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山谷道人黄庭坚。",[23,25,26,51,28,75,76,77,78,79,80,81,82,83,84,7,85,86],"梨花","蜂","庭院","雪","月","春","花","亭","燕","水","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm","书法精选",[90],74,{"id":94,"slug":95,"title":96,"dynasty":46,"author":97,"museum":98,"description":99,"tags":100,"thumbUrl":116,"material":117,"size":118,"collection":38,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":121},221530,"shui-tu-juan-ma-yuan-221530","水图卷","马远","北京故宫博物院","《水图》共有十二段。除第一段因残缺半幅而无图名外，其余图名分别是：“洞庭风细”、“层波叠浪”、“寒塘清浅”、“长江万顷”、“黄河逆流”、“秋水回波”、“云生沧海”、“湖光潋滟”、“云舒浪卷”、“晓日烘山”、“细浪漂漂”。这十二段作品，专门画水，除个别幅有极少岩岸之外，其它没有任何别的景色，完全通过对水的不同姿态的描写，表现出种种不同的意境。作者对水观察的细致入微，以及创造出来的形态美感和笔墨技能，都令人惊叹不已。如“洞庭风细”，波浪如鳞，不激不怒，近大远小以至于水天一色，彷佛觉得微风习习，轻轻掠过了那开阔的湖面，使人心旷神怡，宠辱皆忘。“层波叠浪”是以颤抖的笔法，描写浪涛的起落，彷佛其下有蛟龙蛰伏。那汹涌澎湃的气势，使人精神振奋而感到豪壮。“湖光潋滟”一幅，画家以轻快流畅的笔法，画出水波的跳动，浪峰无规则的排列，显然受到乱风的吹荡，即使画家不染上红色，也使观者感到阳光明媚，不由得想起“湖光潋滟晴偏好”的杭州西湖景象来。“云舒浪卷”一幅，却又是另外一番境界。画家以凝涩的笔触，画出一个浪头，它彷佛咆哮着要腾空而起，天空中黑云滚动，与水相接，更增加有如冲锋陷阵的气概。画面虽小，而气魄宏大壮观。其它各幅，都各有不同的笔法特点和意境，就留待读者自己体会。",[23,24,51,25,29,52,54,84,101,102,103,104,7,105,106,107,108,109,110,111,112,113,114,115],"波浪","湖面","江河","沧海","云","晓日","细浪","叠浪","逆流","回波","潋滟","浪卷","心旷神怡","豪壮","气魄宏大","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608b77553133468e4bb46dc87ada9d69.jpg","绢本，淡设色","纵26.8厘米，横41.6厘米",[],45,"795548",{"id":123,"slug":124,"title":125,"dynasty":126,"author":127,"museum":98,"description":128,"tags":129,"thumbUrl":147,"material":148,"size":149,"collection":90,"collections":150,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":67},219156,"xing-shu-ti-hong-ya-shan-fang-tu-shi-ye-hu-yan-219156","行书·题洪崖山房图诗页","明","胡俨","洪崖山位于江西南昌城西山之中，峰峦秀拔，林壑深窅。胡俨自24岁领乡荐便宦游南北，至明永乐十四年（1416年）已达30年。“既衰且老，不能不慨然追念畴昔，望洪崖之山，悠然兴其倦归之思。”遂将所作数篇及后来阁僚为洪崖而作者合为一卷，请中书舍人画家陈宗渊绘《洪崖山房图》。此三首即为题画而作，表达了心灵对退隐洪崖、耕桑读书、为太平之民的渴望之情。第一首末两句“陈郎胸次如摩诘，丘壑能令画里传”是赞扬陈宗渊绘画技艺之高妙。\n此篇尺牍笔画粗壮而古朴，精神外露，具有俊爽雄放的风度，是胡俨56岁时的翰墨佳构。",[23,28,26,130,131,132,133,134,33,79,135,136,137,138,78,139,140,141,105,142,7,143,144,145,146],"题诗","笔墨","章法","结体","山房","树","鹤","藤萝","苍松","溪","舟","田舍","烟","雨","晓岚","飞翠","崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255413cc6b058a16472e805f186f1c4d.jpg","纸本,水墨","纵27.3厘米，横45.5厘米",[90],42,{"id":153,"slug":154,"title":155,"dynasty":156,"author":157,"museum":158,"description":159,"tags":160,"thumbUrl":161,"material":162,"size":163,"collection":38,"collections":164,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":121},289122,"feng-zhu-tu-li-po-289122","风竹图","五代十国","李坡","台北故宫博物院","李坡，五代南唐画家。坡，一作便，或作波，南昌（今属江西）人。善画竹，不以纤巧琐细见长，多放情任性，随意落笔，便有生意。画迹有《折竹》、《风竹》、《冒雪疏篁》等图，与刘彦济、施璘、丁谦以墨竹而驰于五代。传世作品仅有《风竹图》。",[24,25,29,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c8fcc42d47bc4ad7a70d10723fa9f4.jpg","绢本,水墨","131.2x91.5",[],29,{"id":167,"slug":168,"title":169,"dynasty":126,"author":170,"museum":98,"description":171,"tags":172,"thumbUrl":192,"material":193,"size":194,"collection":90,"collections":195,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":67},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","唐寅","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。 