乡村","农桑劳作","耕织题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dea0eb58f60875dc4553e87238315ca.jpg","34.7cm×27.7cm",[],{"id":12910,"slug":12911,"title":12912,"dynasty":18,"author":3995,"museum":158,"description":7295,"tags":12913,"thumbUrl":12914,"material":259,"size":12915,"collection":69,"collections":12916,"showCount":292,"zanCount":51,"manualWeight":51,"mainColor":134},222495,"shang-bo-hua-ji-xuan-36-3-zhang-lu-222495","上博画集选36-3",[23,24,25,26,35,122,29,63,124,7,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3232ca4f32698b25453d60c8f9e02aba.jpg","55.88厘米 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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[7052,4473,7050,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc691e442dd2fbd1a799f5addf9759ab4.jpg",[],{"id":13126,"slug":13127,"title":13128,"dynasty":77,"author":222,"museum":59,"description":13129,"tags":13130,"thumbUrl":13132,"material":321,"size":322,"collection":69,"collections":13133,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":457},245948,"jin-xian-he-xiang-xun-yi-ming-245948","金仙鹤香熏","此作通体鎏金，仙鹤昂首引吭，身形舒展挺秀，宛若正欲清唳长鸣。羽片刻画细致入微，纹理层次分明，将仙禽丰润柔婉的体态描摹得灵动逼真，尽显鹤之高洁出尘。\n\n作为香熏，烟气可自仙鹤周身散逸，如瑞云袅袅，雅韵悠然。搭配雕饰层浪的底座，衬得仙鹤仿若凌波踏水，仙气飘然。它融陈设美感与实用巧思于一体，把吉祥瑞鹤的意象具象呈现，凝萃清代工艺的精妙工巧，自带清贵雅致的隽永气韵。",[11097,4473,1955,7,13131,225],"熏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0481a2363aa5f0ccbbb684035aa20286.jpg",[],{"id":13135,"slug":13136,"title":13137,"dynasty":435,"author":222,"museum":59,"description":9708,"tags":13138,"thumbUrl":13140,"material":321,"size":322,"collection":69,"collections":13141,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":457},244704,"shuang-feng-ba-gua-wen-jing-yi-ming-244704","双凤八卦纹镜",[4471,4472,4473,6972,7,13139,360],"八卦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9cccf6901ac7f236671e3ff91886540.jpg",[],{"id":13143,"slug":13144,"title":13145,"dynasty":77,"author":12145,"museum":59,"description":13146,"tags":13147,"thumbUrl":13149,"material":321,"size":322,"collection":69,"collections":13150,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":52},241470,"xing-kai-jin-zhu-fang-cong-yi-duan-juan-yao-song-241470","行楷晋麈芳丛一段卷","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[64,27,13148,195,227,345,900,957,179,528,143,726,34,5438,37,38,39,7,334,33,238],"行楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01aec93a00f535293be71bc9dc187444.jpg",[],{"id":13152,"slug":13153,"title":13154,"dynasty":77,"author":7909,"museum":59,"description":7910,"tags":13155,"thumbUrl":13158,"material":321,"size":322,"collection":69,"collections":13159,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":52},240150,"shi-juan-yong-rong-240150","诗卷",[23,25,26,27,65,64,32,122,29,30,31,256,257,13156,563,163,40,7,1480,67,87,726,143,528,5438,426,227,34,957,2672,271,390,38,13157,145,167,81],"月","镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bef9db8d13140b80a43b3a09f5f780.jpg",[],{"id":13161,"slug":13162,"title":13163,"dynasty":18,"author":222,"museum":59,"description":13164,"tags":13165,"thumbUrl":13166,"material":69,"size":69,"collection":651,"collections":13167,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":134},240000,"dan-gu-gui-qu-lai-ci-ye-yi-ming-240000","澹古归去来辞页","此作用笔灵动温润，牵丝映带自然妥帖，字势顾盼相生，尽显典型的明代行书风貌。起收笔遒劲不失秀雅，点画粗细变化富有韵律，将陶潜辞中散淡隐逸的林下之风融于笔墨。\n\n通篇布局匀整和谐，行气连贯从容，不见刻意狂放，将归园田居的释然快意藏于笔墨节奏之中。笔墨间闲适安和，文辞意趣与书法技法相融，尽显传统文人书法的清雅书卷气，是颇具意致的行书佳制。",[1047,64,65,259,122,179,726,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60a3634479f719cca678a6bca8ff6d7.jpg",[651],{"id":13169,"slug":13170,"title":13171,"dynasty":77,"author":13172,"museum":59,"description":13173,"tags":13174,"thumbUrl":13175,"material":69,"size":69,"collection":69,"collections":13176,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":134},239414,"fang-gu-shan-shui-ping-qin-zu-yong-239414","仿古山水屏","秦祖永","此作用平远构图铺展湖乡霁后之景。浩淼湖面之上，舟楫轻泛、水鸟翔集，洲渚错落延展，田畦方整如织，村舍掩映于林麓间，行人缓步堤岸，满溢悠然烟火意趣。下半段笔意陡转，青绿重峦挺拔苍劲，古松虬枝盘绕，山巅亭台、山麓城郭错落排布，融田园疏淡与山水雄浑于一体。\n\n笔墨承袭元明文人画意，设色淡雅秀润，线条松秀柔和，题诗呼应画境，将江南湖山的清润灵秀与村居闲趣相融，师法古人又自出机杼，把江南雨后的雅致诗意尽铺尺幅之中。",[25,26,104,29,31,62,33,40,7,37,38,39,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0faa8571b923df80597b934c85f728d.jpg",[],{"id":13178,"slug":13179,"title":3734,"dynasty":77,"author":11125,"museum":59,"description":13180,"tags":13181,"thumbUrl":13182,"material":69,"size":69,"collection":69,"collections":13183,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":134},239362,"shan-shui-ce-wang-san-xi-239362","此作取景分两重溪山，上部峡谷溪流宛转，矶渚错落排布，淡墨晕染山石，线条松秀灵动，间杂几株清瘦林木，幽寂空阔之意扑面而来。下半段以险峻崖嶂为主体，双松虬曲扎根危石，古拙苍劲，姿态奇崛。下方汀岸平缓，茅舍隐现一角，与上部深远山水形成疏密对照。\n\n全作用浅绛淡设色，笔墨简淡秀雅，意境清远冷寂，尽显文人画萧散淡远之致，将江南溪山的清旷之美，以极简笔墨勾勒晕染，淡而不薄，简中见雅，寄寓着画者林泉高致的隐逸襟怀。",[25,122,31,210,33,7957,41,1559,7482,7,38,163,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85d082822abb6054ae8bb023d4baaba3.jpg",[],{"id":13185,"slug":13186,"title":10180,"dynasty":18,"author":13187,"museum":59,"description":13188,"tags":13189,"thumbUrl":13190,"material":321,"size":322,"collection":69,"collections":13191,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":52},238938,"shan-shui-shan-zhang-yang-hao-238938","张养浩","张养浩（1270年—1329年），汉族，字希孟，号云庄，又称齐东野人，济南（今山东省济南市）人，元代著名政治家，文学家。生于元世祖至元七年（公元1270年），卒于元文宗天历二年（公元1329年）。\n一生经历了世祖、成宗、武宗、英宗、泰定帝和文宗数朝。少有才学，被荐为东平学正。历仕礼部、御史台掾属、太子文学、监察御史、官翰林侍读、右司都事、礼部侍郎、礼部尚书、中书省参知政事等。后辞官归隐，朝廷七聘不出。天历二年（1329年），关中大旱，出任陕西行台中丞。是年，积劳成疾，逝世于任上。\n元文宗至顺二年（1331年），追赠张养浩摅诚宣惠功臣、荣禄大夫、陕西等处行中书省平章政事、柱国，追封滨国公、礼部侍郎、礼部尚书、中书省参知政事，谥文忠。尊称为张文忠公。\n张养浩是元代重要的政治、文化人物，其个人品行、政事文章皆为当代及后世称扬，是元代名臣之一。与清河元明善，汶上曹元用并称为“三俊”。代表作品有《三事忠告》，散曲《山坡羊·潼关怀古》等",[1047,25,489,122,33,41,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8ee047d04f9a86865071923ef918c5.jpg",[],{"id":13193,"slug":13194,"title":13195,"dynasty":99,"author":222,"museum":59,"description":13196,"tags":13197,"thumbUrl":13198,"material":69,"size":69,"collection":69,"collections":13199,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":52},238129,"liang-shi-min-lu-ting-mi-xue-tu-juan-yi-ming-238129","梁师闵芦汀密雪图卷","以淡墨晕染铺就江天雪景，汀渚芦荻披雪偃卧，寒禽静栖其间，留白拓出江天寥廓空茫。笔意简淡清润，没有繁复皴擦，仅凭水墨晕染便勾勒出雪色裹覆下的冷寂江洲。\n清冷萧寒的氛围漫溢纸面，尽显潇湘冬雪的空濛澄澈，带着宋画独有的雅致静穆。观者仿若踏雪临江，看江天雪意萧索，望外寒沙半落潮，在这份冷逸幽澹的意境里，沉醉于冬日江渚的荒寂之美。",[24,25,26,27,30,122,29,33,934,10994,439,39,7,32,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F016ed5eb355835f8e2c13be7da3c1a67.jpg",[],{"id":13201,"slug":13202,"title":13203,"dynasty":77,"author":13204,"museum":59,"description":13205,"tags":13206,"thumbUrl":13207,"material":321,"size":322,"collection":69,"collections":13208,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":134},237728,"wu-sheng-shi-yi-tu-ce-huang-yi-237728","无声诗意图册","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[25,26,210,122,29,35,37,33,167,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24362325b7ee87adefb091d91774fb01.jpg",[],{"id":13210,"slug":13211,"title":13203,"dynasty":77,"author":13204,"museum":59,"description":13205,"tags":13212,"thumbUrl":13213,"material":321,"size":322,"collection":69,"collections":13214,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":134},237727,"wu-sheng-shi-yi-tu-ce-huang-yi-237727",[25,122,210,32,37,38,7,33,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93279d7109f89dcc760bc9034e59dc8c.jpg",[],{"id":13216,"slug":13217,"title":3734,"dynasty":77,"author":12125,"museum":207,"description":12126,"tags":13218,"thumbUrl":13219,"material":69,"size":69,"collection":69,"collections":13220,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":134},237557,"shan-shui-ce-wen-dian-237557",[25,24,122,33,210,39,7,41,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8b702a477bc829b380f2e5d4a5fec3.jpg",[],{"id":13222,"slug":13223,"title":3734,"dynasty":77,"author":12125,"museum":207,"description":12126,"tags":13224,"thumbUrl":13225,"material":69,"size":69,"collection":69,"collections":13226,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":134},237555,"shan-shui-ce-wen-dian-237555",[24,25,26,210,122,31,33,40,374,123,38,440,748,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae7dc722fb7cce39f4f19b04f7a449f.jpg",[],{"id":13228,"slug":13229,"title":13230,"dynasty":77,"author":2702,"museum":119,"description":13231,"tags":13232,"thumbUrl":13233,"material":259,"size":69,"collection":69,"collections":13234,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":134},237382,"shan-shui-ce-xu-wen-yang-jin-liu-pu-gu-zhou-tu-ye-wang-hui-237382","山水册-徐玟、杨晋柳浦孤舟图页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[25,26,210,122,31,33,39,440,7,553,35,1033,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334f889706a97c80364d0d28a177adbb.jpg",[],{"id":13236,"slug":13237,"title":1007,"dynasty":18,"author":4177,"museum":59,"description":4178,"tags":13238,"thumbUrl":13239,"material":69,"size":69,"collection":69,"collections":13240,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":134},236543,"hua-niao-ce-tang-zhi-yin-236543",[24,25,26,210,30,29,87,7,1502,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a93d43129c7fc6eab177b5986d4881.jpg",[],{"id":13242,"slug":13243,"title":13244,"dynasty":18,"author":13245,"museum":59,"description":13246,"tags":13247,"thumbUrl":13250,"material":321,"size":322,"collection":69,"collections":13251,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":52},236330,"song-xi-shui-ge-shan-li-shi-da-236330","松溪水阁扇","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[25,489,122,29,33,179,13248,13249,123,41,7,31,30],"溪水","水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51643ee7a234a30de6cf3674a935917f.jpg",[],{"id":13253,"slug":13254,"title":13255,"dynasty":18,"author":13256,"museum":59,"description":13257,"tags":13258,"thumbUrl":13259,"material":69,"size":69,"collection":69,"collections":13260,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":134},235846,"ma-an-shan-tu-ye-wang-gu-xiang-235846","马鞍山图页","王谷祥","此作设色清润淡雅，右侧江岸山峦静立，坡岸林木蓊郁，茅庐隐于浓荫，开阔江面三两轻帆远渡，尽写江南水色空濛清寂之态。