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。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十八岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。 著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[204,24,25,241,28,26,29,56,7,188],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963871be30a56a6c36f7c0e449908c14.jpg","37x46.6厘米",[],16,{"id":247,"slug":248,"title":249,"dynasty":126,"author":250,"museum":20,"description":251,"tags":252,"thumbUrl":253,"material":212,"size":38,"collection":90,"collections":254,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":67},241648,"song-feng-shui-yue-heng-zhu-you-jian-241648","松风水月横","朱由检","朱由检（1611年2月6日－1644年4月25日 ），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位），也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[204,24,25,51,26,28,30,228,7,84,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d175e537c5d64ec94a73379cf795ca0.jpg",[90],15,{"id":257,"slug":258,"title":259,"dynasty":18,"author":260,"museum":20,"description":261,"tags":262,"thumbUrl":267,"material":268,"size":269,"collection":90,"collections":270,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":41},224438,"yong-luo-hua-qi-lv-shi-wu-zhang-he-shao-ji-224438","咏落花七律十五章","何绍基","同治四年（乙丑，1865年）春书于苏州。\n何绍基的行草书融篆、隶于一炉，骏发雄强，独具面貌。\n他的篆书，中锋用笔，并能掺入隶笔，而带行草笔势，自成一格。",[23,26,28,51,263,80,57,264,143,79,7,31,105,84,82,140,265,266],"落花","酒","柳","桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99b11b1e1294d79f91b13adc0f6273.jpg","行草","横30厘米，纵181厘米",[90],{"id":272,"slug":273,"title":274,"dynasty":18,"author":275,"museum":20,"description":276,"tags":277,"thumbUrl":287,"material":288,"size":289,"collection":38,"collections":290,"showCount":291,"zanCount":216,"manualWeight":11,"mainColor":121},240825,"jin-nong-you-chan-zhi-si-shi-zhou-jin-nong-240825","金农游禅智寺诗轴","金农","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[26,278,28,279,280,281,212,282,54,35,190,135,7,283,284,30,285,286,224],"立轴","隶书风格","清代","墨笔","禅寺","日影","僧人","诗","禅意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10142d08c61c3b53a5e657070fe8e4bf.jpg","未知","Xcm*Xcm",[],14,{"id":293,"slug":294,"title":295,"dynasty":18,"author":296,"museum":20,"description":297,"tags":298,"thumbUrl":303,"material":288,"size":289,"collection":38,"collections":304,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":67},240410,"deng-shi-ru-xin-zhou-shi-zhou-deng-shi-ru-240410","邓石如新洲诗轴","邓石如","邓石如 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，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[26,28,278,30,52,57,301,7,84,142,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc7ecaab75e3b90d8efb1dc2be883d5.jpg",[],7,"FF9800",{"id":357,"slug":358,"title":359,"dynasty":126,"author":360,"museum":20,"description":361,"tags":362,"thumbUrl":366,"material":212,"size":38,"collection":90,"collections":367,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":67},241221,"wu-lv-shui-ge-shi-zhou-fan-feng-yi-241221","五律水阁诗轴","范凤翼","范凤翼（16世纪－17世纪），字异羽，扬州府通州人，明朝、南明政治人物。\n范凤翼是万历二十六年（1598年）的进士，获授顺天教授，转为国子监助教，户部云南司主事，监督南新仓及济阳仓，清查积存谷米六十万石；之后历任验封、考功、文选主事与稽勋员外郎、郎中。他提出用贤远奸，重用高攀龙、顾宪成，罢黜杨槚、杜縻，招惹嫉妒，降为长芦运判。天启初年，范凤翼得起用为营缮主事，升任尚宝丞、少卿，因为归属东林罢职。崇祯帝继位，恢复他原官，弘光帝时和周宗文、徐二采、陆彬一同授予光禄少卿。南京沦亡，他主持北山诗社山茨社，士人奉他为品目。",[278,363,26,29,364,365,105,7],"草书","水阁","池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28b60acdc7ac0db7cb48839373b8c9b.jpg",[90],{"id":369,"slug":370,"title":371,"dynasty":126,"author":372,"museum":373,"description":374,"tags":375,"thumbUrl":377,"material":28,"size":378,"collection":38,"collections":379,"showCount":380,"zanCount":11,"manualWeight":11,"mainColor":121},221976,"yong-hua-shi-juan-wen-zheng-ming-221976","咏花诗卷","文徴明","河北省博物馆","行草书录其旧作咏花诗七律十二首，《文徵明杂花诗卷》曾经安岐、清内府及陈夔麟等收藏，现藏上海博物馆。今将《文徵明杂花诗卷》墨迹影印出版，以飨广大书法爱好者。",[23,26,28,51,30,179,184,75,7,143,79,80,81,376,84],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F069ed314ba6e32260b4023881b7ef8a7.jpg","纵39.3厘米，横546厘米",[],6,{"id":382,"slug":383,"title":384,"dynasty":18,"author":385,"museum":20,"description":386,"tags":387,"thumbUrl":391,"material":212,"size":38,"collection":90,"collections":392,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":67},241078,"shi-zhou-fang-xun-241078","诗轴","方薰","方薰(1736—1799)，字兰士，一字懒儒，号兰坻、兰如、兰生、长青、樗庵，别署语儿乡农，浙江石门（今属桐乡）布衣。槑子。性高逸狷介，朴野如山僧。诗、书、画并妙，写生尤工，与钱塘奚冈（字铁生，西泠八家之一）齐名，世称浙西两高士，称“方奚”。一时能手，无出二人之上。阮元评其画说：“深得宋元人秘法。”陈希濂则说：“兰士作画，繁不重，简不略，厚在神，秀在骨，高旷之气，突过时辈。”作品有《山静居诗稿》《山静居词稿》《题画诗》《山静居画论》。",[25,278,28,26,30,388,105,389,57,229,390,78,7,79,81,84,142,225],"寒山","湖山","峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a37ec1aed7712c705ad5c860ddd550.jpg",[90],5,{"id":395,"slug":396,"title":397,"dynasty":18,"author":398,"museum":20,"description":399,"tags":400,"thumbUrl":415,"material":288,"size":289,"collection":38,"collections":416,"showCount":417,"zanCount":11,"manualWeight":11,"mainColor":67},241359,"shi-ping-wang-chun-ling-241359","诗屏","王春龄","此作用红格缠枝花边笺纸书写，格调雅致。小楷清隽端秀，点画工稳匀净，排布舒朗利落，墨色妍润沉静，尽显扎实笔墨功底。\n内容为题咏古玉与暮春感怀的自作绝句，将文士摩挲古物的幽然心曲、伤春惜景的缱绻清愁落于毫端，书文相融，笔底自带冲淡娴雅的书卷气。方寸之间藏尽清儒的审美意趣，是一件书文俱佳的小品佳作。",[401,26,30,56,174,184,402,81,403,31,404,405,7,79,265,406,339,407,408,84,409,410,411,412,413,414],"楷书","杨柳","田","桐","鸦","陌","晓莺","晴日","金","细花","露","土","荆山","古玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb452b73b016f82b7badd8b2556069.jpg",[],4,{"id":419,"slug":420,"title":421,"dynasty":18,"author":422,"museum":423,"description":424,"tags":425,"thumbUrl":429,"material":193,"size":430,"collection":90,"collections":431,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":67},241090,"wu-yan-shi-zhou-jiang-chen-ying-241090","五言诗轴","姜宸英","四川省博物馆","姜宸英（1628－1699年），明末清初书法家、史学家，与 字西溟，号湛园，又号苇间，浙江 明末诸生，康熙十九年以布衣荐入明史馆任纂修官，分撰刑法志，记述明三百年间诏狱、廷杖、立枷、东西厂卫之害。又从 在京因得罪大学士 康熙三十六年70岁始成进士，以殿试第三名授翰林院编修。越两年为顺天乡试副考官，因主考官舞弊，被连累下狱死。