\n\n左侧题诗与画作相映成趣，笔墨秀雅，诗书画印融为一体，尽显文人画的萧散意趣。全幅不作繁复皴染，仅以浅绛轻敷，以简淡笔致铺展出幽旷山水意境，将凭眺江海的澹泊襟怀藏于简净笔墨中，观之便如沐江风，恍若身临山野江岸，静享林泉闲逸之致。",[25,26,210,122,29,65,32,33,39,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13cf2d28ee82931a2392cf23a8655e69.jpg",[],{"id":13262,"slug":13263,"title":13264,"dynasty":18,"author":12665,"museum":59,"description":13265,"tags":13266,"thumbUrl":13267,"material":69,"size":69,"collection":69,"collections":13268,"showCount":5,"zanCount":51,"manualWeight":51,"mainColor":134},235627,"fang-gu-shan-shui-ce-shen-hao-235627","仿古山水册","此作用笔苍劲老辣，左上主峰巍峨矗立，山石以干笔皴擦勾斫，尽显嶙峋厚重，带着古拙山野意趣。山间古松虬枝舒展，松下茅舍临溪而建，板桥横卧通幽，寥寥数笔便勾勒出世外幽居图景。远景山峦以淡墨晕染，虚实相映，铺陈出山林的悠远空寂。画面留白恰到好处，搭配右上角题诗，笔墨清逸雅致，将文人幽居林泉、寄情山水的雅趣尽藏其中，以简淡布景传递静谧禅意，尽显文人山水画抒情寄兴的悠然意韵。",[25,26,210,122,33,31,32,256,81,1355,1626,179,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F814c6c822e532304dd3b9f3a1c18071e.jpg",[],{"id":13270,"slug":13271,"title":3734,"dynasty":77,"author":13272,"museum":59,"description":13273,"tags":13274,"thumbUrl":13275,"material":321,"size":322,"collection":69,"collections":13276,"showCount":5,"zanCount":51,"manualWeight":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“负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[25,26,210,122,29,33,37,35,41,123,1626,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677d0ff05e5bfb1c095108ee6c723523.jpg",[],{"id":13894,"slug":13895,"title":3734,"dynasty":77,"author":11636,"museum":59,"description":13896,"tags":13897,"thumbUrl":13898,"material":321,"size":322,"collection":69,"collections":13899,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},236970,"shan-shui-ce-chen-jia-le-236970","陈嘉乐（生卒年不详），又名陈嘉荣，字子显，号东原。清代济南历城人。善诗，工书画，尤长于山水。画学王原祁风格，乾隆年间闻名于画坛。后被道光皇帝第九子、孚敬郡王奕譓请到京邸，跟其学画。",[25,26,210,122,33,440,39,1225,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111bcaeb5a9e6cd30acd23166f0c05d0.jpg",[],{"id":13901,"slug":13902,"title":11116,"dynasty":77,"author":13903,"museum":59,"description":13904,"tags":13905,"thumbUrl":13906,"material":321,"size":322,"collection":69,"collections":13907,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},236941,"za-hua-ce-wang-liu-zhen-236941","王六真","此作用水墨写意绘就寒枝垂藤，虬曲苍劲的枝桠舒展穿插，羽状叶片以浓淡墨色点簇而成，虚实错落间尽显萧疏清寒。一只孤鸟敛羽静栖细枝，身形小巧灵动，为清冷画面晕开一缕幽微生机。\n\n背景以淡墨轻晕，不着一笔却朦胧出水色天色交融的空濛之态，留白间尽显悠远虚静。整体笔墨简淡清逸，以少胜多，将冬日荒寒氛围与细碎生趣相融，在墨色浓淡、虚实相生里，传递出澹泊清远的文人意趣，尽显水墨小品以景寄情的雅致格调。",[25,122,210,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7faf00b7fbe75e6281437303e7d4f2f5.jpg",[],{"id":13909,"slug":13910,"title":13911,"dynasty":18,"author":222,"museum":59,"description":13912,"tags":13913,"thumbUrl":13914,"material":321,"size":322,"collection":69,"collections":13915,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},236876,"lu-zhi-shi-hu-chun-you-cheng-shan-yi-ming-236876","陆治石湖春游成扇","以泥金笺为底，淡墨写就江南春山。远山如黛，笼在轻烟薄雾之间，似被春帷半遮，带着朦胧的倦意。近岸林木错落，屋舍隐于枝桠，湖面空阔无波，将春日的清寂铺陈开来。\n\n笔墨简淡松灵，不重浓艳，只以皴擦点染勾勒出悠远的山水意韵，把石湖春游的闲逸悄然藏在烟霭之中。扇骨浅刻细纹，与扇面淡远山水相映，自带沉静古朴的文人气韵，将江南春日的温柔疏淡凝于盈尺之间，展合皆是幽远林下风致。",[25,26,489,122,29,31,33,35,37,38,40,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496cc0747c5cbed3f29b2bed0c958226.jpg",[],{"id":13917,"slug":13918,"title":13264,"dynasty":77,"author":13919,"museum":207,"description":13920,"tags":13921,"thumbUrl":13922,"material":2433,"size":69,"collection":69,"collections":13923,"showCount":263,"zanCount":430,"manualWeight":51,"mainColor":52},236827,"fang-gu-shan-shui-ce-zhao-cheng-236827","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[25,26,210,29,33,194,36,41,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c100ed8d307003bc33ab123ff110a9.jpg",[],{"id":13925,"slug":13926,"title":13927,"dynasty":18,"author":3773,"museum":207,"description":13928,"tags":13929,"thumbUrl":13930,"material":69,"size":69,"collection":69,"collections":13931,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},236565,"xiao-ke-guan-shan-shui-ce-shao-mi-236565","小可观山水册","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。\n此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[25,26,210,122,31,33,163,38,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f88df69eae3e3a27f1735617cf75efd.jpg",[],{"id":13933,"slug":13934,"title":8855,"dynasty":18,"author":12641,"museum":207,"description":12642,"tags":13935,"thumbUrl":13936,"material":259,"size":12645,"collection":69,"collections":13937,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},236487,"shan-shui-ren-wu-ce-guo-fen-ya-236487",[25,26,210,122,63,35,7,334,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7bd55a22960036dc1edf7501d592bc.jpg",[],{"id":13939,"slug":13940,"title":10180,"dynasty":18,"author":6484,"museum":59,"description":13941,"tags":13942,"thumbUrl":13943,"material":321,"size":322,"collection":69,"collections":13944,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":52},236301,"shan-shui-shan-zhang-fu-236301","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。",[489,25,122,31,33,123,41,40,7,6111,1355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e95e1d32ee868160d4c95e9fce2c770.jpg",[],{"id":13946,"slug":13947,"title":12167,"dynasty":77,"author":222,"museum":59,"description":13948,"tags":13949,"thumbUrl":13950,"material":69,"size":69,"collection":69,"collections":13951,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},235985,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235985","此作用淡墨铺就空寂底色，虬曲古木悬垂萝蔓，浓墨点苔衬出苍古奇崛。坡岸杂树以淡晕简笔写出，右侧扁舟静泊水畔，隐见渔翁独对江天。天际归雁掠过长空，寥寥数笔便牵出荒寒秋意。\n\n画面计白当黑，虚实相生，以极简的写意笔墨，将江畔山野幽寂之趣收于尺幅。笔简而意远，淡墨留白间晕开悠悠禅意，尽显文人画超然出尘的隐逸情怀，简淡中见雅致萧疏，余韵悠长。",[25,26,210,122,33,7,39,81,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dd8f6901f7b9b9b8431c34cd435ec3.jpg",[],{"id":13953,"slug":13954,"title":13264,"dynasty":18,"author":12665,"museum":59,"description":13955,"tags":13956,"thumbUrl":13962,"material":69,"size":69,"collection":69,"collections":13963,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},235628,"fang-gu-shan-shui-ce-shen-hao-235628","此作写就晚秋江村之境。近岸危石棱峭，枯木疏枝缀着残叶，一椽茅舍静立滩头，野水浅横，汀洲错落如星。隔江岩岫错落，村舍隐在寒林之间，远景峰峦晕染如黛，归雁掠过长空，将秋意拉得清寂辽远。\n\n笔触简劲枯淡，干笔皴擦山石见苍润意趣，淡墨晕开烟岚，以寥寥笔墨铺展出幽远空寂的林下之境，题款清隽与画面相映，尽现萧散淡远的文人襟怀，清寂里藏着悠然林下闲情。",[25,26,210,122,31,62,32,33,123,41,7,40,163,4661,13957,10551,13958,1479,13959,516,13960,8966,13961,1626,888],"山水景物","文人画风格","淡墨渲染","岩壁","远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa33e6aa0cdae181fda2df10d0a65ae56.jpg",[],{"id":13965,"slug":13966,"title":13967,"dynasty":77,"author":222,"museum":59,"description":13968,"tags":13969,"thumbUrl":13970,"material":321,"size":322,"collection":69,"collections":13971,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},235316,"ba-jia-shan-shui-ce-fu-shan-shui-cun-tu-ce-ye-yi-ming-235316","八家山水册-傅山水村图册页","此作以平远之法铺展江南水村之景，淡墨晕染远山，峰峦含烟带翠，留白写就空阔水面，孤舟泛于涟漪之上，愈显清远空寂。岸渚人家隐于茂林之下，寥寥数笔点染林木屋舍，简淡间尽显乡野幽居之松弛。\n\n画面与左侧题诗相融，将雨后天霁的清润之气揉入笔墨，淡墨皴擦轻简空灵，以留白载托云水烟岚，把水乡静谧萧散的意境铺陈尽致，藏着文人画特有的简淡意趣，于平淡笔墨中晕开洗尽尘嚣的悠远情思。",[25,26,210,122,33,123,41,38,39,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1962dc541df901fee17d5ff3c2254175.jpg",[],{"id":13973,"slug":13974,"title":3734,"dynasty":77,"author":13272,"museum":59,"description":13975,"tags":13976,"thumbUrl":13977,"material":69,"size":69,"collection":69,"collections":13978,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},235178,"shan-shui-ce-ye-xin-235178","此作用色浅淡明净，以简淡笔触铺陈江南水乡冬日图景。水网缠绕村舍，水磨轮转，晕开细碎烟火暖意，平畴远渚以淡墨轻染，留白晕出空濛水汽，将天地融作一片清寂。枯木斜枝缀着一点丹红，破开萧寒，暗透出鲜活生机。全画无繁复皴擦，以淡彩晕染出空寂悠远的氛围，日常村居景致被晕染出清隽诗意，将水乡冬日的慵懒闲静缓缓铺展，尽显雅致清和的文人意趣，淡而有味，余韵绵长。",[25,210,29,122,33,1355,41,748,7,4988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818b3c03d6037bab871248d67e1878cb.jpg",[],{"id":13980,"slug":13981,"title":11116,"dynasty":77,"author":252,"museum":59,"description":8990,"tags":13982,"thumbUrl":13983,"material":321,"size":322,"collection":69,"collections":13984,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},235064,"za-hua-ce-hua-yan-235064",[25,26,210,29,31,33,374,123,1990,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2500339705c75a3ec2caf331d8dc8a2.jpg",[],{"id":13986,"slug":13987,"title":3734,"dynasty":18,"author":13289,"museum":59,"description":13988,"tags":13989,"thumbUrl":13990,"material":69,"size":69,"collection":69,"collections":13991,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},234866,"shan-shui-ce-zhao-pu-234866","此帧以淡墨写就平远秋江，近岸修竹疏朗，汀渚隐于浅烟微波，远山如黛晕染空濛。题诗与画意两相呼应，将江天寥廓、宿雁初歇的清寂描摹尽致。\n\n笔墨简淡清空，以留白衬江波无澜，远山轻施披麻皴，墨色淡宕虚和，全不作刻露之笔。帧内题录唱和诗作，书画同帧交融，将江南秋暮的冷逸闲淡徐徐铺展，不见一丝喧嚣躁气，尽显寄兴林泉、澄怀观道的文人雅趣，把秋日江天的静穆诗意晕染在尺幅之间。",[25,26,210,122,64,32,31,33,41,7,38,163,39,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbdd62ea7e52cb749057e52bf55d58.jpg",[],{"id":13993,"slug":13994,"title":13995,"dynasty":77,"author":222,"museum":59,"description":13996,"tags":13997,"thumbUrl":13998,"material":69,"size":69,"collection":69,"collections":13999,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},234685,"ba-jia-shan-shui-ce-qiu-yue-chu-jiang-qiu-se-tu-ce-ye-yi-ming-234685","八家山水册-丘岳楚江秋色图册页","图绘远山,小舟,一游人在江上饮酒",[25,26,210,122,29,31,64,65,32,33,39,41,2683,441,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2a414c045a663e86e12799aae06760.jpg",[],{"id":14001,"slug":14002,"title":14003,"dynasty":77,"author":14004,"museum":59,"description":14005,"tags":14006,"thumbUrl":14007,"material":69,"size":69,"collection":69,"collections":14008,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},234363,"you-niao-shi-tu-ce-jin-kun-234363","有鸟诗图册","金昆","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[25,26,210,122,29,33,7,39,334,65,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9033be58bb019b68f21ba42f6c1c8de5.jpg",[],{"id":14010,"slug":14011,"title":14003,"dynasty":77,"author":14004,"museum":59,"description":14005,"tags":14012,"thumbUrl":14013,"material":69,"size":69,"collection":69,"collections":14014,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},234360,"you-niao-shi-tu-ce-jin-kun-234360",[24,25,26,210,29,65,32,33,123,41,7,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb07a0225e437c1e747181905459273.jpg",[],{"id":14016,"slug":14017,"t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。王宸中年的画，乾皴中尚有润泽之趣。到了晚年则枯而且秀 ，山石都在形似间。著有《绘林伐材》、《蓬心诗钞》，卒年七十八岁。与王玖、王愫、王昱合称小四王。",[23,25,26,27,122,31,65,64,33,39,41,8808,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde05bc6dbfab643b6def47925a554166.jpg",[],{"id":14040,"slug":14041,"title":3820,"dynasty":18,"author":14042,"museum":59,"description":14043,"tags":14044,"thumbUrl":14045,"material":69,"size":69,"collection":69,"collections":14046,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},234166,"hua-niao-tu-juan-cao-pu-234166","曹镤","曹镤（？－？），字良金，直隶苏州府吴江县人，民籍，明朝政治人物。应天府乡试第一百二十二名举人。弘治六年（1493年）中式癸丑科二甲第四十一名进士.曾祖曹瑾；祖父曹𤩽；父曹珵，母李氏",[23,25,26,27,29,122,1625,32,65,87,7,144,165,238,1915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F483c4b66e3025fed4af1d5d6c8ef3840.jpg",[],{"id":14048,"slug":14049,"title":3734,"dynasty":77,"author":6395,"museum":207,"description":11753,"tags":14050,"thumbUrl":14051,"material":3442,"size":11756,"collection":69,"collections":14052,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},233981,"shan-shui-ce-gong-xian-233981",[25,122,210,31,33,67,7,40,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F788f82add7533c77b92f81c6b225d8ac.jpg",[],{"id":14054,"slug":14055,"title":14056,"dynasty":1017,"author":14057,"museum":59,"description":14058,"tags":14059,"thumbUrl":14060,"material":321,"size":322,"collection":69,"collections":14061,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":134},231809,"xiao-xian-he-ge-tu-juan-ku-tian-zheng-heng-231809","消闲和歌图卷","堀田正衡","日本江户时代后期大名，下野国佐野藩2代藩主。初代藩主堀田正敦五子。1796年拜谒将军德川家齐，同年叙任从五位下左京亮，后改任摄津守。1832年父亲去世后继承家督。1834年就任奏者番。1836年就任若年寄。1843年升为从四位下。1854年去世，享年60岁，因长子正修早世，由正修之子正颂继承。",[23,25,26,27,122,29,64,65,1123,32,33,528,227,35,40,7,426,5438,143,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a4761228232d6ada81f5879defb21.jpg",[],{"id":14063,"slug":14064,"title":14065,"dynasty":1017,"author":222,"museum":59,"description":14066,"tags":14067,"thumbUrl":14069,"material":321,"size":322,"collection":69,"collections":14070,"showCount":263,"zanCount":51,"manualWeight":51,"mainColor":52},231682,"jiang-hu-shi-qi-ren-wu-tu-zhou-yi-ming-231682","江户时期 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[2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 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，是一件兼具笔墨审美与文学意趣的佳作。",[25,26,64,65,122,32,67,563,334,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bd541d63c37173b96c68d9f49e224.jpg",[],{"id":14763,"slug":14764,"title":14765,"dynasty":1017,"author":14766,"museum":59,"description":14767,"tags":14768,"thumbUrl":14769,"material":362,"size":322,"collection":69,"collections":14770,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":52},230573,"yin-jie-tuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230573","因揭陀尊者","平安时代 十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[23,25,104,333,29,30,35,635,1955,286,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bfaded64b949b9a3bb109acc10a9e93.jpg",[],{"id":14772,"slug":14773,"title":14774,"dynasty":77,"author":222,"museum":59,"description":10146,"tags":14775,"thumbUrl":14776,"material":321,"size":322,"collection":69,"collections":14777,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":134},229067,"qing-hua-shan-shui-ren-wu-si-fang-hua-pen-yi-ming-229067","青花山水人物四方花盆",[9017,10808,29,33,35,7,41,123,38,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5a4b635208c99d407b48e79bf1f7c.jpg",[],{"id":14779,"slug":14780,"title":10663,"dynasty":99,"author":222,"museum":59,"description":14781,"tags":14782,"thumbUrl":14783,"material":69,"size":69,"collection":69,"collections":14784,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":52},227841,"gu-bai-gui-qin-tu-yi-ming-227841","此作用半边构图，虬曲古柏自右斜出，枯干皴擦苍劲，尽显岁月剥蚀的斑驳古意。枝桠间或停或偎的禽鸟，翎羽勾勒精细写实，神态安闲柔静，左上一双飞禽振翅穿空，为静谧画面添上灵动生机。大片留白铺陈出空寂暮色，将荒寒清远的氛围感拉满。\n\n全画简淡空灵，以极简取景写尽林下幽情，把暮晚归禽的闲适安然融入萧疏秋意中，尽显雅致禅心，淡墨轻岚里晕开清冷孤远的诗意。",[23,25,24,26,489,30,29,87,67,7,1403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f679c9e1233216fd1764375316a4c15.jpg",[],{"id":14786,"slug":14787,"title":14788,"dynasty":99,"author":222,"museum":59,"description":14111,"tags":14789,"thumbUrl":14790,"material":69,"size":69,"collection":69,"collections":14791,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":134},227343,"shi-jing-wang-chang-juan-yi-ming-227343","十经王（长卷）",[23,25,26,27,30,63,29,333,35,36,7,40,33,64,6684,65,195,360,4880,1123,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F851d716be6da3651ccf0a4f96ab7d66e.jpg",[],{"id":14793,"slug":14794,"title":4754,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":14795,"thumbUrl":14796,"material":321,"size":322,"collection":69,"collections":14797,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":457},226457,"ku-zhu-shi-bei-pi-yi-ming-226457",[332,333,29,35,7,2586,8005,2587],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baba4e69e17017567b49d9a44c65312.jpg",[],{"id":14799,"slug":14800,"title":14801,"dynasty":1017,"author":222,"museum":59,"description":10036,"tags":14802,"thumbUrl":14804,"material":321,"size":322,"collection":69,"collections":14805,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":134},225528,"fu-shi-hui-286-yi-ming-225528","浮世绘286",[2037,687,29,35,66,7,273,1266,14803],"几何图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dfdabd9c55fb403a4982a002c65d944.jpg",[],{"id":14807,"slug":14808,"title":14809,"dynasty":1017,"author":222,"museum":59,"description":10036,"tags":14810,"thumbUrl":14812,"material":321,"size":322,"collection":69,"collections":14813,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":134},225455,"fu-shi-hui-213-yi-ming-225455","浮世绘213",[2037,29,35,66,14811,426,7],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c0650aad796711f26886a760ac7e12.jpg",[],{"id":14815,"slug":14816,"title":14817,"dynasty":77,"author":5496,"museum":59,"description":14818,"tags":14819,"thumbUrl":14820,"material":69,"size":69,"collection":69,"collections":14821,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":134},224571,"mao-shi-pin-wu-tu-kao-san-ce-qing-ren-224571","毛诗品物图考（三）册","此作以工细笔触绘就鹈鹕振翅凌于云水之上，禽鸟翎羽纤毫分明，绒羽蓬松、飞羽劲挺的质感被描摹尽致。淡赭与墨色晕染出水波层叠的柔润清透，清浅雅致。旁附蝇头小楷考证文字，图文相辅，将名物考据的严谨与花鸟写生的隽秀意趣相融，淡墨轻彩间兼具博物图鉴的详实与文人花鸟画的雅逸，尽显绘者考据与绘事兼备的雅致审美，把古典名物化为可感的生动图景，淡静悠然，意韵绵长。",[25,26,210,30,29,87,7,38,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffa1ae71bc472796975929b6209c7ee5.jpg",[],{"id":14823,"slug":14824,"title":14825,"dynasty":77,"author":10862,"museum":59,"description":10860,"tags":14826,"thumbUrl":14827,"material":321,"size":322,"collection":69,"collections":14828,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":52},224129,"vajriputra-tang-ka-224129","Vajriputra",[225,10862,333,29,30,35,36,7,2734,123,12755,690,238,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fbd60f24945236742f9612f6f0103a.jpg",[],{"id":14830,"slug":14831,"title":14832,"dynasty":77,"author":222,"museum":59,"description":14833,"tags":14834,"thumbUrl":14835,"material":89,"size":69,"collection":69,"collections":14836,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":457},218124,"fu-hua-luo-han-jiu-zhang-lao-xiang-2-yi-ming-218124","佛画·罗汉九长老像-2","佚名的佛画 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是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,225,333,29,30,35,2753,635,81,123,6004,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d46e68eee2b60d13d2b2bbfac02a71.jpg",[],{"id":14838,"slug":14839,"title":14840,"dynasty":77,"author":222,"museum":207,"description":14841,"tags":14842,"thumbUrl":14843,"material":29,"size":69,"collection":69,"collections":14844,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":134},217291,"gu-xiu-wu-shi-san-can-tu-ce-22-yi-ming-217291","顾绣·五十三参图册-22","画面分左右两帧，左帧蓝袍长者携童子立于坡岸，衣袂飘举间似携兰桂之馨，旁侧竹影疏斜，仙鹤振翅穿云，清寂里暗涌生机；右帧白发老者负筐曳杖，童子紧随其后，脚下溪流潺潺，石上苔痕隐约，远处林峦如黛，一派悠然山居意趣。绣线细密勾勒人物神情，衣纹褶皱灵动自然，山石草木晕染得宜，兼具笔墨的雅致韵味与丝缕的温润质感。浅淡设色营造出清逸氛围，每处针脚皆藏巧思，将人物闲适与山水静谧融于方寸，尽显顾绣融画入绣的独特艺术风貌。",[14178,210,29,30,35,1425,7,607,528,38,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb566d6cb39ccefcc628de868db9e6e0.jpg",[],{"id":14846,"slug":14847,"title":14848,"dynasty":6563,"author":10373,"museum":158,"description":14849,"tags":14850,"thumbUrl":14851,"material":69,"size":69,"collection":91,"collections":14852,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":14853},203323,"hong-shu-fei-diao-tu-zhou-chen-shu-ren-203323","红树飞鵰图轴","雄鹰振翅欲飞，铁爪紧扣斑驳老干，羽翼以浓淡墨色晕染，层次丰富，既显传统笔墨的苍劲力道，又含写实的细腻质感。旁侧红树如火，藤蔓垂曳，艳而不俗，与雄鹰的雄健形成刚柔相济之美。画面留白恰到好处，气韵生动，尽显融合中西的独特风格——承传统花鸟神韵，取写实之长，色彩明快，笔墨灵动，将自然生机与雄健气势完美交融。",[25,104,87,7,67,29,122,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc21eee00ac56164c0501731b5e474714.jpg",[91],"c0aa98",{"id":14855,"slug":14856,"title":14857,"dynasty":6563,"author":10373,"museum":158,"description":14858,"tags":14859,"thumbUrl":14860,"material":69,"size":69,"collection":91,"collections":14861,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":14862},203322,"han-ya-jiao-xue-tu-zhou-chen-shu-ren-203322","寒鸦叫雪图轴","水墨氤氲间，寒鸦独立枝头，墨色浓淡晕染出羽翼层次，喙角微张似唤雪意。