着有《湛园集》《苇间集》《海防总论》。",[28,26,30,7,105,426,427,264,428,31,135,136,186,84,225],"门","瀑布","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213bd352cd92152c238af991318ac0c9.jpg","64.5×32.1cm",[90],3,{"id":434,"slug":435,"title":436,"dynasty":18,"author":437,"museum":20,"description":438,"tags":439,"thumbUrl":440,"material":288,"size":289,"collection":38,"collections":441,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":67},240921,"xie-jiu-xi-tou-xing-gu-yu-zhi-wu-gu-zhou-zhao-zhi-xin-240921","携酒溪头兴谷雨至五古轴","赵执信","赵执信[shēn]（1662年～1744年）清代诗人、诗论家、书法家。字伸符，号秋谷，晚号饴山老人、知如老人。山东省淄博市博山人。十四岁中秀才，十七岁中举人，十八岁中进士，后任右春坊右赞善兼翰林院检讨。\n二十八岁因佟皇后丧葬期间观看洪升所作《长生殿》戏剧，被劾革职。此后五十年间，终身不仕，徜徉林壑。赵执信为王士祯甥婿，然论诗与其异趣，强调“文意为主，言语为役”。所作诗文深沉峭拔，亦不乏反映民生疾苦的篇目。",[26,278,28,29,30,139,7,31,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20df3daf90b7f5e4100f06c947778008.jpg",[],{"id":443,"slug":444,"title":309,"dynasty":18,"author":445,"museum":20,"description":446,"tags":447,"thumbUrl":449,"material":212,"size":38,"collection":90,"collections":450,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":67},240707,"shi-juan-zhou-shao-xing-240707","周绍行","此作用狂草挥就，笔墨跌宕恣肆，线条枯湿浓淡变幻万千，提按顿挫间尽展随性意气。字形大小错落、欹正相生，字势连绵缠绕如惊蛇走虺，满纸氤氲着淋漓云烟。\n\n行气舒张贯通毫无滞碍，将胸中豪情尽数倾泻笔端，纵逸挥洒处带着不羁文人气韵。枯笔苍茫与浓墨厚重相映，时而奔放驰骋时而萦回转合，字字连绵却不失章法，视觉张力强烈，将草书抒情写意的特质发挥到极致，尽显书写时的酣畅快意，是极具个性的抒情书法佳构。",[23,26,51,28,363,30,57,79,7,190,188,448,33,228,81,264,140,31,84,105,143,78,179,180,181],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5d7c59fb8156f7154249e96fd8df63.jpg",[90],{"id":452,"slug":453,"title":454,"dynasty":18,"author":455,"museum":20,"description":456,"tags":457,"thumbUrl":460,"material":288,"size":289,"collection":38,"collections":461,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":67},240146,"wang-wen-zhi-shi-zhou-wang-wen-zhi-240146","王文治诗轴","王文治","王文治（1730—1802），字禹卿，号梦楼，江苏丹徒人。工书法，以风韵胜。有《梦楼诗集》《快雨堂题跋》，清代书法家、诗人。\n曾随翰林侍读全魁至琉球。乾隆二十五年进士，授编修，擢侍读，官至云南临安知府。罢归，自此无意仕进。不到五十岁，即究心佛学。有《梦楼诗集》《快雨堂题跋》。",[25,26,278,28,29,30,174,56,7,458,411,32,31,365,459],"楼","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c69947ad47c602df83f34bd3c1ae3e7.jpg",[],{"id":463,"slug":464,"title":465,"dynasty":18,"author":466,"museum":20,"description":467,"tags":468,"thumbUrl":480,"material":288,"size":289,"collection":38,"collections":481,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},241206,"li-zhang-ji-jue-ju-zhou-wu-kai-sheng-241206","李长吉绝句轴","吴闿生","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。",[26,278,28,30,84,33,81,79,469,225,411,181,31,7,302,180,265,470,471,472,57,140,78,174,473,135,474,475,476,477,478,479],"鸟","杜","雁","桥","孤云","苔","黄","绿","钩","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":483,"slug":484,"title":485,"dynasty":18,"author":486,"museum":20,"description":487,"tags":488,"thumbUrl":491,"material":288,"size":289,"collection":38,"collections":492,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":121},241047,"shi-ping-zhou-tong-hua-241047","诗屏轴","童华","童华，清朝道光进士，童槐的儿子。",[26,28,278,30,489,490,82,84,7],"落日","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d2a44056b6ced93