垂落柳枝以疏简线条勾勒，笔致轻盈洒脱，留白处尽染清寒。画面简括却意韵悠长，将冬日禽鸟鲜活情态与萧瑟之景相契，尽显文人写意的空灵之趣。",[25,122,87,7,104,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcca2f0eddf3e9cef28e1416f655edb2.jpg",[91],"dbd2c7",{"id":14864,"slug":14865,"title":11116,"dynasty":77,"author":2316,"museum":158,"description":14866,"tags":14867,"thumbUrl":14871,"material":69,"size":69,"collection":46,"collections":14872,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":14873},203297,"za-hua-ce-gao-qi-pei-203297","两帧小品各显意趣：上帧人物互动，墨线简练却生动，衣纹流转间藏动态，烟气袅袅衬出生活气息；下帧枯树疏枝，墨色浓淡相宜，枝干苍劲带古意，飞鸟轻点添灵动，旁缀诗文，笔墨与文字相谐。指运墨痕间，线条灵动自然，墨韵层次分明，于简约中见情致，尽显文人画洒脱之态，人物景致皆含悠然心境。",[11372,122,35,33,7,440,14868,1679,14869,14870,23],"题字","墨韵","简约","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F745d3ed3576ff8a4d125783f285712da.jpg",[46],"d4cec3",{"id":14875,"slug":14876,"title":14877,"dynasty":77,"author":252,"museum":158,"description":14878,"tags":14879,"thumbUrl":14881,"material":69,"size":69,"collection":69,"collections":14882,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":14883},203091,"xie-sheng-hua-niao-cao-chong-ce-hua-yan-203091","写生花鸟草虫册","画面中禽鸟伫立枝间，喙角微张似欲鸣唱，羽色以淡墨晕染，层次细腻却不失灵动。枯笔勾勒的枝桠随性舒展，几片红褐叶片点染其间，设色清雅脱俗。旁侧题字笔意流畅，与花鸟景致相映成趣，印章点缀更添古朴韵味。整体兼工带写，既得物象之真，又含笔墨之趣，尽显写生花鸟的生机与雅致，仿佛能闻林间清啼，观枝叶轻摇，意境悠然。",[29,30,87,7,210,25,14880],"名","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dde30cd42d37a76e483c236058327ca.jpg",[],"c3ac97",{"id":14885,"slug":14886,"title":14887,"dynasty":6563,"author":1544,"museum":158,"description":14888,"tags":14889,"thumbUrl":14890,"material":69,"size":69,"collection":69,"collections":14891,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":14892},203035,"qing-song-ba-ge-tu-zhou-qi-bai-shi-203035","青松八哥图轴","老树苍劲，枝干盘曲，肌理斑驳处墨色浓淡相间；松针如戟，疏密有致。八哥立于枝上，羽黑如漆，喙爪鲜亮，低头敛翅，憨态尽显，似凝思或啄羽，灵动传神。笔墨简括却形神兼备，树之坚韧与鸟之鲜活相映，藏自然意趣与生命真味，尽显画家对生灵的敏锐观察与质朴表达。",[25,26,104,87,122,29,32,65,30,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a2fbc30c3b06627f7c1a3dfc6b16ad.jpg",[],"baab89",{"id":14894,"slug":14895,"title":1080,"dynasty":77,"author":2481,"museum":158,"description":14896,"tags":14897,"thumbUrl":14899,"material":69,"size":69,"collection":69,"collections":14900,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":14901},203025,"hua-niao-tu-ce-ren-yi-203025","振翅的禽鸟姿态灵动，似欲冲破画面束缚。墨色浓淡相宜，羽毛以湿墨晕染出蓬松柔润之态，枝干则以干笔勾勒，线条劲挺利落，刚柔相济间更显生机。淡蓝底色晕开清浅朦胧的氛围，与浓墨花鸟形成层次对比，野趣横生。兼工带写的手法，将写实的鲜活与写意的奔放融于一体，于方寸间尽显花鸟之趣与艺术匠心。",[25,87,122,29,210,7,14898],"印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7664120e5eb97462cbb1d866d0d01ff5.jpg",[],"eee5de",{"id":14903,"slug":14904,"title":14905,"dynasty":6563,"author":1465,"museum":158,"description":14906,"tags":14907,"thumbUrl":14908,"material":69,"size":69,"collection":69,"collections":14909,"showCount":351,"zanCount":51,"manualWeight":51,"mainColor":14910},202918,"tai-shan-yi-jiao-tu-zhou-xu-bei-hong-202918","泰山一角图轴","画面以险峻崖壁为主体，墨线奔放勾勒，皴擦间显山石肌理与体积感。崖畔古松苍劲，松针以浓墨点染，枝桠虬曲有力，尽显坚韧之姿。淡赭石晕染山体，间杂花青淡蓝衬出云雾缥缈，几只飞鸟掠过天际，添灵动生机。整作融传统笔墨气韵与西画写实手法，于简练构图中见泰山一角的雄浑气象，笔力雄健，意境悠远。",[25,33,122,29,163,7,31,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3d917f5df21717ae73528ffa10b6ab.jpg",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Henri Joseph Parent--Wine Cooler or Vase on a Classical Pedestal","整体以红褐晕染，古典装饰意韵浓厚。敞口尊以翼身女像为主体，胴身为器腹，舒展羽翼延展为器沿，缠枝葡萄攀附周身，暗合酒器的用途，将神性柔美融于器物形制。\n下方饰板里，萨梯与孩童共持花束，憨态尽显，带着古朴谐趣。禽鸟停驻花枝，蔷薇盛放攀绕画面，自然意趣与古典神话交织。细腻线条还原雕刻肌理，复古色调晕开沉静典雅的氛围，将古典器物的庄重与自然生机揉合为一，兼具柔美雅致与古典浮雕的厚重质感，把神话与俗世的宴饮诗意凝于纸面。",[9907,1955,35,7,238,5262,14984,4473,14985,14986],"铜刻","素描","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497f702d4a5d37cbd1e7d8306bfb5e7d.jpg",[],{"id":14990,"slug":14991,"title":14992,"dynasty":1017,"author":222,"museum":59,"description":14993,"tags":14994,"thumbUrl":14997,"material":321,"size":322,"collection":69,"collections":14998,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},288705,"william-trost-richards-sketchbook-of-new-england-yi-ming-288705","William Trost Richards--Sketchbook of New England","这幅素描以松灵的排线铺陈水岸暮色，近景虬曲矮枝错落排布，笔调随性晕染出郊野草木的生趣。水岸林木疏密有致，以层层短线勾勒出叶片蓬松质感，树影在镜面般的水面晕开，模糊实景与虚像的边界，揉碎了柔和天光。\n\n远景村镇融在朦胧雾气之中，尖顶塔楼成为视觉锚点，将视线引向悠远灰调天际。画作以细腻明暗过渡拉开空间层次，带着松弛的临场写生感，将日暮河畔的湿润水汽与慵懒晚风揉进铅色里，定格乡野河畔的恬然静谧，尽显自然乡野的温柔诗意。",[14985,14995,41,6317,14996,2574,7,1728],"风景","倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121ba0c17ed7683a29196f0154266e1c.jpg",[],{"id":15000,"slug":15001,"title":15002,"dynasty":1017,"author":222,"museum":59,"description":15003,"tags":15004,"thumbUrl":15009,"material":321,"size":322,"collection":69,"collections":15010,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},288689,"attributed-to-andre-s-de-melgar-grotesque-masks-and-birds-recto-vertical-grotesques-yi-ming-288689","attributed to Andrés de Melgar--Grotesque Masks and Birds (recto); Vertical 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Cat","这幅装饰手稿以端坐的猫咪作为视觉锚点，跳脱常规怪诞纹样的神性表达，糅入软萌生机。对称排布的禽鸟牵起垂坠布幔，为画面铺陈出仪式感。\n\n层叠舒展的茛苕涡旋、拟人化面具顺着纵向延展，灵动小兽攀附卷草藤蔓，底部葡萄纹样晕开自然野趣。速写式的线条松弛随性，将严谨的对称构图揉化出鲜活温度，肃穆的古典装饰语言与稚拙的即兴笔触感奇妙碰撞，把庄重怪诞风格晕染出俏皮意趣。",[271,7,635,63,14985,15017,15018,15005,15019,26],"怪诞纹样","古典装饰","装饰画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4312bcad97a45aa578fc907226a457f6.jpg",[],{"id":15023,"slug":15024,"title":15025,"dynasty":18,"author":9061,"museum":59,"description":15026,"tags":15027,"thumbUrl":15029,"material":321,"size":322,"collection":69,"collections":15030,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},288055,"shu-shan-tu-ye-wen-jia-288055","书扇图页","文嘉（1501年～1583），字休承，号文水，南直隶 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。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[15326,29,35,81,7,2588,84,33,6208,4473,1955],"掐丝珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea35644cbda8383f128b519d8853a95.jpg",[],{"id":15330,"slug":15331,"title":15332,"dynasty":15333,"author":222,"museum":59,"description":13121,"tags":15334,"thumbUrl":15335,"material":321,"size":322,"collection":69,"collections":15336,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":52},243871,"jiu-xing-ge-shou-yi-ming-243871","鸠形戈首","周",[4471,4472,4473,12374,7,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce8ec0253519acf50431138ae4f3a2e.jpg",[],{"id":15338,"slug":15339,"title":12099,"dynasty":77,"author":15340,"museum":59,"description":15341,"tags":15342,"thumbUrl":15346,"material":259,"size":69,"collection":651,"collections":15347,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":52},241318,"qi-lv-zhou-chen-qian-he-241318","陈迁鹤","清福建龙岩人，字声士，一字介石，康熙二十四年进士。由庶吉士授编修。历官至左春坊左庶子，入值南书房。通经学，不墨守成说。认为太极为生成之理，在阴阳动静之中。治《易》采诸说而折衷于程朱，以卦意推爻辞。著有《易说》、《尚书私记》、《毛诗国风绎》、《春秋纪疑》等",[104,64,65,15343,12027,36,7,15344,1033,1967,15345],"七律","宫廷","舞乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd536cb9582510f74c3f4e4e26746a269.jpg",[651],{"id":15349,"slug":15350,"title":15351,"dynasty":77,"author":15352,"museum":59,"description":15353,"tags":15354,"thumbUrl":15355,"material":321,"size":322,"collection":69,"collections":15356,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},241197,"wu-lv-shi-shan-mian-yu-sen-241197","五律诗扇面","俞森","俞森为中国清朝官员，本籍中国直隶。俞森于1817年（嘉庆22年）接替徐锷，于台湾台北地区担任台湾府淡水厅艋舺县丞一职，是大台北地区的地方父母官。",[25,26,489,64,195,122,32,334,403,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b79bf9a41f1c62e9621c6a98fbfe54.jpg",[],{"id":15358,"slug":15359,"title":13154,"dynasty":18,"author":15360,"museum":59,"description":15361,"tags":15362,"thumbUrl":15363,"material":321,"size":322,"collection":69,"collections":15364,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},240872,"shi-juan-li-meng-yang-240872","李梦阳","李梦阳（1473年1月5日—1530年1月28日），字献吉，号空同，汉族，祖籍河南扶沟，出生于庆阳府安化县（今甘肃省庆城县），后又还归故里，故《登科录》直书李梦阳为河南扶沟人。他善工书法，得颜真卿笔法，精于古文词。明代中期文学家，复古派前七子的领袖人物。提倡“文必秦汉，诗必盛唐”，强调复古，《自书诗》师法颜真卿，结体方整严谨，不拘泥规矩法度，学卷气浓厚。李梦阳所倡导的文坛“复古”运动盛行了一个世纪，后为袁宗道、袁宏道、袁中道三兄弟为代表的“公安派”所替代。",[64,65,27,122,334,563,564,7,39,33,40,67,1480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d8669501aa08cedc3e954ea4176b16.jpg",[],{"id":15366,"slug":15367,"title":13154,"dynasty":77,"author":15368,"museum":207,"description":15369,"tags":15370,"thumbUrl":15374,"material":15375,"size":15376,"collection":651,"collections":15377,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},240703,"shi-juan-cha-ji-zuo-240703","查继佐","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[23,64,27,65,122,32,15371,15372,15373,6775,8913,145,13156,6774,81,144,358,14145,38,563,334,564,40,7,39,33,143,5438,528,726],"江南","芳草","烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","绫本，行书","纵450厘米，横33.3厘米",[651],{"id":15379,"slug":15380,"title":15381,"dynasty":77,"author":15382,"museum":59,"description":15383,"tags":15384,"thumbUrl":15385,"material":321,"size":322,"collection":69,"collections":15386,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},239929,"lu-han-yan-pian-ye-gu-lin-rui-239929","录寒雁篇页","顾麟瑞","顾麟瑞(字芝杉，拔贡生)",[64,195,32,7,334,563,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb285b5f577c9035dd6edfb667132a62a.jpg",[],{"id":15388,"slug":15389,"title":3734,"dynasty":77,"author":8333,"museum":59,"description":11201,"tags":15390,"thumbUrl":15391,"material":321,"size":322,"collection":69,"collections":15392,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},239331,"shan-shui-ce-cha-shi-biao-239331",[25,26,210,122,65,32,33,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac2308f35b1ad871849bf2c6e8c0d1dc.jpg",[],{"id":15394,"slug":15395,"title":13264,"dynasty":77,"author":10502,"museum":59,"description":15396,"tags":15397,"thumbUrl":15398,"material":69,"size":69,"collection":69,"collections":15399,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":52},239301,"fang-gu-shan-shui-ce-wu-lin-239301","吴麐（1691～1772），字粟园，一作粟原，一字尧圃，安徽歙县籍，家江西景德镇。其家有景德镇古窑，与唐熊年三窑并称吴窑。山水学黄公望，以疏散简淡为主，用墨干湿相参不见痕迹，长于小幅，若大幅则病其翠弱，亦不多见。生平有古君子风，老客扬州汪贻士家。",[25,122,4661,210,31,33,41,123,7,748,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58825ff8e3a00ed4e95eef7faaa67260.jpg",[],{"id":15401,"slug":15402,"title":13799,"dynasty":18,"author":13800,"museum":59,"description":15403,"tags":15404,"thumbUrl":15405,"material":321,"size":322,"collection":69,"collections":15406,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},239262,"shu-hua-tu-ce-cheng-min-239262","此作为文人写意小品，以淡墨挥写崖壁，斧劈皴法带出山石硬朗棱角，古松枝干蟠曲如游龙，浓墨点染松针，枯湿浓淡相生尽显古松的苍拙遒劲。\n\n崖畔幽人孑然而立，仅以寥寥数笔勾勒出萧散出尘之态，画面留白铺陈开山岚空寂，将天地寥廓与林下幽思融为一体，寥寥笔墨写尽文人寄情丘壑、超逸出俗的襟怀，淡远清寂的意境扑面而来，是以少胜多的水墨佳构。",[25,26,210,122,67,123,35,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00925f199caa109049e835c3d25a86b7.jpg",[],{"id":15408,"slug":15409,"title":15410,"dynasty":77,"author":11789,"museum":59,"description":15411,"tags":15412,"thumbUrl":15413,"material":69,"size":69,"collection":69,"collections":15414,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},238903,"fang-song-yuan-shan-shui-ce-dong-gao-238903","仿宋元山水册","此作用笔松灵苍秀，干湿墨色交织晕染。近岸危崖嶙峋，皴笔厚重写尽山石肌理，崖间山居幽藏，野意自生。坡脚草木清润，托显出丘壑生机。中江帆影孤悬，破水而来，漾开静穆氛围。远景山峦以淡墨晕化，烟岚轻笼，虚实相生间铺展出空濛悠远的水岸意境。整幅兼具丘壑之实与笔墨之疏，将林泉幽居的隐逸意趣融于咫尺尺幅，静雅淡宕，尽显山水间闲逸萧散的文人雅怀。",[25,26,210,122,31,62,33,39,123,41,517,1149,7,1382],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dfc9b5c60b7a1422617e100905f6539.jpg",[],{"id":15416,"slug":15417,"title":15418,"dynasty":77,"author":11789,"museum":59,"description":15419,"tags":15420,"thumbUrl":15421,"material":69,"size":69,"collection":69,"collections":15422,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},238836,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238836","画归余纪典图册","此作为淡设色山水小品，以平远铺陈画面，绘就冬日村居图景。上部篱舍隐于疏木间，枯桠错落留白衬出清寂冬意，尽显郊野幽宁；下部板桥连缀村舍，有人凭栏闲立，晕染出淡逸烟火温情。\n\n笔墨秀润简约，未作繁复皴染，以清简笔触勾勒江南村居萧散之态。诗书画印相映成趣，题跋朱印错落排布，融文人意趣于尺幅之间，将文人士大夫寄情林泉、安享幽居的雅怀尽显，淡远清和，意韵悠长。",[25,26,210,29,33,41,1355,123,32,40,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1256d995992177aee2c5fa2a6f708cb4.jpg",[],{"id":15424,"slug":15425,"title":15426,"dynasty":77,"author":15427,"museum":59,"description":15428,"tags":15429,"thumbUrl":15430,"material":321,"size":322,"collection":69,"collections":15431,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},238554,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238554","陈书画历代帝王道统图钱陈群书赞合册","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[25,26,210,29,65,32,35,36,7,41,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d6cee0dfa68f574d8e76c08393ce529.jpg",[],{"id":15433,"slug":15434,"title":7805,"dynasty":77,"author":12145,"museum":59,"description":13146,"tags":15435,"thumbUrl":15436,"material":321,"size":322,"coll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凄凉而寒冷。 笔身工整细腻，形体刻画生动，构图密密麻麻。 没有作者印章。",[24,25,26,122,33,67,7,123,439,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7b6766b6945fc33da010b5d83cfc4c.jpg","25.3x26厘米",[],{"id":15612,"slug":15613,"title":15614,"dynasty":18,"author":15615,"museum":59,"description":15616,"tags":15617,"thumbUrl":15618,"material":69,"size":69,"collection":69,"collections":15619,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},233649,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233649","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[25,26,210,687,29,87,145,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80480c745375f592bc620ea07f3eac8c.jpg",[],{"id":15621,"slug":15622,"title":15614,"dynasty":18,"author":15615,"museum":59,"description":15616,"tags":15623,"thumbUrl":15624,"material":69,"size":69,"collection":69,"collections":15625,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},233592,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233592",[25,26,210,687,29,33,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3390550e8d3cbb31a15999cb185ce0bb.jpg",[],{"id":15627,"slug":15628,"title":15629,"dynasty":18,"author":15615,"museum":59,"description":15616,"tags":15630,"thumbUrl":15631,"material":69,"size":69,"collection":69,"collections":15632,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},233321,"shi-zhu-zhai-pu-ce-hu-ri-cong-233321","十竹斋谱册",[25,26,210,29,87,7,32,301,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e57f946b0d8398e7f6aab8228744f0b.jpg",[],{"id":15634,"slug":15635,"title":15629,"dynasty":18,"author":15615,"museum":59,"description":15616,"tags":15636,"thumbUrl":15637,"material":69,"size":69,"collection":69,"collections":15638,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},233319,"shi-zhu-zhai-pu-ce-hu-ri-cong-233319",[24,25,26,210,122,32,87,7,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327cf1951c04cdb9ac4081c87ddef5ed.jpg",[],{"id":15640,"slug":15641,"title":15629,"dynasty":18,"author":15615,"museum":59,"description":15616,"tags":15642,"thumbUrl":15643,"material":69,"size":69,"collection":69,"collections":15644,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},233318,"shi-zhu-zhai-pu-ce-hu-ri-cong-233318",[25,26,210,122,87,7,67,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d0c37c61fb2e464a65286e1204449e.jpg",[],{"id":15646,"slug":15647,"title":15629,"dynasty":18,"author":15615,"museum":59,"description":15616,"tags":15648,"thumbUrl":15649,"material":69,"size":69,"collection":69,"collections":15650,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},233312,"shi-zhu-zhai-pu-ce-hu-ri-cong-233312",[25,26,210,122,29,87,7,163,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a2989dcb9602f2a2f9e64d20e6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Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[24,1021,442,15664,440,7,15665,15666,864,2277],"城堡","黄昏","冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18be764439c984fd5a481fb6ad8dc72.jpg",[],{"id":15670,"slug":15671,"title":15672,"dynasty":1017,"author":15673,"museum":59,"description":15674,"tags":15675,"thumbUrl":15677,"material":321,"size":322,"collection":69,"collections":15678,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":457},232428,"he-er-bai-yin-87-he-er-bai-yin-232428","荷尔拜因87","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。",[333,14985,63,35,9649,15676,7,33,888],"云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac9e9efb04eccd8ccc4559bbf943a53c.jpg",[],{"id":15680,"slug":15681,"title":15682,"dynasty":1017,"author":222,"museum":59,"description":15683,"tags":15684,"thumbUrl":15685,"material":69,"size":69,"collection":69,"collections":15686,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":52},231691,"shi-ting-shi-qi-qiao-yi-ming-231691","室町时期 桥","此画以淡墨轻赭铺就秋山暮色，近坡古木虬曲，疏枝朗叶尽染萧索秋意，板桥跨溪连接山居野径，山坳间隐见村舍，暗藏烟火余温。远景奇峰崷崪，以简劲皴笔写山石棱线，晕染出空濛山岚，天际群雁齐飞，汀洲渔舟点点。\n\n画面虚实相生，将幽寂山野与隐逸闲趣相融，淡墨里漾着清远禅意，静中含动，把秋日林泉的疏旷淡远娓娓铺陈，藏着寄迹林泉的悠然意绪。",[23,25,122,1623,31,37,67,7,123,38,748,6111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cacd3845460cff03a842a59e29690a.jpg",[],{"id":15688,"slug":15689,"title":15690,"dynasty":1017,"author":222,"museum":59,"description":15691,"tags":15692,"thumbUrl":15694,"material":69,"size":69,"collection":69,"collections":15695,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":52},231656,"yun-juan-tu-juan-yi-ming-231656","云卷图卷","此作以全景长卷铺展世间烟火，疏密有致的构图将郊野与町肆串联。画面里市集人流攒动，官绅出行的仪仗、贩夫走卒的行迹、乘马驱车的行人错落交织，朱红牌坊临水而立，乡野村居错落铺陈。\n工细的线条勾勒出各色人物的情态衣袂，古雅的设色晕染出郊野的温润底色，将市井喧嚷、仕宦排场与田舍闲趣融为一体。细节里藏着往昔日常的鲜活风貌，把旧岁世相凝于绢素之间，尽显写实叙事的古雅意趣。",[23,25,27,29,30,35,553,37,1355,1356,15693,41,7,1704,1357,4839,888],"车辆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a5c9e889cce3d7668f0cb97b6412eb.jpg",[],{"id":15697,"slug":15698,"title":6915,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":15699,"thumbUrl":15701,"material":321,"size":322,"collection":69,"collections":15702,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":52},226385,"ku-zhu-shi-bei-bi-yi-ming-226385",[332,333,29,35,7,4758,15700,516],"千佛形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2282ef4ee314e92f3cfaaf73c5e2583.jpg",[],{"id":15704,"slug":15705,"title":3848,"dynasty":435,"author":222,"museum":2583,"description":2584,"tags":15706,"thumbUrl":15707,"material":321,"size":322,"collection":69,"collections":15708,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":52},226377,"ku-zhu-shi-nan-bi-yi-ming-226377",[332,333,29,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b26be6b07b469bec6279bbd94db8823.jpg",[],{"id":15710,"slug":15711,"title":15712,"dynasty":1017,"author":1018,"museum":59,"description":1019,"tags":15713,"thumbUrl":15718,"material":321,"size":322,"collection":69,"collections":15719,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},225599,"rp-p-1961-972-lun-bo-lang-225599","RP-P-1961-972",[15714,15715,15716,35,7,286,15717],"蚀刻","铜版画","肖像","黑白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc8f92277166dcdd08e144cfb7e31208.jpg",[],{"id":15721,"slug":15722,"title":15723,"dynasty":1017,"author":222,"museum":59,"description":10036,"tags":15724,"thumbUrl":15725,"material":321,"size":322,"collection":69,"collections":15726,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},225410,"fu-shi-hui-168-yi-ming-225410","浮世绘168",[2037,687,29,35,66,1425,7,33,41,1356],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0cf26416c09061c92001bb03b7204c4.jpg",[],{"id":15728,"slug":15729,"title":15730,"dynasty":77,"author":10311,"museum":59,"description":15731,"tags":15732,"thumbUrl":15733,"material":69,"size":69,"collection":69,"collections":15734,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},224308,"hua-hui-shi-er-kai-9-li-shan-224308","花卉十二开9","此作用笔简澹写意，以淡墨晕染白鹭白羽，留白衬出绒羽蓬松质感，寥寥数笔勾出尖喙利爪，将水鸟蜷身小憩的悠然神态尽显，灵动鲜活。