b0372e547d2e4ce.jpg",[],{"id":494,"slug":495,"title":309,"dynasty":18,"author":496,"museum":98,"description":497,"tags":498,"thumbUrl":501,"material":502,"size":503,"collection":90,"collections":504,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},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。",[23,26,51,28,29,30,499,500,142,143,207,81,79,7,135,469,140,472,34,174,56,459,82,176,55,54,179,180,33,181],"江南","芳草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","绫本，行书","纵450厘米，横33.3厘米",[90],{"id":506,"slug":507,"title":508,"dynasty":126,"author":509,"museum":20,"description":510,"tags":511,"thumbUrl":514,"material":288,"size":289,"collection":38,"collections":515,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},240215,"qi-lv-shi-ye-yu-si-chong-240215","七律诗页","俞思冲","俞思冲（？－？），字似宗，號瞻白，浙江仁和（今杭州）人，明朝政治人物，同进士出身。",[25,26,28,52,241,512,30,56,82,33,513,81,84,7],"典籍","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790455893bc2628a258f36ac5aea92a1.jpg",[],{"id":517,"slug":518,"title":519,"dynasty":126,"author":520,"museum":20,"description":521,"tags":522,"thumbUrl":524,"material":288,"size":289,"collection":38,"collections":525,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},239806,"shi-ye-cai-yu-239806","诗页","蔡羽","蔡羽（？～1541），南直隶苏州府吴县（今属江苏）人，明代文学家、书法家、书法理论家，“吴门十才子”之一。字九逵，因居江苏吴县洞庭西山，自号林屋山人，又称左虚子、消夏居士。乡试十四次皆落第，由国子生授南京翰林孔目，好古文，师法先秦、两汉，自视甚高，所作洞庭诸记，欲与柳宗元争胜。善书法，长于楷、行，以秃笔取劲，姿尽骨全。",[26,25,28,29,30,241,228,139,7,523],"佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d6bdda3dd939647568e24e984bb2be8.jpg",[],{"id":527,"slug":528,"title":529,"dynasty":126,"author":530,"museum":20,"description":531,"tags":532,"thumbUrl":537,"material":288,"size":289,"collection":38,"collections":538,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":67},240983,"wu-lv-shi-zhou-zhu-yan-xi-240983","五律诗轴","朱延禧","朱延禧（？～？） 明末大臣。字允修。今东昌府区人。万历二十三年（1595）进士，即授为翰林院检讨，后升任礼部右侍郎。",[26,28,278,30,533,7,534,182,535,265,489,365,105,31,536,79,190],"紫阁","日华","汀","泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17dd10a0b07fa576f6dfa81dd6656fb.jpg",[],{"id":540,"slug":541,"title":519,"dynasty":126,"author":542,"museum":20,"description":543,"tags":544,"thumbUrl":546,"material":288,"size":289,"collection":38,"collections":547,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":67},240123,"shi-ye-liu-su-240123","刘塐","此幅行书诗页笔意取法晋唐，萧散简远，尽显文人随性之姿。字形欹正相生，牵丝映带间流转自如，笔墨枯湿浓淡错落，隽秀清雅。\n诗书合璧，以自作春日寄怀之诗入书，将探春闲情融于笔墨寸尺间，下笔松灵圆活，不见刻意雕琢。通篇气息淡远疏朗，尽显尚韵尚意的书法特质，寥寥数行便将文人春日感怀的逸趣尽数铺陈，是小品书法里诗书相融的佳制。",[25,26,28,30,184,265,143,7,81,79,176,545,84,31],"孤灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29a8f44ea41c0aa32ae63c9c10aad4c.jpg",[],{"id":549,"slug":550,"title":551,"dynasty":18,"author":552,"museum":98,"description":553,"tags":554,"thumbUrl":560,"material":38,"size":38,"collection":38,"collections":561,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":67},234511,"shu-qi-lv-er-shou-ce-ye-li-guang-di-234511","书七律二首册页","李光地","李光地(1642-1718)，字晋卿，号厚庵，别号榕村，福建安溪人。