\n\n旁侧水草以浓淡墨色挥写，笔致纵逸洒脱，柔蔓斜生，与白鹭的静柔形成动静对照。右上角题字极简，书画相映成趣，尽显文人写意画的逸趣风骨。尺幅之间藏尽水泽汀洲的幽谧之境，笔简意足，澹泊清远，将小景的清寂雅致娓娓铺陈，尽显写意花鸟的隽永意韵。",[23,25,26,210,122,29,87,7,167,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546eabdf8a2b6ca70df7cdf7a5d87193.jpg",[],{"id":15736,"slug":15737,"title":15738,"dynasty":77,"author":10862,"museum":59,"description":10860,"tags":15739,"thumbUrl":15741,"material":321,"size":322,"collection":69,"collections":15742,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":457},224140,"gopaka-tang-ka-224140","Gopaka",[225,15740,29,333,35,81,123,271,7,1955,30],"唐卡风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefce59483b38b10e270695cf5df9eab1.jpg",[],{"id":15744,"slug":15745,"title":15746,"dynasty":77,"author":15747,"museum":3684,"description":15748,"tags":15749,"thumbUrl":15751,"material":15752,"size":15753,"collection":69,"collections":15754,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":69},220700,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220700","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,25,26,210,65,195,64,32,256,528,334,15750,7],"楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d90d3bc41658b1878f3e8c47ba62d2.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":15756,"slug":15757,"title":15746,"dynasty":77,"author":15747,"museum":3684,"description":15748,"tags":15758,"thumbUrl":15759,"material":15752,"size":15753,"collection":69,"collections":15760,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":69},220666,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220666",[23,25,26,64,65,210,33,7,38,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa48cb13a2ec285e2173a1f00f6717e47.jpg",[],{"id":15762,"slug":15763,"title":15746,"dynasty":77,"author":15747,"museum":3684,"description":15748,"tags":15764,"thumbUrl":15765,"material":15752,"size":15753,"collection":69,"collections":15766,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":69},220664,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220664",[23,25,26,210,65,29,33,32,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761b58fefe52c04406fd1b7212dd78c9.jpg",[],{"id":15768,"slug":15769,"title":15770,"dynasty":77,"author":222,"museum":59,"description":14833,"tags":15771,"thumbUrl":15773,"material":89,"size":69,"collection":69,"collections":15774,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":52},218116,"fu-hua-luo-han-jiu-zhang-lao-xiang-7-yi-ming-218116","佛画·罗汉九长老像-7",[23,25,26,333,29,30,35,123,41,238,888,7,690,15772,126],"背光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3ff9044a8d766a04e933b1773dd242.jpg",[],{"id":15776,"slug":15777,"title":15778,"dynasty":77,"author":15779,"museum":59,"description":15780,"tags":15781,"thumbUrl":15782,"material":303,"size":69,"collection":69,"collections":15783,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},218008,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-10-ceng-yan-dong-218008","七道子山水人物画册18帧-10","曾衍东","曾衍东的作品大多描绘了山水风光，他喜欢运用细腻的笔法来捕捉山间的峰峦、河流的曲折和云雾的起伏。他的作品中常常出现清新的山水景观，充满了诗意和富有感染力的气氛。\n\n此外，曾衍东还经常画人物，他的人物画作品中常常出现的是闲适的书生或山民。他的人物画充满了生动的感情，能够真实地反映出人物的内心世界。",[23,210,25,26,122,29,65,32,33,36,440,7,35,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e1074642244b780423920182991080.jpg",[],{"id":15785,"slug":15786,"title":15787,"dynasty":77,"author":222,"museum":3331,"description":15788,"tags":15789,"thumbUrl":15790,"material":89,"size":69,"collection":69,"collections":15791,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":52},215982,"di-jian-tu-shuo-cai-hui-ben-23-yi-ming-215982","帝鉴图说彩绘本-23","亭榭立于苍松翠柏间，青瓦覆顶，红栏绕阶，一派古雅气象。亭内数人对坐，衣袂轻扬间似有嘉言相授；庭中仆从躬身侍立，一侧有人牵马候于朱门旁，动静相宜。色彩晕染细腻，青绿与朱红交织出温润的古意，人物神态鲜活，细节处见匠心。这幅画以生动场景再现历史典故，于雅致的笔墨间传递为政之智，既保留了绘本的观赏性，又暗含教化深意，尽显传统绘画的韵味与内涵。\n\n（注：文案聚焦画面场景、色彩、人物动态及作品内涵，语言凝练且富有画面感，符合展览介绍的需求，未提及无需录入的信息，修辞上运用了描写与抒情结合的手法，增强可读性。）",[25,24,30,29,194,35,40,36,41,7,239,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c2ef50d8346beaadce38739e8f36c4.jpg",[],{"id":15793,"slug":15794,"title":15795,"dynasty":77,"author":12265,"museum":59,"description":15796,"tags":15797,"thumbUrl":15798,"material":303,"size":69,"collection":69,"collections":15799,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},215071,"tui-bei-tu-ce-39-jiao-bing-zhen-215071","推背图册-39","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,24,25,26,210,30,29,1704,7,635,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa71f798183ba6873956487977d7acf26.jpg",[],{"id":15801,"slug":15802,"title":15803,"dynasty":77,"author":12265,"museum":59,"description":15796,"tags":15804,"thumbUrl":15805,"material":303,"size":69,"collection":69,"collections":15806,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":134},215054,"tui-bei-tu-ce-52-jiao-bing-zhen-215054","推背图册-52",[23,25,29,30,35,7,81,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F313d89ac1eb40deeefe08a784681b7c7.jpg",[],{"id":15808,"slug":15809,"title":15810,"dynasty":77,"author":7498,"museum":119,"description":15811,"tags":15812,"thumbUrl":15813,"material":89,"size":69,"collection":69,"collections":15814,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":457},215048,"shu-hua-he-bi-tu-ce-4-qian-long-215048","书画合璧图册-4","乾隆皇帝（1711-1799年在位）是清朝的第六位皇帝，他是一位非常喜爱书画的皇帝，并且也是一位出色的书画家。他的书画合璧图册是他的一部杰作，其中收集了他自己的书画作品以及其他著名书画家的作品。这本图册有很多种版本，不同版本中包含的作品也有所不同。乾隆皇帝的书画合璧图册被认为是中国书画史上的一部重要著作，因为它收集了当时最优秀的书画作品，并且这本图册本身也是一部艺术杰作。",[23,25,26,210,65,64,63,122,35,67,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf4cc75c2f8baafe564fad5dbe230ac.jpg",[],{"id":15816,"slug":15817,"title":15818,"dynasty":6563,"author":15819,"museum":158,"description":15820,"tags":15821,"thumbUrl":15822,"material":69,"size":69,"collection":69,"collections":15823,"showCount":430,"zanCount":51,"manualWeight":51,"mainColor":15824},203273,"zhu-ju-tu-zhou-he-xia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Marc Nattier--Self Portrait","灵动的松快笔触捕捉住男子侧半身回望的瞬间，蓬松卷发依靠晕染排线铺展出柔软质感，衣褶起落间概括出布料垂坠的重量感，将松弛又带着一丝讶然的神态定格。右上角的手部速写带着即兴推敲的鲜活，是创作过程里留存的灵感碎片。浅棕纸底搭配提亮的局部高光，让面部与衣摆层次愈发生动。没有繁琐细节雕琢，却精准抓住人物气韵，将速写捕捉动态与神情的优势尽显，带着未完成的随性张力，留存下创作时的鲜活思考痕迹。",[14985,35,14130,7,16033],"肖像画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd77501bd613f6ba464217dd588700d4b.jpg",[],{"id":16037,"slug":16038,"title":16039,"dynasty":1017,"author":222,"museum":59,"description":16040,"tags":16041,"thumbUrl":16045,"material":321,"size":322,"collection":69,"collections":16046,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},289076,"jonas-umbach-september-one-of-a-series-representing-the-labors-yi-ming-289076","Jonas Umbach--September (one of a series representing the 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Pierides","这幅素描以棕调晕染铺陈，构图繁而不乱。石台之上的阿波罗沉静俯瞰，成为画面锚点。左侧缪斯衣袂舒展，神色带着诘问的锋芒；右侧神女或拨弦展卷，伸臂抗辩，将诗艺竞逐的张力拉满。林间天使翔集，古木虬枝掩映出幽谧神域氛围，地面弃置的乐器暗合竞技主题。\n线条兼具柔婉与劲挺，衣褶的垂坠柔感与神祇躯体的硬朗轮廓形成鲜明反差，明暗层次区分开空间远近，把神话里的诗艺对决定格为充满戏剧感的林间盛景，肃穆叙事感与素描松弛质感相融，尽显古典主题的庄重张力。",[14985,35,5262,9649,318,3140,7,66,16053,16054],"裸像","集会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6867cfb173b35621fa05c5bcdbb3bb.jpg",[],{"id":16058,"slug":16059,"title":16060,"dynasty":1017,"author":222,"museum":59,"description":16061,"tags":16062,"thumbUrl":16067,"material":321,"size":322,"collection":69,"collections":16068,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},289021,"luca-giordano-the-abduction-of-helen-yi-ming-289021","Luca Giordano--The Abduction of Helen","奔放随性的线条铺展开篇叙事，中央男女身姿紧绷仓促，猎猎衣袂裹挟着海风，满是仓皇奔赴的张力。左侧翻涌浪涛里，海怪探出头颅，为这场劫掠晕开诡谲底色。远景云霞与浮空神祇虚影，以虚淡排线晕出独属史诗的缥缈氛围感。\n\n画师以速写式粗粝笔触，精准勾勒人物的肌肉起伏与动态韵律，摒弃繁琐细节堆砌，将惶急的私奔式劫掠与史诗的恢弘糅合一处。潦草却充满力量的线条，仿佛还留存落笔时的急促心绪，将这紧张瞬间凝固定格在素纸之上，粗朴笔触下藏着浓烈戏剧张力，让神话场景跃然纸面。",[14985,63,16063,9670,16064,3404,7,16065,16066],"线描","神话故事","海景","劫持场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5075dc5795615f0d2df748df4a156a7.jpg",[],{"id":16070,"slug":16071,"title":16072,"dynasty":1017,"author":222,"museum":59,"description":16073,"tags":16074,"thumbUrl":16077,"material":321,"size":322,"collection":69,"collections":16078,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":52},288820,"perino-del-vaga-jupiter-appearing-to-semele-yi-ming-288820","Perino del Vaga--Jupiter Appearing to Semele","棕褐色调铺就厚重底色，粗犷精准的线条拉扯出满幅张力。朱庇特须发怒张，裹挟风雷火光自天际俯冲而下，虬结的肌肉贲张着神性的原始力量，羽翼衣袂翻卷如暴风中的浪涛，将神祇降临的威压拉至顶点。\n\n下方的塞墨勒仰面伸臂，层叠柔缓的衣褶衬出凡人躯体的纤弱，面庞写满惊愕与迷醉。明暗晕染模糊了神域与俗世的边界，流火流云晕开恍惚的氛围感，让这场神凡相遇充满宿命般的戏剧张力，将刹那的震颤定格成永恒的叙事瞬间。",[9670,16064,16075,14985,10863,7,16076],"古典绘画","神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109308242f0f358e24fef24b69004bf3.jpg",[],{"id":16080,"slug":16081,"title":16082,"dynasty":1017,"author":222,"museum":59,"description":16083,"tags":16084,"thumbUrl":16087,"material":321,"size":322,"collection":69,"collections":16088,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":52},288719,"vincent-van-gogh-nursery-on-schenkweg-yi-ming-288719","Vincent van Gogh--Nursery on Schenkweg","枯瘦秃树错落而立，细密笔触晕染出水泽边荒草的萧索蓬松。凝滞的水面晕开景物轮廓，将沉郁静谧揉进每一处线条里。远处屋舍隐在灰调暮色中，寒鸦斜掠长空，把空旷孤寂铺满城郊角落。克制的笔调裹藏着饱满情绪，将无人问津的城郊荒境，晕成带着清冷诗意的日常一隅，静诉着独处时的沉郁安然，让萧瑟荒芜也染上细腻温柔的氛围感。",[14985,13617,440,7,375,10204,8966,16085,2277,16086,37],"郊外","秋冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5366e8d7509e05852b010c1108615378.jpg",[],{"id":16090,"slug":16091,"title":16092,"dynasty":1017,"author":222,"museum":59,"description":16093,"tags":16094,"thumbUrl":16095,"material":321,"size":322,"collection":69,"collections":16096,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},288658,"attributed-to-francesco-allegrini-four-flying-angels-two-flying-figures-yi-ming-288658","attributed to Francesco Allegrini--Four Flying Angels ; Two Flying Figures","这幅小稿以极简铁线勾勒出振翅天使，锐利线条带着飞扬张力，晕染水墨铺陈出羽翼蓬松质感，灵动身影仿佛要冲破纸页。右侧淡墨晕开的朦胧虚影，是未加修饰的灵光残影，虚实相映间，好似将天光里神迹乍现的瞬间定格。潦草随性的笔触是灵感迸发的即兴捕捉，泛黄纸面晕开旧时光的温柔，将飞翔轻盈与神性缥缈完美糅合，如一帧将散的幻梦，留存下转瞬即逝的空灵诗意。",[122,63,333,35,9649,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a50854e41a370511e74273bae39ca13.jpg",[],{"id":16098,"slug":16099,"title":16100,"dynasty":1017,"author":222,"museum":59,"description":16101,"tags":16102,"thumbUrl":16109,"material":321,"size":322,"collection":69,"collections":16110,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},288625,"jean-baptiste-marie-pierre-the-rape-of-europa-yi-ming-288625","Jean-Baptiste Marie Pierre--The Rape of Europa","以暖红素描晕开这场宿命邂逅，线条柔婉舒展，将洛可可式轻盈揉进古典神话之中。欧罗巴倚坐白牛身侧，神色懵懂恍惚，侍女们环伺周遭，或牵衣低语或俯身注视，衣袂褶皱随动作自然垂落，柔美的情态跃然纸上。\n\n空中小天使乘飞鹰俯瞰，静静凝望这场隐秘邂逅。远景林木朦胧，古堡隐现于枝叶之后，晕开氤氲浪漫氛围。整体笔触松弛细腻，将相遇时的暧昧绮丽悉数铺陈，把神话的旖旎诗意藏在暖红色调中，让古典浪漫缓缓漫溢。",[13618,16103,9670,16104,66,1704,16105,7,16106,16107,16108],"神话画","红褐素描","小天使","山林","古建筑","欧罗巴被劫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08c110e71ec670449c7b973dd52fa7ee.jpg",[],{"id":16112,"slug":16113,"title":16114,"dynasty":1017,"author":222,"museum":59,"description":16115,"tags":16116,"thumbUrl":16119,"material":321,"size":322,"collection":69,"collections":16120,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},288613,"johannes-van-doetecum-the-elder-large-farm-with-draw-well-yi-ming-288613","Johannes van Doetecum the elder--Large Farm with Draw Well","这幅蚀刻版画以洗练的线条织就乡野日常。疏云漫过浅淡天际，两只飞鸟轻划开岑寂。错落的茅草农舍静立中央，石砌墙身带着朴拙肌理，窗棂与汲水井藏着细碎烟火。林木疏密有致，近旁高树舒展枝桠，远木虬枝错落，温柔框住农庄的松弛日常。创作者以细腻排线铺陈明暗，无刻板描摹，只凭蚀刻线条勾勒光影层次，将郊野的安恬定格，把乡居的闲散与静谧封存在纸面，晕开旧时光里的温柔质感。",[686,63,12903,2122,42,41,7,16117,16118],"水井","土路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7dbfd2a833a6798f62501a844d54021.jpg",[],{"id":16122,"slug":16123,"title":16124,"dynasty":77,"author":222,"museum":59,"description":16125,"tags":16126,"thumbUrl":16127,"material":321,"size":322,"collection":69,"collections":16128,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":52},281504,"ri-ben-zhi-rong-shan-shui-tu-zhou-yi-ming-281504","日本织绒山水图轴","这幅织绒山水取峡谷秋景，两侧危崖壁立，苍松扎根石罅，丹黄秋叶晕染出暖融融的秋意，与冷灰色岩崖形成鲜明冷暖对冲。谷底湍流击石，浪涛翻涌，远处峰峦隐在烟霭之中，虚实相生。\n\n织绒工艺精妙复刻山石嶙峋肌理、林木深浅层次，将东方山水的空寂禅意融入绒线经纬之间。兼具日式山水的幽寂诗意与宋元山水的雄浑气度，仿佛能耳闻涧水轰鸣、山风穿林动叶，把秋日溪山的辽远苍茫，定格成触手可及的温润质感。",[104,29,33,865,12849,441,7,374,2370,126,5796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f8a69733a1c2285f4fb9e4850df1d53.jpg",[],{"id":16130,"slug":16131,"title":16132,"dynasty":77,"author":222,"museum":59,"description":16133,"tags":16134,"thumbUrl":16138,"material":321,"size":322,"collection":69,"collections":16139,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},281430,"yang-ci-bai-di-cai-hua-hua-niao-wen-xiang-er-ping-yi-ming-281430","洋瓷白地彩花花鸟纹象耳瓶","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[9017,16135,16136,87,227,7,29,30,16137],"瓷器","象耳瓶","彩饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1d8dc7cdd53dfcc9676af6d3e477e5.jpg",[],{"id":16141,"slug":16142,"title":16143,"dynasty":4467,"author":222,"museum":59,"description":16144,"tags":16145,"thumbUrl":16147,"material":321,"size":322,"collection":69,"collections":16148,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":52},280408,"zhao-cheng-niao-wen-liang-mian-tong-yin-yi-ming-280408","“赵成”鸟纹两面铜印","铜印章是由金属铜铸造而成，具有硬度大，不变形，保存时间长的特点。当代，由中国铜领域第一人的朱炳仁大师开创了熔铜铸印，每枚形态各异，造型独特，极具艺术性。\n铜印的印面，也可见到极少数的棱形和圆形铜印，印纽的形状变化较多，有瓦纽，兔纽，兽纽，柄纽，片纽等等。古代铜印从印文内容上又可分为官印，人名印，闲章，吉祥语，图案印，斋室印，收藏印，在古代遗留下的书画作品或其他文史资料中，人们可以常常可以看到这类印文。\n从拍卖市场来看，铜印中的官印最受市场追捧，像“统军千户之印”，印背一侧刻“统军千户之印”，另一侧刻“中书礼部造，太平二年月日”，系元末农民起义军徐寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[32,4472,4471,16146,7],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45313459796f88025bf4e558776de4c7.jpg",[],{"id":16150,"slug":16151,"title":16152,"dynasty":4467,"author":222,"museum":59,"description":16153,"tags":16154,"thumbUrl":16155,"material":321,"size":322,"collection":69,"collections":16156,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},280073,"tong-bi-niu-qing-niao-tu-an-yin-yi-ming-280073","铜鼻钮青鸟图案印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[32,16146,4472,4471,6657,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f281e9c46502544ddb82b0acf05f29d.jpg",[],{"id":16158,"slug":16159,"title":16160,"dynasty":77,"author":222,"museum":59,"description":16161,"tags":16162,"thumbUrl":16164,"material":321,"size":322,"collection":69,"collections":16165,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":52},274729,"yin-you-deng-yi-ming-274729","银油灯","此灯以瑞鸟为形，昂首衔托灯盘，身姿修长挺拔，宛若振翅欲飞。羽翼之上錾刻繁复纹饰，卷云与翎羽层次分明，细腻勾勒出禽鸟灵秀肌理，古韵雅致。\n\n银质器物温润内敛，历经时光晕染，更添沉静质感。灯柱利落穿连灯盘，简洁大气，双足稳稳落于雕花方座，兼具置物实用性与陈设美感，将寻常灯火用具，化作灵秀雅致的案头陈设，把巧思藏于造物，将烟火日常晕染出古典美学意趣，尽显传统工艺里的精妙匠心。",[10130,16163,7,4473,9019],"灯具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff445f3e560bc18c120e583516920f70.jpg",[],{"id":16167,"slug":16168,"title":16169,"dynasty":77,"author":222,"museum":59,"description":16170,"tags":16171,"thumbUrl":16174,"material":321,"size":322,"collection":69,"collections":16175,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":52},274391,"tong-du-jin-niu-tuo-ping-hua-biao-yi-ming-274391","铜镀金牛驮瓶花表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 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年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[25,26,210,122,29,65,62,31,33,256,257,41,40,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2ad9c1a5720c538466c2d4cc0237eca.jpg",[],{"id":16653,"slug":16654,"title":3734,"dynasty":77,"author":10518,"museum":59,"description":10519,"tags":16655,"thumbUrl":16656,"material":321,"size":322,"collection":69,"collections":16657,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},237917,"shan-shui-ce-cheng-ming-237917",[25,26,210,122,29,31,33,40,7,440,163,748,1355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad585c9cd05d3305114348da5b5788f.jpg",[],{"id":16659,"slug":16660,"title":10180,"dynasty":18,"author":12245,"museum":59,"description":13792,"tags":16661,"thumbUrl":16662,"material":321,"size":322,"collection":69,"collections":16663,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},237857,"shan-shui-shan-zhang-hong-237857",[489,25,26,33,31,122,256,41,1355,163,32,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F838ad09356f496023e03e1254a6daa87.jpg",[],{"id":16665,"slug":16666,"title":16667,"dynasty":77,"author":16668,"museum":59,"description":16669,"tags":16670,"thumbUrl":16671,"material":321,"size":322,"collection":69,"collections":16672,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},237641,"li-yin-fang-gu-shan-shui-ce-li-yin-237641","李寅仿古山水册","李寅","李寅，清代扬州画家，字白也，号东柯，江都（今江苏扬州）人，擅画山水，楼阁及花鸟，画风工细，设色娟妍。",[25,26,210,122,33,31,65,32,123,41,124,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b00a3cea4a6a169c1bc19de746b1087.jpg",[],{"id":16674,"slug":16675,"title":16676,"dynasty":77,"author":16677,"museum":59,"description":16678,"tags":16679,"thumbUrl":16680,"material":321,"size":322,"collection":69,"collections":16681,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},236478,"kan-yun-tu-shan-zhou-gao-236478","看云图扇","周杲","此作用淡墨晕染云山，留白托出云气与飞瀑，空濛悠远如幻。右侧林木蓊郁，白衣策杖文士临溪伫望，将观云的幽闲心境融于林泉间。金笺底衬得水墨层次愈见分明，干湿浓淡铺陈出悠远空寂的山林意趣。左侧题诗与画面相映，诗画合璧尽显萧散隐逸的文人高致。笔致松秀简淡，以意驭墨，寥寥数笔便勾勒出林泉雅兴，尽显文人山水小品的空灵雅致。",[25,489,122,31,33,359,41,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d3eed202b6ffbcda79e70878b8e79e.jpg",[],{"id":16683,"slug":16684,"title":3734,"dynasty":77,"author":6314,"museum":207,"description":16685,"tags":16686,"thumbUrl":16687,"material":69,"size":69,"collection":69,"collections":16688,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},234793,"shan-shui-ce-dong-bang-da-234793","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[25,26,210,122,31,33,41,123,38,37,163,40,1480,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d394e3188a6393c396bd36ad031d0.jpg",[],{"id":16690,"slug":16691,"title":3734,"dynasty":77,"author":16692,"museum":59,"description":16693,"tags":16694,"thumbUrl":16695,"material":69,"size":69,"collection":69,"collections":16696,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},234338,"shan-shui-ce-jin-ting-biao-234338","金廷标","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[25,26,210,29,31,33,123,41,38,39,12831,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F978b9f88e7246c4183dfa943cf46d2b4.jpg",[],{"id":16698,"slug":16699,"title":15614,"dynasty":18,"author":15615,"museum":59,"description":15616,"tags":16700,"thumbUrl":16701,"material":69,"size":69,"collection":69,"collections":16702,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},233601,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233601",[25,26,210,63,29,123,359,7,2734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca22e328cd1a066abd1b723b1b17467.jpg",[],{"id":16704,"slug":16705,"title":15614,"dynasty":18,"author":15615,"museum":59,"description":15616,"tags":16706,"thumbUrl":16708,"material":69,"size":69,"collection":69,"collections":16709,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},233600,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233600",[25,26,210,29,687,63,33,123,1204,7,16707],"禾苗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74edbd83f11bc15b1d5c09afefc3727d.jpg",[],{"id":16711,"slug":16712,"title":15629,"dynasty