康熙九年(1670)进士，历任翰林院编修、翰林学士、兵部右侍郎、直隶巡抚，协助平定三藩之乱、统一台湾，康熙四十四年(1705年)，拜文渊阁大学士兼吏部尚书。著有《四书解》、《性理精义》、《朱子全书》等书。\n康熙帝：“李光地谨慎清勤，始终一节，学问渊博。朕知之最真，知朕亦无过光地者。”",[26,28,30,555,33,556,390,557,558,82,7,143,79,32,536,225,559,264],"册页","藤","涧","寺","谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8452eb7ec141e137b956ad933afcc9.jpg",[],{"id":563,"slug":564,"title":565,"dynasty":18,"author":566,"museum":567,"description":568,"tags":569,"thumbUrl":571,"material":572,"size":573,"collection":38,"collections":574,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":38},220667,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220667","凤阿山房图册","吴历,朱彝尊,陆遵等","香港中文大学文物馆","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。",[23,24,25,241,28,54,570,33,7,52,26,285],"房舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5eb5d306472da16e58bf92fd53e38f0.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":576,"slug":577,"title":578,"dynasty":126,"author":579,"museum":20,"description":580,"tags":581,"thumbUrl":584,"material":288,"size":289,"collection":38,"collections":585,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},241526,"wu-jue-er-shou-ce-ye-zhao-jun-241526","五绝二首册页","赵均","赵均（？~？）字灵均，南直隶苏州府吴县（今属江苏）人，赵宧光之子。从其父传六书之学，又从燕山僧见林授大梵字，并诸图字母，移日分夜，父子自相讲习。",[24,25,241,28,30,26,56,7,582,583],"叶","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c66c3444bfbec1260d06dca1589a164.jpg",[],{"id":587,"slug":588,"title":384,"dynasty":18,"author":589,"museum":20,"description":590,"tags":591,"thumbUrl":592,"material":288,"size":289,"collection":38,"collections":593,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},240655,"shi-zhou-fang-gong-qian-240655","方拱乾","方拱乾，初名策若，字肃之，号坦庵，又号甦庵、云麓老人、江东髯史等。安徽桐城人。明万历二十四年四月初三日（1596年1月29日）生，卒于1667年。明崇祯元年（1628年）进士，官至少詹。清顺治十四年（1657年），因受江南科场案株连于1659年被流放宁古塔，其五子方章钺因与主考官方犹“联宗”而中举，皇帝令刑部将方章钺“速拿来京，严行详审”，子亦谪宁古塔。顺治十八年即1661年赦归故里，1667年客死扬州，时年72岁。拱乾好写诗，在绝域仍“无一日辍吟咏”，留下不少描写异地史诗，如《鬼妾叹》是描写黑龙江活人殉葬的陋俗。方拱乾著《绝域纪略》（又名《宁古塔》）一书，很有史料价值。方氏是桐城望族。其父方大美曾任御史、太仆寺少卿等职，生有五子，拱乾最小。拱乾少年聪颖，成童时能记六经，7岁“能属诗文”。20岁时，诗文已为世人称许，与同乡姚孙森等5人为友，人称“六骏”。万历四十六年（1618年）中举人。崇祯元年（1628年）中进士，授官庶常。崇祯十三年授编修，累迁中允、左渝德，晋少詹事，充东宫（太子）讲官。崇祯十七年三月十八日，闯王李自成率大顺农民军陷北京，明朝灭亡，拱乾被大顺军俘虏，初受酷刑，以行贿得免。清军入山海关，李自成弃北京退山西，拱乾乘乱南归。",[28,26,30,29,143,105,7,31,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5917108110ee88476633700a0d21cedb.jpg",[],{"id":595,"slug":596,"title":597,"dynasty":18,"author":598,"museum":20,"description":599,"tags":600,"thumbUrl":605,"material":606,"size":38,"collection":38,"collections":607,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},215115,"er-shi-si-xiao-tu-ce-23-yi-ming-215115","二十四孝图册-23","佚名","二十四孝图册 是一本著名的清朝绘画作品，其中描绘了传统中国文化中最重要的 二十四孝 的故事。\n\n二十四孝 指的是传统中国文化中所尊重的二十四种子孝顺父母的行为。这些行为包括孝敬父母、恭敬长辈、孝敬兄长、恭敬长辈婆婆、孝敬师长等。\n\n二十四孝图册 由佚名的艺术家绘制，每一幅画都描绘了一种孝顺行为的故事。这本图册被认为是中国传统文化中最重要的艺术品之一，并被广泛收藏。",[23,24,52,601,241,602,105,603,604,31,7],"工笔","人物","松树","墓碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc191238acc90e54f1af87134bd3d72ff.jpg","纸本,设色",[],1777535712245]