":18,"author":15615,"museum":59,"description":15616,"tags":16713,"thumbUrl":16714,"material":69,"size":69,"collection":69,"collections":16715,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},233317,"shi-zhu-zhai-pu-ce-hu-ri-cong-233317",[25,26,210,122,87,143,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6edf44de823f211aa921061f3762347.jpg",[],{"id":16717,"slug":16718,"title":15629,"dynasty":18,"author":15615,"museum":59,"description":15616,"tags":16719,"thumbUrl":16720,"material":69,"size":69,"collection":69,"collections":16721,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},233316,"shi-zhu-zhai-pu-ce-hu-ri-cong-233316",[25,26,210,122,87,143,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3547cadf6c5b04a660d64102e08ef698.jpg",[],{"id":16723,"slug":16724,"title":16725,"dynasty":99,"author":222,"museum":59,"description":15289,"tags":16726,"thumbUrl":16727,"material":321,"size":322,"collection":69,"collections":16728,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},232656,"chun-shui-yu-dai-shi-yi-ming-232656","「春水」玉带饰",[7052,4473,7050,7,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4279996e07fd1555cd9ab5a45c3c2f6e.jpg",[],{"id":16730,"slug":16731,"title":16732,"dynasty":1017,"author":2863,"museum":59,"description":16733,"tags":16734,"thumbUrl":16735,"material":321,"size":322,"collection":69,"collections":16736,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},231783,"xin-gui-shan-yuan-qi-hui-juan-3-niao-yu-seng-zheng-jue-you-231783","信贵山缘起绘卷-3","觉猷（かくゆう、1053年－1140年10月27日）是平安时代后期的天台僧。一般称作鸟羽僧正，不仅是担任日本佛教界重职的高僧，也精通绘画，被认为是‘鸟兽人物戏画’（鸟兽戏画）、‘放屁合战’等画作的作者，也被视为漫画的始祖。",[23,26,27,29,122,33,8912,41,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc95963f964a4df718b94fa44e04db5f1.jpg",[],{"id":16738,"slug":16739,"title":16740,"dynasty":1017,"author":222,"museum":59,"description":16741,"tags":16742,"thumbUrl":16743,"material":321,"size":322,"collection":69,"collections":16744,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":134},231705,"jiang-hu-shi-qi-shan-shui-ren-wu-juan-yi-ming-231705","江户时期 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彩蝶翩跹萦绕花叶。\n\n釉色妍丽柔和，诸彩发色鲜亮沉稳，构图疏密相宜，将夏日池苑的缱绻生机晕染在莹白素净的瓷胎之上。笔触秀雅细腻，把莲池悠然意趣融于方寸杯盏，将缱绻温柔的夏日韵致藏于精巧瓷绘中，尽显雅致隽秀的瓷绘意趣。",[9017,13099,29,238,7,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a377cbc8e437626e8799bb872520175.jpg",[],{"id":18076,"slug":18077,"title":18078,"dynasty":77,"author":222,"museum":59,"description":11578,"tags":18079,"thumbUrl":18080,"material":321,"size":322,"collection":69,"collections":18081,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":52},257725,"mei-yu-yu-si-kuan-wu-cai-jin-ji-mu-dan-tu-wan-yi-ming-257725","美玉于斯款五彩锦鸡牡丹图碗",[225,13099,9017,29,227,3784,7,238,503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d54e723b4e63f8761701721c7cdb67b.jpg",[],{"id":18083,"slug":18084,"title":18085,"dynasty":18,"author":222,"museum":59,"description":10146,"tags":18086,"thumbUrl":18087,"material":321,"size":322,"collection":69,"collections":18088,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":52},257683,"cheng-hua-kuan-qing-hua-hua-niao-tu-wan-yi-ming-257683","成化款青花花鸟图碗",[18,9017,10808,87,1036,7,30,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb92e08fe74d26fcbab935c53e8a70cbd.jpg",[],{"id":18090,"slug":18091,"title":18092,"dynasty":18,"author":222,"museum":59,"description":9896,"tags":18093,"thumbUrl":18095,"material":321,"size":322,"collection":69,"collections":18096,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":134},257489,"wu-cai-lu-lian-wen-zhang-jing-ping-yi-ming-257489","五彩鹭莲纹长颈瓶",[1047,9017,13099,29,704,703,7,453,1955,18094,11276],"长颈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84e64ee75039f811d0e83438671d6b0.jpg",[],{"id":18098,"slug":18099,"title":18100,"dynasty":18,"author":222,"museum":59,"description":6234,"tags":18101,"thumbUrl":18103,"material":321,"size":322,"collection":69,"collections":18104,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":52},257424,"wan-li-kuan-wu-cai-li-long-wai-yun-he-wen-pan-yi-ming-257424","万历款五彩里龙外云鹤纹盘",[18,9017,13099,29,403,18102,359,7,1955,11276],"云鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37c39e96ed143d26ddbb35af7150572d.jpg",[],{"id":18106,"slug":18107,"title":18100,"dynasty":18,"author":222,"museum":59,"description":6234,"tags":18108,"thumbUrl":18109,"material":321,"size":322,"collection":69,"collections":18110,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":134},257416,"wan-li-kuan-wu-cai-li-long-wai-yun-he-wen-pan-yi-ming-257416",[9017,13099,29,403,84,2589,1955,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F572e3462d2e544eba97b1a630bdbdd8c.jpg",[],{"id":18112,"slug":18113,"title":18114,"dynasty":18,"author":222,"museum":59,"description":10146,"tags":18115,"thumbUrl":18118,"material":321,"size":322,"collection":69,"collections":18119,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":457},257246,"jia-jing-kuan-qing-hua-hua-hui-wen-gua-shi-guan-yi-ming-257246","嘉靖款青花花卉纹瓜式罐",[1047,9017,10808,238,390,7,18116,18117],"瓜式造型","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e2e15c338d4b7f97670a55781e3bb7.jpg",[],{"id":18121,"slug":18122,"title":18123,"dynasty":77,"author":222,"museum":59,"description":10146,"tags":18124,"thumbUrl":18125,"material":321,"size":322,"collection":69,"collections":18126,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":457},256958,"qing-hua-zhi-ji-mu-dan-wen-feng-wei-zun-yi-ming-256958","青花雉鸡牡丹纹凤尾尊",[9017,10808,225,87,6619,227,726,7,1955,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c2f3342f46929223077c71b3b4f7596.jpg",[],{"id":18128,"slug":18129,"title":18130,"dynasty":77,"author":222,"museum":59,"description":10146,"tags":18131,"thumbUrl":18132,"material":321,"size":322,"collection":69,"collections":18133,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":134},256918,"qing-hua-shan-shui-ren-wu-tu-feng-wei-zun-yi-ming-256918","青花山水人物图凤尾尊",[9017,10808,33,35,39,123,41,7,29,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F702f688a7617c92dafc9d2a5686ea138.jpg",[],{"id":18135,"slug":18136,"title":18137,"dynasty":77,"author":222,"museum":59,"description":10146,"tags":18138,"thumbUrl":18140,"material":321,"size":322,"collection":69,"collections":18141,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":52},256874,"qian-long-kuan-qing-hua-yue-ying-mei-que-tu-ping-yi-ming-256874","乾隆款青花月影梅鹊图瓶",[9017,10808,87,143,1525,18139,81,7],"月影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffa673a527e4c50c5ade3425b2b97ea0.jpg",[],{"id":18143,"slug":18144,"title":18145,"dynasty":77,"author":222,"museum":59,"description":18146,"tags":18147,"thumbUrl":18148,"material":321,"size":322,"collection":69,"collections":18149,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":134},256688,"dou-cai-shan-shui-ren-wu-wen-ling-hua-kou-hua-pen-yi-ming-256688","斗彩山水人物纹菱花口花盆","此器造型雅致，倭角菱花口舒展端庄。斗彩纹饰绘就海上仙游图景：苍松虬曲扎根澜岸，惊涛翻卷赤霞，仙官执笏徐行，侍从紧随左右，流云飞鸟点缀长空，衬出缥缈悠然的仙家意趣。釉下青花勾勒筋骨，釉上施彩明丽柔和，绿松红浪紫衫搭配和谐，走线精细流畅，将山海灵秀与隐逸仙气相融，尽显彩瓷装饰的精工意韵，是陈设与工艺价值兼具的瓷中佳器。",[77,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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[4467,16507,4473,13775,35,7,18163,16570,11276,15317,17674],"灶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfdde761069b8e9d5b22225bee9dfac.jpg",[],{"id":18167,"slug":18168,"title":18169,"dynasty":4467,"author":222,"museum":59,"description":18170,"tags":18171,"thumbUrl":18173,"material":321,"size":322,"collection":69,"collections":18174,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":457},253582,"tao-chi-niao-nan-li-yong-yi-ming-253582","陶持鸟男立俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[9017,18172,35,4473,7],"俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2e60193e2eec1f36bbaf242f3545775.jpg",[],{"id":18176,"slug":18177,"title":18178,"dynasty":4467,"author":222,"museum":59,"description":18161,"tags":18179,"thumbUrl":18180,"material":321,"size":322,"collection":69,"collections":18181,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":457},253110,"tao-hua-cai-niao-yi-ming-253110","陶画彩鸟",[9017,29,144,7,4473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b9d6f9fa50321c26dae882cf10b3bf.jpg",[],{"id":18183,"slug":18184,"title":18185,"dynasty":77,"author":222,"museum":59,"description":15289,"tags":18186,"thumbUrl":18189,"material":321,"size":322,"collection":69,"collections":18190,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":134},252731,"bi-yu-jiu-xing-zhang-shou-yi-ming-252731","碧玉鸠形杖首",[225,18187,4473,1955,7,18188],"碧玉","鸠形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F822b44df06a16a06c236725399df40aa.jpg",[],{"id":18192,"slug":18193,"title":18194,"dynasty":77,"author":222,"museum":59,"description":18195,"tags":18196,"thumbUrl":18201,"material":321,"size":322,"collection":69,"collections":18202,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":52},252675,"hu-po-tuo-yuan-xing-zhai-jie-pai-yi-ming-252675","琥珀椭圆形斋戒牌","斋戒牌，中国古代行斋戒礼时所置示警牌。明洪武五年（1372）令诸衙门各制作木斋戒牌，刻文于上，文为“国有常定，神有鉴焉”。\n凡行祭祀则设置。清沿明制，凡大祀、中祀皇帝致祭，事前应斋戒，由太常寺进斋戒牌。斋戒牌为木质，饰以黄纸，以清汉文书写斋戒日期。圜丘、祈谷、常雩，皇帝宿内廷斋宫，于乾清门设斋戒牌二日，置于黄案。坛所斋宫设斋戒牌一日。皇后亲蚕，亦进斋戒牌，由太常寺进递到乾清门交给内监，置于交泰殿。各衙门官员斋戒，大祀斋于公署，于大堂正中设案置斋戒红牌；中祀斋于私署。行祀之日各佩斋戒牌，不理刑名，不宴会，不作乐，不入内寝，不问疾吊丧，而有疾有服者不与戒",[225,18197,4473,18198,7,426,18199,7050,333,18200],"琥珀","斋戒","椭圆形","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f8691fd7c4990b1e1647e06d53a955.jpg",[],{"id":18204,"slug":18205,"title":18206,"dynasty":18,"author":222,"museum":59,"description":15289,"tags":18207,"thumbU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